Best Of 2022: Classical

Even with the constant onrush of mostly negligible repertory recordings from the major labels, the new music scene continues to be one of the most fertile in music today, filled with endless innovations in structure and sound. Here's a scratch of the surface - or, more appropriately, a sip of the cream, starting with things I've already written about.

Hear a track from each of these in this playlist or below, excepting those noted that are on Bandcamp only - I urge you to follow up and give those a listen, too.

Record Roundup: 22 For 22 (Part 1)
Pathos Trio - When Dark Sounds Collide
Eric Nathan - Missing Words

The Best Of 2022 (So Far)
Sarah Plum - Personal Noise
String Orchestra Of Brooklyn - Enfolding

Record Roundup: Envelope Pushers
Ted Reichman - Dread Sea
Greg Davis - New Primes
Josh Modney - Near To Each
Steven Ricks - Assemblage Chamber
Maya Bennardo - Four Strings

Record Roundup: Evocative Voices
The Crossing - Born
Carlos Simon - Requiem For The Enslaved
Kate Soper Feat. Sam Pluta - The Understanding Of All Things
Loadbang - Quiver

Record Roundup: Songcraft
Michael Hersch - The Script Of Storms Also note reissues of The Wreckage Of Flowers and The Vanishing Pavilions, music for violin (Miranda Cuckson) and piano (Hersch), respectively.

Record Roundup: Autumn Flood, Pt. 1
John Luther Adams - Sila: The Breath Of The World 
Anthony Cheung - Music For Film, Sculpture, And Captions
Julian Brink - Utility Music
Andrew McIntosh - Little Jimmy
Greg Stuart - Subtractions

Record Roundup: Autumn Flood, Pt. 2
Olivia De Prato - I, A.M. - Artist Mother Project: New Works For Violin And Electronics

Steven Beck - George Walker: Five Piano Sonatas If you’re looking for an advocate for some underperformed and under-recorded piano music, there couldn’t be a better choice than Beck. Having seen him apply his monster technique and deep engagement a number of times with the Talea Ensemble, including a memorable tribute to Fred Lerdahl, I knew I would be hearing these works at their best. Walker, who died at 96 in 2018, has been called the “great American composer you never heard of” - although some of that obscurity was lifted when he became the first Black composer to win a Pulitzer Prize in 1996. Even so, these five sonatas were new to me, and they show an impressive range and growth over the years. From the First Sonata (1953), which puts him solidly in the American tradition with its variations on the Kentucky folk tune “O Bury Me Beneath the Willow," while still hewing to a fairly traditional sonata form, to the five-minute, one-movement Fifth Sonata (2003), which explores a fascinatingly attenuated harmonic realm that seems purely his own, Walker's grasp of the form is equal to anyone's. If you want more Walker - and I think you will - look no further than the Cleveland Orchestra's spectacular collection of his orchestral works. 

Jennifer Grim - Through Broken Time Grim not only has a great technique, whether in music of exquisite lyricism, like Tania León's Alma (2009), which opens this superb album, or of an advanced architecture, such as Julia Wolfe's Oxygen, for 12 Flutes (2021), but her curatorial acumen is equally sharp. Putting crucial recent works by Valerie Coleman and Alison Loggins-Hull alongside an Alvin Singleton piece from 1970 lends context to her selections, which the liner notes describe as being at the intersection of post-minimalism and Afro-modernism. Through Broken Time was recorded and released in 2022, which is not as common as you would think in the new music world - but it is just that urgent a collection, and one that will be looked back upon as a landmark in the future. Grim did not hesitate to get this music to us, do not hesitate to listen ASAP.

Johannes Moser - Alone Together I admit it - I'm terrible. So terrible, in fact, that I made a playlist with only the six newly-commissioned works on this album. I just don't need my experience of brilliant new pieces by Christopher Cerrone, Ellen Reid, Timo Andres, Annie Gosfield, Ted Hearne, and Nina Young diluted by Grieg, Barber, and others, even if they're in "octophonic arrangements." Also, that playlist is 42-minutes long, just the right length for an album. The new pieces range from the dramatic (Reid's Somewhere There Is Something Else) to the songful (Andres' Ogee), with Hearne's Lobby Music unsurprisingly taking the cake as far as innovation goes. Blending Moser's hypnotic cello with electronic beats, voices from recent events, and electronics, Hearne somehow avoids being gimmicky through sheer force of will. Any fans of his masterpiece, Place, will know what I'm talking about. Cerrone's more quietly futuristic Exhalation makes the most of Moser's multi-tracking skills, with an electronic shimmer behind searching melodic lines and pizzicato sections. Moser has the skills and taste to be an important force for new cello music, perhaps he'll do so without apology next time around.

Christopher Cerrone - The Air Suspended While Moser's album in original form was too long, this tantalizing EP of recent pieces by Cerrone is all too brief at 22 minutes. The title piece (2019) is a commanding three-movement piano concerto, whose power belies its minimal forces, with only the Argus String Quartet and bassist Pat Swoboda backing up Shai Wosner, for whom the piece was written. Conceived for the close, sculptured acoustic of a recording, I can imagine it being thrilling in a concert hall as well. Also included is Why Was I Born Between Mirrors?, performed here by the Pittsburgh New Music Ensemble, who premiered it in 2019. The recording is a true product of the pandemic-era, however, with sessions taking place in six cities across two continents. But no matter, the final result is a deeply absorbing piece, with a narrative thrust that hints at the inspiration Cerrone took from Ben Lerner's Leaving The Atocha Station. The tale of how Cerrone improvised his way into the piece, locking flower-pot percussion jams onto a digital grid and then building from there, is nearly as gripping as the music. The Air Suspended may be short, but it packs an outsized punch.

Bergamot Quartet - In The Brink This excellent debut puts the Bergamot right into the mix of our most exciting string quartets with four debut recordings. While Paul Wiancko's bustling Ode On A Broken Loom (2019) and Suzanne Ferrin's wobbly Undecim (2006) are both captivating, it's the works by Tania León and Ledah Finck (also the group's violinist) that kick their repertoire into the next level. León's Esencia (2009) is jam-packed with expertly deployed rhythms from Caribbean and Latin American traditions, both a warm embrace of her roots and a dazzling display of compositional acuity. Finck's title track (2019) takes things to a continent of her own imaginings, adding a drum set (Terry Sweeney) and shouted vocals by the quartet for a wild, spiky ride. My radar is firmly set for more, both from the Bergamot and Finck. 

Cenk Ergun - Inseln Even with 12 layers of countertenor Rupert Enticknap's voice, this sublime work always feels like one person and profoundly individualistic. The end result is an emotionally driven equation that somehow multiplies Medieval monophony by Ligeti's Lux Aeterna to arrive somewhere new. Originally a sound installation at Berlin's Zionskirche, the digital release also includes a recording made there, which is full of atmospheric externalities in addition to the space's unique resonances. 

John Luther Adams - Houses Of The Wind Consisting of five tracks that manipulate the same recording of an aeolian (wind-driven) harp, this album aligns more explicitly with ambient music than most of Adams' work - which is only to say that it is even more deeply peaceful and meditative. 

Aaron Myers-Brooks - Oblique The Eleventh and 6th Caves, a track that naturally extends Eddie Van Halen's virtuosic rock into microtonal realms, opens this album for guitar and electronics like a fanfare welcoming you into Myers-Brooks' unique world. Using a guitar tuned to 17 equal divisions of the octave (17 EDO) frees him to explore unusual harmonies, which he expresses through a phenomenal technique that is equally at home with delicate harmonics and lethal shredding. Triads and Arpeggios, which is for electronics only, reveals further characteristics of his compositional interests away from the guitar - colorful, dense, teeming with ideas, like a little island filled with evolutionary anomalies. Set sail.

AGS - Lab Rat Ever since getting hooked on Scott L. Miller's work due to the Tak Ensemble's excellent recording of his Ghost Layers, I have eagerly awaited transmissions from his universe. Just as with last year's collaboration with Rarescale, that anticipation has been repaid with interest by this latest release. AGS is the trio of Alexander Kranabetter (trumpet, electronics), Gloria Damijian (toy piano, percussion), and Miller (Kyma, electronics), a group formed initially for an improvised set at December 2020's Alte Schmiede Vienna festival. The experience was compelling enough that they put in some time in a studio and also recorded telematically to arrive here. Good thing, too, as the album delivers both kicky fun and otherworldly atmospherics for an absorbing listen. High risk/reward ratio for both players and listeners! 

andPlay & Victoria Cheah - A Butterfly On Your Shoulder Into Years And Years To Come This collaboration between the violin/viola duo of Maya Bennardo and Hannah Levinson and composer/synthesist Cheah could almost be a sequel to her piece on Concrete And Void, last year's stunning debut by Wavefield Ensemble. Cheah's strength of musical vision integrates the strings and electronics into a single, tensely purposeful unit, occasionally shading into spectralism with long, gradually ascending lines. Bummed that the cassette sold out but so glad I eventually caught up with these intriguing soundscapes. 

Eren Gümrükçüoglu - Pareidolia The title refers to the phenomenon of seeing shapes in randomness, like picking an elephant out of a cloudscape. But "peripatetic" could have worked just as well, so well-traveled through various realms is this Turkish-born, Florida-based composer and performer. And it's not just geographical, as his jazz guitar roots, engineering skills, and experiences creating soundtracks for television all inform his compositional approach. This debut portrait album features five recent compositions performed by the likes of Conrad Tao, the JACK Quartet, the Mivos Quartet, Ensemble Suono Giallo, and the Deviant Septet, bookended by two electronic pieces, for a 360-degree view of his stylish, entertaining, open-hearted music. Seen strictly as a calling card, Pareidolia should have students flooding his composition classes at FSU.

Departure Duo - Immensity Of The duo of soprano and double bass shouldn't really work. But apparently György Kurtág thought enough of the idea to compose Einige Sätze aus den Sudelbüchern Georg Christoph Lichtenbergs, based on the scrapbooks of an obscure 18th century physicist, for such an ensemble. Taking that witty 1999 piece as a jumping off point, Nina Guo and Edward Kass went all in and commissioned three other works, leading to this delightful collection. The Kurtág consists of 22 very short vignettes that foreground Lichtenbergs' quirky pronouncements (example: "The one who is in love with himself has at least the advantage that he won't encounter many rivals."), almost like character studies of whomever would deign to write such things down. The duo alternates reading English translations of each one, which interrupts the flow a little, but their voices are so nice I don't really mind. The album opens with Katherine Balch's four-movement Phrases (2017), which pull and push poems by Arthur Rimbaud like textual silly putty, giving Guo a lot to play with as Kass' bass pulses in the background. The three movements of John Aylward's Tiergarten (2018) feel more like a duet between the players and also inject some tone-painting into three Rilke poems about animals freighted with mythical resonances, the swan, the panther, and the unicorn. The final work, Emily Praetorius' Immensity Of (2019), plays with one line of text from Daphne Oram, abstracting it with whistles and single notes as the bass searches for resolution and connection. While everything about this rara avis album could seem quite, well, serious, Guo and Kass have a lightness of approach (see the photos in the booklet for further proof of this), not too mention complete command over their instruments, making listening a pure pleasure. More commissions are in the offing and I say bring. them. on.

Paul Bowles - A Picnic Cantata Those who associate Bowles only with his forbidding novel, The Sheltering Sky, must have missed the EOS Ensemble's wonderful recording of his music back in 1997. While there is a sense of promise unfulfilled by those colorful works, he definitely had something to say as a composer, with his globe-trotting ways having an influence, whether through French impressionism or the markets of Morocco. And now the New York Festival of Song has given us a sparkling gift in the first stereo recording of this brief theater piece, a collaboration with poet James Schuyler, which was performed at New York's Town Hall in 1953 and released by Columbia in 1954 on an LP with Francis Poulenc's Sonata For Two Pianos. I can guarantee you that if I had ever seen this in a thrift store, I would have known about this piece years ago. No matter - I'm just grateful to NYFOS for finally putting this out!

The Crossing - Carols After A Plague It can be hard to keep up with this pathbreaking choir, but the effort will always be rewarded, a sentiment that was never truer than with this epic collection of 12 new works by composers such as Tyshawn Sorey, Shara Nova, and Viet Cuong. As the title hints, everything is organized around themes from the recent pandemic era, whether the terrors wrought by the new virus, or the rage and sorrow brought on by police killings and a divided country. Everything is done in a spirit of compassion, empathy, and sincerity, however, so it never feels like pandering. The composers and choir are all in the same boat with us, consoling rather than preaching. Interludes composed by Crossing director and conductor Donald Nally lend the nearly 90-minute album a cinematic sweep. It's hard to think of a better album with which to draw a line between 2022 and 2023. May the coming months bring different things to sing about.

Find more classical and composed goodness in this archive playlist and make sure to follow this one to see what 2023 brings. For a different view of this arena, check out my playlist of Classical Grammy Nominations 2023.

You may also enjoy:
Best Of 2021: Classical

Best Of 2020: Classical
Best Of 2019: Classical
Best Of 2018: Classical
Best Of 17: Classical
Best Of 16: Classical
Best Of 15: Classical & Composed
Best Of The Rest Of 14: Classical & Composed

Of Note In 2020: Classical

Not to undersell it, but this has been one crazy year. I don't need to explain it either, because everyone is going through it simultaneously. I would like to clear the air a little about the status of AnEarful, however, as posts have been few and far between in 2020. This is due to a variety of factors, none of which have anything to do with the lack of engagement in all the wonderful music that's come out so far this year. Since I do much of my writing on the train to and from work (not to mention while traveling to concerts!) shifting to working from home each day has had an impact on my productivity.

There's also the fact that my full-time job is working in the Office of Development at the Mount Sinai Health System, which for the last many weeks has been solely focused on confronting the impact of the pandemic. This has meant longer hours - occasionally spilling over into the weekends - and intense days as we power through to write the documents our fundraisers need to meet the demand created by being at the epicenter of the epicenter. One result of this is that after a long day of all COVID all the time, often the last thing I want to do is sit in front of the computer some more and write about music. Sometimes I just need to zone out in front of the TV.

Then there was the looming project of my best of the decade list. While I knew I would never finish that in December, I had planned to get it done in January and the longer it hung out there, the more I felt I had to finish it before approaching new releases. As you likely already know, I GOT IT DONE, people! And I'm mightily satisfied with it, too.

Now is the time to move on and be firmly present in THIS decade, which has already produced an enormous amount of great music. As usual, my cup runneth over. To keep track, I'm maintaining my usual Spotify playlists, which gather the music I consider "of note," starting with a general one and then broken down by genre. I also have another secret playlist I've been building of the 40 records that have been continual companions since they came out, bearing repeat listens and revealing more glories each time. Starting now and over the next days and weeks I will be sharing what has risen to the top in each genre while also encouraging you to explore the full "of note" playlists. Here goes!

The Of Note In 2020 (Classical) playlist is now clocking over 30 albums. Eleven of my favorites are listed below. Subscribe now to the 40 For 2020 playlist for tracks from all these albums and to see what I add from other genres as I write about them in the coming weeks.




Ekmeles - A Howl, That Was Also A Prayer I think this was the first new album I received in 2020 and one listen in I knew we were going to be fine, musically speaking. I was aware of this ridiculously talented and adventurous vocal ensemble for a while but hearing their work on Zosah di Castri's insanely great Tachitipo (2019) brought them into sharp focus. This album should do the same for many more people. Even before I heard it I was psyched as not only did they record a new work by Christopher Trapani, but they have more from Taylor Brook's deeply eccentric response to David Ohle's deeply eccentric sci-fi novel Motorman, last heard in a stunning performance of Four Weather Reports by the Tak Ensemble on Ecstatic Music (2016). Just as there, we have the extraordinarily expressive voice of Charlotte Mundy to set the tone, and she somehow makes everything approachable. You won't soon grow tired of Brook's intricate scoring, which offers new crevices to explore each time. 

Trapani's piece, End Words, combines the six voices with electronics in seamless fashion to limn the words of three poets, Anis Mojgani, Clara Shuttleworth, and John Ashbery, all of whom employ sestina form. The harmonies are often close, giving it a jazzy spin slightly reminiscent of Lambert, Hendricks, and Ross. But this is no pastiche - merely Trapani serving notice of his preeminence as one of the most original composers of today. His intellectual questing is always grounded in deep humanism and not a little wit, all these factors combining marvelously here as they they did in Waterlines. Between Brook and Trapani is Erin Gee's wordless Three Scenes From Sleep, which uses extended techniques to explore with great creativity the murmurings of the unconscious mind in various stages of sleep. Ekmeles, under the sure direction of Jeffrey Gavett, toss it off with both precision and freedom, as they do on every track of this explosive debut album. 

Y Music - Ecstatic Science Putting a Missy Mazzoli piece on your album will always get my attention, and her title track (2016) has many of her trademark harmonic ambiguities and shifting dynamics. It's one of the more shaded pieces on the collection, which has an overall feeling of good cheer. The centerpiece is Caroline Shaw's three-part Draft Of A High Rise, a nearly pastoral soundscape that makes fine use of the warm tonalities to which these players seem drawn. Also featured are works by Gabriella Smith and Paul Wiancko, with the latter's Thous&ths (2015) boasting some exceptional trumpet scoring - and superb playing by CJ Camerieri.

Tak Ensemble - Scott L. Miller: Ghost Layers I always like to be in the know so I was racking my brain in the hopes that this isn't my first exposure to Miller. Now I just have to accept that I was behind the curve on this brilliant composer's work. How did I miss Raba from 2018?? Anyhoo, I'm here now and I couldn't wish for finer companions than the TAK Ensemble, who bring their usual commitment, technique, and passion to these seven mostly electro-acoustic chamber pieces. Eidolon may be my favorite, with its drones, sparkles, and theatrical creaks and clicks, but each one contains wonders. Let's all work together to make Miller a household name. Also, subscribe NOW to Tak's podcast - it's the bomb.

Quarterly - Pomegranate The duo of Kristen Drymala (cello) and Christopher DiPietro (guitar, hammered lap steel) have also been under my radar, with their first album coming out in 2016, but I'm glad to know them now as this EP is simply lovely. They combine folk and classical traditions in a way that Penguin Cafe Orchestra fans would recognize, but without that group's occasional over-reliance on puckishness and repetition. That's a long way of saying you will be absorbed and transported by their gentle and melodic string-weaving and, like me, will look forward to exploring their earlier albums.

Barbora Kolářová - Imp In Impulse With a name like "Pascal Le Boeuf" it seems you would have to write a piece called Imp In Impulse, which receives its premiere recording here in a spectacular performance by violinist Kolářová. She's played everywhere with everyone but this is her solo debut and it should firmly put her on the map as an artist with as much personality as skill. Le Boeuf's piece, which was written for her, is not only impish but also at times approaches the gravity of Medieval plainchant to sublime effect. Other violinists should be flooding his inbox with commissions based on this recording. They can try to top Kolářová if they dare. Jean Françaix's Theme with 8 Variations for Solo Violin (1980) also has impish moments, especially when he goes for the pizzicato, but there are also shades of folk fiddle and knotty moments for a remarkable range of moods throughout. It's apparently rarely performed but the sheer delight Kolářová displays should change that. The album closes with Klement Slavický's Partita for Solo Violin, which takes Bach's model and updates it a bit, but not so much that the great man would find it unrecognizable. All those places and players used to working with Kolářová may find her datebook a little fuller than usual with solo performances once normal concert life resumes!

Richard Valitutto - Nocturnes & Lullabies Over the course of this album's eight premieres, Valitutto creates an almost entirely new landscape of piano music and sound. Mind you, the piano is unprepared and no electronics are involved - it's just the killer use of dynamics and attack along with pedal deployment of nearly unreal expertise. Notably, Valitutto also co-produced the record (with Nick Tipp) - clearly a man who knows what he wants! The pieces range from Rebecca Saunders' drama-laced Shadow (2013) and Wolfgang von Schweinitz's blocky but mellow Plainsound Lullaby (2014) to Linda Catlin Smiths chiming A Nocturne (1995), for a truly fascinating journey. 

Cenk Urgün - Sonare & Celare If Valitutto was waxing nocturnal, the first of these two single-movement string quartets by Urgün go him one further into dark night of the soul territory. Performed with frightening dedication by the JACK Quartet, who never seem to put a horsehair wrong, Sonare is a mostly ultra-rhythmic, skirling stringscape that may raise the hairs on the back of your neck. In his notes, Urgün somewhat clinically describes "building near-static sound fields made up of repeated patterns, sustained tones, and what can be called islands of sound: brief sound events surrounded by silence." Clearly he wants you to find your own way emotionally, but the power of Sonare is very real. Celare is calmer, even lyrical at times, but remains spartan enough that you never get too comfortable. Whether your introduction to Urgün's methods and sound world, or just another chapter in the JACK's ongoing pursuit of excellence, this is not a record you will easily forget.

The String Orchestra Of Brooklyn - Afterimage Christopher Cerrone's High Windows (2013) opens this debut from the SOB in glorious fashion, doing justice to the stained glass that inspired the piece. Also cleverly sampling a Paganini caprice, High Windows is further proof of Cerrone's multifarious talents, even if it's not  as momentous as what he presented on last year's The Pieces That Fall To Earth. Led by Eli Spindel, the SOB and guests the Argus Quartet play with wonderful delicacy, finding cohesion in the spare textures. Jacob Cooper's Stabat Mater Dolorosa (2009) includes Melissa Hughes (soprano) and Kate Maroney (mezzo-soprano) and is almost ambient as it traverses - for nearly 30 minutes - a "time-stretched" variation of Pergolesi’s first movement for his Stabat Mater (1736). Including bits of Paganini and Pergolesi to end the album makes sense only for a scholar, but that's a minor quibble.

Clarice Jensen - The Experience Of Repetition As Death If you want to keep Jacob Cooper's mood going, skip the old stuff on Afterimage and play this gorgeously meditative album. Jensen, the Artistic & Executive Director of ACME, further comes into her own as  creator of exquisite music for cello and electronics, looping and layering her instrument to come up with a string orchestra of her own. As the title hints, Jensen has some dark thoughts on her mind and any of these five pieces would not be out of place soundtracking images of peril and suspense. Find your story within.

Luis Ianes - Instrucciones De Uso Paying homage to the late Georges Perec and his monumental novel, La vie mode d’emploi (Life, A User's Manual), is not something that happens often enough, so kudos to Ianes for injecting him into the conversation. Beyond all that, Ianes is a marvelous guitarist on either acoustic or electric instruments, conjuring all kinds of woody plucks and strums and shimmering chords for a quirky, engaging listen.

Ted Hearne & Saul Willams - Place This big, bold, bombshell of an album builds on seeds Hearne and Williams planted on last year's remarkable Hazy Heart Pump, driving further into an intersection of chamber music, electronic, R&B, spoken word, jazz, hip hop, and progressive rock, only to arrive in a uniquely addictive spot. There are powerful ideas here, too, thoughts about gentrification, family, masculinity, social justice, and more, but they never outweigh the music. The collage-like blend of sounds and voices comes together through the blazing artistry of the singers and players, caught here in an incandescent performance that is at least partially live (the booklet is short on details). I could as easily write a haiku or a book about this rara avis of a record. It truly must be heard to be believed. 


You may also enjoy:
2019 First Quarter Report: The Albums
Record Roundup: One Day In 2018
How To Survive 2017