MUSICAL OPINION:
Recitals for wind instruments soon run into the problem of the repertoire chosen. For, as in this case, composers who have written one work for the Horn rarely undertake another, with the result that the player is forced into a mixed-bag of composers, not all of whom can be guaranteed to appeal to the same record-buyer. Thus, here we have music by seven composers written over a period of 154 years, during which time, as well as the musical language, the instrument itself has radically changed. With the best will in the world this CD is surely only going to appeal widely to horn players and aficionados of the instrument, of which there is a growing number.

That having been said, the musicianship of this gifted young Maltese horn player is first-class throughout, and he must be commended for including some rarely heard music, most of which is worthwhile. In this regard, the inclusion of Peter Maxwell Davies’ Sea Eagle for solo horn is most welcome, for this is staggeringly well written in Max’s true virtuoso style and exceptionally played.

Charles Camilleri’s recent Fantasie Sonata, written for Cutajar, is a colourful addition to this eclectic composer’s large output. Aspects for horn and harp by Jean-Michel Damase is in the composer’s more peaceable manner; Poulenc’s Elégie in memory of Dennis Brain is a far deeper work. It is both rare and welcome to encounter the 12-year-old Richard Strauss’ Alphorn; no doubting the locale of this work for voice, horn and piano.

The music here is well performed throughout. The recordings are good but at times I should have liked a less close horn sound; Max’s piece calls for a more “open-air” acoustic and occasionally the piano appears a shade backward. The informative notes are by Ates Orga and there are lengthy artists’ biographies. This is a welcome CD and highly recommended.
Robert Matthew-Walker

MUSICWEB:
This would appear to be the solo debut on CD of the young Maltese hornist, Etienne Cutajar. Born in 1983, he has been third horn with the BBC Scottish Symphony Orchestra since July 2006 and is also solo horn with the recently founded Carnyx Brass group. Based on this recording, Cutajar seems to have the chops as a soloist, and his technique, especially in the modern works, leaves little to be desired. However, I found him rather overbearing in the Romantic works, particularly in the Schumann Adagio and Allegro, a piece common to many horn recitals. He tones down in the Damase, a delightful bit of French fluff well accompanied by the harp. Still, a bit of vibrato and lighter tone would not have been out of place here. He seems to be much more at home in Maxwell Davies’ Sea Eagle, a tour-de-force for solo horn that is a real test of technique. The work initially reminded me of the Interstellar Call from Messiaen’s Aux canyons des étoiles, but on comparison I found the Maxwell Davies to outstay its welcome. The Messiaen accomplishes a great deal more in drama and atmosphere in its 7½ minutes compared to the more than 10-minute Sea Eagle. Nevertheless, Cutajar is impressive here. I did not have access to the score, however, and so can base my comments only on what I heard.

Direct comparison of the Strauss Alphorn with William Barnewitz’s recording (AVIE AV2126), which I reviewed earlier, is enlightening. While I liked Barnewitz’s warmer tone and use of vibrato, I prefer the balance among the three performers here. The mezzo soloist, Clara Mouriz, is less operatic than Jennifer Holloway on the Barnewitz recording and has a lyrical tone much more suitable to the music. John Reid’s piano also sounds much better than Carol Anderson’s on the other recording. And here Cutajar blends in well and is not at all overbearing. Both performances have their considerable strengths, but of the two I might just give this one the palm.

The Poulenc Élégie has been recorded many times and is one of this composer’s darkest chamber works. He composed it in 1957 in memory of Dennis Brain. I am most familiar with Günter Högner and James Levine’s recording on DG which adds a whole two minutes onto Cutajar’s timing (11:08 vs. 9:08). The differences are telling. Högner and Levine are much more dramatic with the work than Cutajar and Reid, who play it in rather straightforward fashion with less dynamic contrast. Both approaches are valid, but the sadness of the music is all the more telling in the Högner recording.

The last major work on the CD is by fellow Maltese, Charles Camilleri, whose music I had not heard before. The work is a three-movement sonata that lasts about a quarter of an hour. Camilleri dedicated his work to Cutajar, who gave its first performance in April 2004. It has a variety of tempos and meters throughout its three movements. As the booklet notes state, the horn in called on for various effects, including “stopped notes, directing the bell towards the strings of the piano and ‘in air’, rapid tonguing, trills, non vibrato and glissando.” The work puts Cutajar through his paces and one can assume his performance is authoritative. That said, I found little enough original or inviting in the sonata to make me want to hear it very often.