New York Polyphony‘s bass, Craig Phillips, shares the story of how his group rediscovered music of the 16th century composer, Francisco de Peñalosa, and how that composer’s “Lamentations of Jeremiah” are so perfectly suited to his group’s voices, that it seems Peñalosa wrote the work for them. On the recording, New York Polyphony include works of Peñalosa’s contemporaries, to provide context for this unique style of multiple-line music.

German-American violinist Augustin Hadelich says that he is attracted to the idea of contrasts in music, and in making choices of repertoire. Mr. Hadelich tells program director John Pitman that despite those contrasts, often similarities arise by putting two disparate works together.

In this case, Mr. Hadelich leads with the familiar and beloved concerto by Brahms, and follows with the concerto of Hungarian 20th century composer, György Ligeti. Hadelich also lends his own touch to the Brahms, by playing his own cadenzas. A performance notable for the intensity of Hadelich’s interpretation as well its beauty.

Yolanda Kondonassis is a harpist that may be described as “fearless”, as she enthusiastically takes on any idea that contemporary composers send her way. A while back, Ms. Kondonassis made a wonderful recording of the Ginastera concerto. Now, she shares what may become the first great harp concerto of the 21st century: a commissioned work by Jennifer Higdon.

The work is colorful, inventive, and just plain “cool” (a word that both Ms. Kondonassis and I agree with on this work). Conductor Ward Stare joins in the conversation about “American Rapture.”

A few years back, American pianist Lara Downes found a quote by Georgia O’Keefe that stuck in “my head and my heart”, which inspired the title for her new collaboration: “I want real things – live people to take hold of – to see- and talk to – music that makes holes in the sky – I want to love as hard as I can.”

“Holes in the Sky” is an artistic presentation unlike any other that I have seen in classical music: Not only a disc made up of works entirely and exclusively by women, but with all-women artists as well. She is joined by some of the genres’ most outstanding creatives, including violinist Rachel Barton Pine, Simone Dinnerstein, and Rhiannon Giddens. The iconic singer / songwriter Judy Collins not only provides one of her songs, but sings “Albatross” (from 1967) with the pianist. Collins goes further in the liner notes by sharing her wisdom about music, art and life with Lara and, indeed, all of us. Downes’ projects, which marry excellent performance, interpretation and care in repertoire are never conventional. This one, is exceptional. – John Pitman, Director of Music and Programming

Holes in the Sky – Lara Downes
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This is the debut disc by Hee-Young Lim, a Korean-born cellist who started her path in music in her parents’ living room. A neighbor brought over a cello that wasn’t being used, and it remained unplayed until one of Hee-Young’s friends showed interest in it. Hee-Young determined that she would play that cello.

Her years living in Paris inspired her to make her debut of French concertos. Besides the expected Saint-Saens and Lalo, Lim surprises with the somewhat jazzy Concerto No. 1 by Darius Milhaud. This, coupled with her appointment as the first Korean professor at the Beijing Academy, make this an auspicious debut for this gifted cellist.

French Cello Concertos – Hee-Young Lim
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Polish-Canadian pianist Katarzyna Musiał loves to play Chopin. She also loves Gershwin. However, the music that truly stirs her heart? The music of Spain. With good reason, too. In her conversation with program director John Pitman, Musiał shares how Spanish music and culture became her passion: it was a part of her upbringing, thanks to her parents who took her there many times.

“My Spanish Heart” is Musiał’s second CD, and celebrates the diverse styles, rhythms, and cultures of the Iberian Peninsula, in music from the late 19th and early 20th centuries. The familiar (Sevillanas, Ritual Fire Dance), and refreshing (Danza de la rosa is exquisite) populate a CD program that is as colorful as Spain itself. Katarzyna Musiał performed in Portland when she was here to record the interview; here’s hoping that her “Spanish Heart” will lead her back so that Portland audiences can experience her passion for this music sometime again.

Canadian pianist Jan Lisiecki continues his exploration of, an interest in the different facets of Romanticism, following his Chopin CD with this new one of Mendelssohn’s piano concertos. The concertos anchor the CD, but are not the only highlight: Lisiecki tells me (in our conversation), that from the beginning he wanted to incorporate the “Serious Variations”, and the “Rondo Capriccioso”, which capture your attention with their virtuosity and melodic content. Jan’s parents are Polish, and was able to record these works in his adopted country (he has dual citizenship), with New York’s Orpheus Chamber Orchestra. Lisiecki collaborates with the OCO in such as way that the concertos have the intimacy of chamber music, which lets their various facets shine.

Matthew Lipman is a 2015 Avery Fisher Grant winner, has recorded with Rachel Barton Pine and Sir Neville Marriner. Since graduating from Juilliard Lipman is now on the viola faculty at Sony Brook University and concertizes around the world. His debut CD, Ascent, is in tribute in part to his mother (d. 2014), and commissioned “Metamorfose” from Clarice Assad in her memory. In his conversation with program director John Pitman, Lipman shares stories of how he transitioned from trumpet to viola in grade school; his somewhat awkward first session with his longtime piano partner Henry Kramer; and makes the case that there are enough quality works for his instrument to deflate the inevitable viola jokes. Lipman’s recording is a regular feature of All Classical Portland’s playlist.