Pop



Boyz II Men, “Love” (Decca). Like “Glee” only warmer and less vanilla, Boyz II Men, Philly’s cherished R&B hitmakers, have spent several seasons covering R&B classics in 2004’s “Throwback” and 2007’s “Motown: A Journey Through Hitsville U. S. A.” The trio (Nathan Morris, Wanya Morris, Shawn Stockman), which began in 1988, is now missing a bass voice (Michael McCary), but the musky songs and pliable rhythms that filled those outings made up for BIIM’s missing bottom. Not this time. With producer/“American Idol”-er Randy Jackson at the wheel, the vocal trio steer into lame pop with songs decent (the Beatles’ “In My Life”), bombastic (“Open Arms” by Journey, a band in which Jackson spent time), and dunderheadedly dull (Chicago’s “If You Leave Me Now”). Blame producer Jackson. Surely, having his senses bludgeoned by countless pitiful vocalists repeating pop’s worst for mass consumption and competition have bled his soul dry and left his ears deaf to what those who can sing, should. ? (A. D. Amorosi, Philadelphia Inquirer)



Classical



Carl Rutti, Requiem performed by soloists, The Bach Choir, Southern Sinfonia and organist Jane Watts conducted by David Hill (Naxos). A good argument could be made that the most influential choral religious work ever written—as well as one of the most beautiful— was the gentle Requiem of Gabriel Faure, which may have forever eliminated grandiloquence from the musical vocabulary of death. So much 21st century choral music seems its relative—whether by Part or Gorecki or Gavin Bryars or this exceptionally beautiful piece by a 60-year-old composer who was born in Switzerland but seems to have adopted the English tradition entirely. As with Bryars, you can hear jazz and blues in his gorgeously melodic and entirely consonant music too (which, very much unlike Bryars, sounds as if 20th century music never really happened). In this piece, which was commissioned by the Bach Choir, composer Rutti was specifically asked to write for the same forces as the Faure Requiem. The result is, depending on how you look at it, either almost entirely derivative or fascinating proof of exactly how magnificent a tradition the Faure Requiem actually began. Frankly, I tend to believe the latter. ??? (Jeff Simon)



•••



William Schuman, Symphony No. 6, Prayer in Time of War and New England Triptych performed by Seattle Symphony and conductor Gerard Schwarz (Naxos). It’s fascinating, to put it mildly, that once upon a time, William Schuman was considered almost a composing apostle of Roy Harris, a specimen 20th century “outsider artist” before such things had a name. While Harris remained what he always was (and, except for this third and sixth symphonies, is seldom played now), Schuman’s full engagement with his era’s musical establishment (he headed Juilliard at one point) has meant that a lot of his work has been recorded and stays available. These performances from Schwarz and the Seattle Orchestra’s Schuman cycle date from as much as 18 years apart —a solid, if sober reading of his sixth symphony in one movement from 2008 and an equally dutiful 1990 performance of Schuman’s most accessible work, the “New England Triptych,” based on William Billings’ themes (it was, remember, commissioned by Andre Kostalanetz). “Prayer in Time of War” was recorded in 2005 but was Schuman’s personal but oddly unremarkable response to being rejected for military service in 1941.???(J. S.)



•••



Vivaldi, Pyrotechnics: Opera Arias, Vivica Genaux, mezzo soprano, Europa Galante, Fabio Biondi, violin (Virgin Classics). Vivica Genaux and Vivaldi both have names that must have something to do with vivacity. Both of them live up to their names with this arresting, fascinating music. Genaux tackles the first, blisteringly fast aria with unflagging gusto and virtuosity. It’s like the Wild Mouse. In contrast, an aria from Vivaldi’s “Semiramide” draws you in with its dramatic pulse and suspense. Subsequent arias bring more agitation, shades of “The Four Seasons,” and those inexplicable little surprises Vivaldi likes to throw at you, probably to go with some stage action you can’t see. It would get to be a bit much, were not the music’s joy so irresistible. It’s fun just to marvel at Genaux’s voice, which has tremendous expression and a kind of Coffee Rich smoothness. ???(Mary Kunz Goldman)



•••



Mozart, Cassations, K. 63, 99, 100, the Salzburg Chamber Orchestra, Harald Nerat, conductor (Naxos). A cassation was a kind of serenade, and Mozart wrote the pieces in Salzburg as a teenager. And you know how people who don’t really know Mozart are always saying you can relax to his music? You actually can relax to this. Still a better idea not to try to accomplish much while you’re listening, though. It might distract you from the loveliness of, say, the Andante of K. 100, the cassation that is the standout among these three. This airy, perfect music is played beautifully and unpretentiously by a chamber orchestra made up of musicians from the famed Mozarteum. Lots of pleasure at a budget price. ???(M. K. G.)



Jazz



Michael Treni, “Turnaround” (Bell, disc plus DVD). Among the best-known victims of the almost-unfathomably tragic crash of Flight 3407 in Clarence Center was jazz saxophonist Gerry Niewood. Renowned for his work with fellow Rochesterian Chuck Mangione, he was, in every way, a much-valued citizen of the jazz world. This large band disc by composer/arranger Michael Treni is one of the last recordings of Niewood’s 65 years on earth and finds him, for one tune, in the company of saxophonist Jerry Bergonzi, trumpeter Vinnie Cutro and pianist Charles Blenzig. He was supposed to appear on the entire disc but perished on the way to the Mangione gig with the Buffalo Philharmonic. Treni, on his own, is a musician who quit music for business in 1985, retired and came back to music for good in 1997. The title tune by Treni, by the way, is not to be confused with one of the most infectious blues of the same name composed by Ornette Coleman (played immortally by, among others, Michel Petrucciani). It’s fairly conventional jazz of a certain post-Woody Herman, post-Kenton school, full of solos that are passionate and many-noted, if not particularly imaginative. But Niewood’s final contribution on “Awhile,” more than anyone’s, distinguishes the disc. ?? (J. S.)