Albums
ARC Ensemble: A Celebrated World Premiere of the Chamber Works of Dimitri Klebanov
As the terrible events of Russia’s persecution and invasion of Ukraine unfold, the destruction that has befallen Kharkiv, must surely call to mind – both tragically and triumphantly – while the name of the incomparable Dimitri Klebanov remains a beacon of light for that city. In these heartbreaking times it is fortuitous indeed that Mr Klebanov’s Chamber Works, which received their premier recording as part of the series Music in Exile curated by Simon Wynberg, and performed by the Toronto’s ARC Ensemble of which Mr Wynberg is Artistic Director. Moreover the recording of this extraordinary performance has also been nominated for a Juno Award in the category of Classical Album of the Year [Small Ensemble] | Album classique de l’année [petit ensemble].
A native son of Kharkiv, Ukraine, Dimitri Klebanov is one of the most iconic composers of his country not to have been fully recognised, despite his standing, due to a series of curious and tragic circumstances. To begin at the beginning: Mr Klebanov received his start in that city as a prodigious six-year-old violinist who grew into one of the country’s premier composers – an peripatetic and incurable innovator – who was later celebrated [albeit briefly] by the Soviets. Tragically much of what Mr Klebanov wrote never saw the light of day and yet his reputation as one of the leading musicians and pedagogues of in post-war Europe.
Mr Klebanov was also one of the leading violists in the erstwhile Soviet Union and spent time as a violist with the Leningrad Opera Orchestra, working with a stellar cast of conductors including Bruno Walter, Otto Klemperer, Erich Kleiber and Albert Coates. In the early part of his career he was involved in some of the seminal performances of western classical music in Soviet-era Russia. Wozzeck the first opera by Alban Berg, was one of them – probably the highlight of Mr Klebanov’s nascent career. The performance was conducted by Vladimir Dranishnikov in the Mariinsky Theatre, and attended by Dimitri Shostakovich.
But what could easily have been one of the most celebrated careers in the then-Soviet Union faltered twice: during the 1930’s Mr Klebanov’s Ukraine also suffered severely under Josef Stalin during the latter’s infamous dictatorship, climaxing in the heinous mass-shooting of independent-minded intelligentsia. A total of 30,000 men and women were “purged”. In 1941, Hitler’s rampaging National Socialism swept across the continent and the Wehrmacht armies – launching “Operation Barbarossa” invaded Ukraine en route to the Soviet Union. Mr Klebanov fled to during World War II. This exile meant spending a large part of his life in Russia.
Mr Klebanov was one of the many artists who fled to Uzbekistan, joining a group of remarkable artists which included the Polish composer Mieczyslaw Weinberg, actor Solomon Mikhoeis, the writer Nadezhda Mandelstam [wife of the inimitable poet Osip Mendelstam] and the great poet Anna Akhmatova. Hunkered down in Tashkent, Mr Klebanov taught music and composed for theatre and film. He co-wrote the score for the prescient documentary Battle for our Soviet Ukraine with another Ukrainian Andry Shtoharenko. This unusual rehabilitation-in-exile led to Mr Klebanov’s ultimate return to Ukraine.
Towards the end of 1943, The Soviets recaptured Ukraine and drove Hitler’s forces out of the country. Mr Klebanov was reinstated a public capacity and proceeded to write his first symphony dedicating it [Mr Wynberg’s wonderfully detailed booklet notes tell us] ‘to the memory of the martyrs of Babi Yar’, the infamous ravine where, over the course of two days late in 1941, nearly 30,000 Jews were massacred by the Nazis. This symphony was premiered in Kharkiv in 1947 “as part of an all-Klebanov concert that included his First Violin Concerto and the Welcome Overture.
“The enthusiastic reception,” continues Mr Wynberg, “led to further performances, in both Kharkiv and Kyiv, but problems surfaced in 1949, when it was submitted for the Stalin Prize.” These so-called “problems” had everything to do with the fact that the events commemorated were a Jewish genocide and not the commemoration of Soviet casualties during that war. It appeared that the objection was due to the fact [or so it was claimed] that the melodies and lamentations were rooted in Jewish folk sources and sacred canticles. Thus Mr Klebanov’s music was then condemned as “insolent” and “unpatriotic”. Sovietisation effectively buried this major work and although Mr Klebanov’s reputation was rehabilitated under Nikita Khrushchev, the composer’s epic work was never performed in his lifetime.
However, true to the tenets of Music in Exile, Mr Wynberg and the ARC Ensemble have, once again, set the ball rolling on what could be the rediscovery of another major composer whose work might have been lost entirely due to the vicissitudes of political instability in Europe between the 1930’s and the 1980’s through to today [yes, today, even in a free Ukraine]. And then there is the fact of Dimitri Klebanov’s Hebraic background, something that began with his exodus to Uzbekistan and later the suppression of his brilliant work by the Soviets under the dictator, Josef Stalin.
These Chamber Works – certainly the String Quartet No. 5, but also [remarkably] both the String Quartet No. 4 and the Trio No. 2 for piano, violin and cello – while they do not show Dimitri Klebanov to be an iconoclast, they do suggest that the composer also had a healthy disregard for mining the depths of tradition, despite staying true to traditional “songfullness”. But listening to all of this work, it is clear that Mr Klebanov seems to say that “tradition is a wonderful reality” but “not understanding that the inner dynamic of tradition is always to innovate, can be a prison”.
And so Mr Klebanov has chiselled his uniquely beautiful body, but defiantly provocative, body of work from out of the bedrock of the Ukrainian-Russian tradition. But while that might imply pastiche of archetypal classical and romantic models, such as the trio and quartets [and the symphony]; instead the composer uses these very forms while forcing the listener to reconsider what tradition really is. For instance he positions himself in creative conflict with age-old protocols about how these trios and quartets “ought” to work.
By actively throwing overboard melodic, structural and harmonic hooks that have become expressively blunted through overuse, he builds on what might – or might not – be left. As a result you will hear what you may know as The Carol of the Bells built into a more dramatic scenario in the Allegro section of the first movement of String Quartet No. 4, which begins with a graceful Allegro moderato, then sees the players jousting together in allegro before concluding in a Poco suostenuto tempo. The follows the second movement which in which the tension and emotion is highlighted by dramatic changes in tempi and mood – an unique characteristic of Mr Klebanov’s singular compositional style.
We get a firsthand look at how traditional views of beauty fit into Mr Klebanov’s perception. While being very central to the composer’s credo, he seems to argue – in the Trio No 2 – that there is a distinction between the overly perfumed, audience-ingratiating beauty typical of commercial music – and the authentic beauty that comes from approximating the purest tone of the instruments [employed] in his music. This is not easy to nail, but the ARC Ensemble performs this [and the rest of the repertoire as if they have attuned their inner ears – like Mr Klebanov himself does – to move off the radar of conventional instrumental timbre. Thus the Arc unerringly zone into Mr Klebanov’s intentions, realising his ideas faithfully.
The music – including Quartet No. 5 – seems to speak in a very special way to the members of the Arc Ensemble. For their part they navigate the composer’s elemental sound world in order to bring to life its eloquent beauty. This gives us premiere recordings which are vivid and dramatic on a recording that brings both characteristics of the music to life in the warmth of an exquisitely engineered recording which is, perhaps the finest in this Music in Exile series; a recording to absolutely die for…
Track list – String Quartet No 4 [1946] – I: Allegro moderato – Allegro – Poco sostenuto; II: Larghetto, Mesto, Marciale – Cadenza tempo rubato poco a poco piu mosso – Moderato, Animato – Agitato poco a poco piu mosso – Piu Mosso – Allargango; III: Scherzando – Poco meno mosso – Adagio – Allegro; IV: Allegro – Tranquillo – Tempi I – Tranuilo. Trio No 2 [1958] for piano, violin and cello – I: Allegro moderato- Agitato – Poco piu mosso – Piu mosso – Tempo I Agitato; II Scherzo – Meno mosso, Quasi Valse – Tempo I; III: Adagio – Poco piu mosso – Tempo I; IV: Allegro – Adagio – Tempo rubato. String Quartet No 5 [1965] – I Allegro no troppo – A tempo tranquillo – A tempo appasionato – Allegro non troppo – Allegro – Andante non troppe; II: Andante – Piu mosso – Meno mosso – Agitato – Meno mosso – Tempo rubatop; III: Vivace – Andante – Tempo I
Personnel – The ARC Ensemble – Erika Raum: violin; Marie Berard: violin; Steven Dann: viola; Thomas Wiebe: cello; Kevin Ahfat: piano
Released – 2021
Label – Chandos [CHAN 20231]
Runtime – 1:13;20
Set for release in April 2026 on Lulaworld Records, Por Amor finds Toronto-based Cuban-Canadian singer Marta Elena delivering her most focused and emotionally resonant work to date—an outstanding follow-up to her debut album, De La Habana a Toronto. Deeply rooted in Tropical, Afro-Latin music, but open to broader Latin American influences, the album reveals an artist fully in command of her musical identity, honouring tradition as a dynamic force and a living source of renewal.
Tropical, Afro-Latin music is the album’s backbone, shaping both its rhythmic drive and expressive core. But Marta Elena approaches the genre with an expansive vision, blending in the romantic depth of bolero, the syncopated rhythms of changüí and rumba guaguancó, touches of funk, and regional nuances that reflect Latin music’s evolving presence on the world stage. These stylistic elements are integrated with care, enriching the album’s narrative without compromising its stylistic coherence.
Captured at RHC Music Recording Studios in Toronto, Por Amor channels the vitality of the city’s Latin music scene through poised, fluid performances by Canadian and Cuban-Canadian musicians. The ensemble playing is confident and nuanced, combining rhythmic precision with an easy sense of flow that gives the music both elegance and immediacy.
A central guiding force behind the album is pianist, arranger, and producer Hilario Durán, who also appears as a special guest. His influence is felt in the album’s arrangements, the refined harmonic structures and its seamless blending of Afro-Cuban tradition with contemporary sensibilities. Durán’s mentorship provides clarity and balance, allowing Marta Elena’s voice to remain front and center. Vocally, she is expressive and assured, moving effortlessly between powerful, rhythm-driven passages and moments of intimacy.
On Por Amor, Marta Elena presents a thoughtful collection of eight tracks that prominently feature her own creative voice. The album is built upon a strong foundation of six original compositions, showcasing her distinct songwriting talents. Complementing her original work, Elena pays homage to two monumental figures in Latin American music with a pair of carefully selected covers. She offers a heartfelt rendition of the classic bolero “Tú mi delirio,” a standard penned by the iconic 20th-century Cuban composer César Portillo de la Luz, and closes the album by reinterpreting “Yo vengo a ofrecer mi corazón,” the beloved continental anthem by celebrated Argentinian artist Fito Páez.
As the title track, “Por Amor” captures the essence of the album. This is a project shaped by love—for music, for collaboration, and for the communities that nurture artistic growth. Marta Elena’s acknowledgements, including support from the Toronto Arts Council and the Ontario Arts Council, underscore the collective nature of the recording and the shared commitment behind it.
A deeply personal undercurrent runs through the album, shaped by Marta Elena’s gratitude to her collaborators, faith, supporters, and especially her mother. That emotional honesty gives Por Amor its resonance, making it a confident, expansive statement where tradition and innovation meet—propelled by a profound sense of love.
Track Listing
1. Café Con Leche – 2. No Es Cuestión De Suerte – 3. Me Quedo Con Lo Bonito – 4. Por Amor – 5. La Maleta – 6. Tú Mi Delirio – 7. Solo Sé Que No Sé Nada – 8. Yo Vengo A Ofrecer Mi Corazón
Album Credits
Marta Elena – vocals
Joaquín Hidalgo – percussion (congas, bongó, gúiro, batá drums and clave)
Dyalis Machado, Elizardo Santos, Luis Orbegoso, Luis Anselmi – back-up vocals
Elmer Ferrer -electric guitar
Alexis Baró – trumpet
Colleen Allen – tenor saxophone
Luis Deniz – alto saxophone
Dánae Olano – acoustic piano
Daniela Olano – violin
Frank Martínez – drums and timbales, percussion
Yoser Rodríguez – electric bass
Chris Overton – trombone
Special guest – Hilario Durán: piano, producer, arranger
Passionate devotees of music, especially Spanish flamenco music [and dance] and the Hindustani and Carnatic music of India, would be immediately attracted to Confluencias by guitarist Melón Jiménez and flutist Lara Wong. Their expertly produced repertoire will transport you to quite another world; one aglow with the descriptive grammar of red earth seared by the sun by day, kissed by a silvery moon at night.
This is the fabulous world inhabited by both Ms Wong and Mr Jiménez. Theirs is a most impressionistic series of works, full of shimmering and diaphanous textures evocative of Claude Debussy, Maurice Ravel and Manuel de Falla, of Hariprasad Chaurasia, D. Ghodkindi and D. Madhusudan. The febrile imagination of this flute and guitar duo takes on the wings of the wind through Andalucía and the plains of India like the fabled peripatetic Romani who trace their origins to the very sun itself.
But while this music flutters and rustles like wing-feathers and falling leaves, it also possesses a hard-edged precision of virtuosity that characterises the prodigious skill and learning of two great traditions – Spain and India. It is animated – almost as vivid as a distant dance. This is not only true of Paraná, Kalima and Finisterre, but also Nuevo Amanecer and – especially – Confluencias and De Sevilla a Kerala.
Together the latter two pieces are shot with a riot of musical paintballs infused with Spanish and Indian colours, not through the precise quotations of specific folk songs, but by melodic and rhythmic lines and the subtle utilisation of effects – strumming chords, incessantly repeated phrases, declamatory unison passages in the whorls of melodic inventions on the flute – which suggest the rhythms and cadences of flamenco song and Indian sangeet, as seemingly filtered through the memory of a dream.
There’s a wholly natural feeling to the way the climaxes and sudden changes of direction are so perfectly judged in this performance – a measure of how well the flutist and guitarist bend and sculpt the music. From the perfumed heaviness that herald the opening of Paraná to the rapturous flute and guitar arabesques of Farruca Opus 1 that bring the recording to a close. The richly mysterious mood is beautifully sustained throughout.
Deo Gratis…
Music – 1. Paraná; 2. Kalima; 3. De Sevilla a Kerala; 4. Confluencias; 5. Finisterre; 6. Un Nuevo Amanecer; 7. Pardo Perdío; 8. Farruca Opus 1.
Musicians – Lara Wong: flutes and bansuri; Melón Jiménez: flamenco guitar, percussion and electronics; Gal Maestro: contrabass.
Released: 2024
Label: Scatcat Music
[larawong.com/en.melonjimenez.org/bio]
Runtime: 39:05
All of the musicians in Dream Keepers are Canadian, an often volcanic [albeit in the most positively fascinating manner] society that is a melting pot of cultures. The Québécois guitarist Bernard Falaise, percussionist Hamin Honari and contrabassist Stéphane Diamantakiou share a deep and abiding musical bond with the vocalist and notional leader of the ensemble, vocalist Ayelet Rose Gottlieb. In many ways Ms Rose Gottlieb is the quintessence of the group, a ‘place where East and West meet,’ which is as good a categorisation as any. This is what makes Dust so incredibly special.
Ms Rose Gottlieb is one of the leading composers and vocalists who brings together her unique mixed European, Middle-Eastern [and] Jewish background, and the influence of Eastern philosophies is eminently clear in many of her attitudes towards spirituality and its expression – whether writing music and lyrics and vocalising them or in interpreting the music and lyrics of a world of writers and poets [as she often demonstrates]. In the music of Dust, she tends to explore a wide range of sonorities – nudging the other performers to dig deep into their own multicultural backgrounds and do likewise.
The result is the creation of music – from The Dream Keeper, Amal zo Tikva and Beads, through Three Kisses, Azoy vi mayn blik der fartrerter, Demain dès l’aube, and, of course, Dust – that is extraordinarily still and serene, leaving the listener with a sense of timelessness rare in Western music. Deep listening [like that propositioned by Pauline Oliveros] will reveal to those who keep still and listen with their hearts the most original flourishes. Ecstatic soft rolling thunder of large Persian hand-drums over strange scurrying harmonies from the wailing – sometimes dissonant – strings of the guitar, all of this woven into the dark rumbling of the contrabass.
Above all is the voice, which breaks through the static tonal [or atonal, as the song demands] calm in the voice rising and falling in chromatic episodes. Each composed and improvised sequence is driven by equal parts logic and emotion, in scores that are filled with – by turn – pulsating agitation, calm beauty and resolution. All the performers shine, bringing outstanding, interiorised and idiomatic interpretations of these – most mysterious – intricate musical canvases created from the poetry of some of the greatest wordsmiths of our time.
The stock of each of these artists rises considerably with their respective performances – both individual and ensemble. And yet one gets a sense that if there is one common denominator here it is [further proof that in] Ms Rose Gottlieb’s vocalastics is her belief in the transformative power of art. Most of her uniqueness as a vocalist lies in the ability to unite this group with her imagery [both secular and spiritual] as she shares her passionate belief in the ability of music to establish a sense of connection with the transcendent. And every performer on Dust responds likewise.
Deo Gratis…
Music – 1. The Dream Keeper / Tfila; 2. Summons; 3. Amal zo Tikva; 4. Beads; 5. I Heard Your Voice; 6. Dust; 7. Three Kisses; 8. Azoy vi mayn blik der fartrerter; 9. Demain dès l’aube; 10. By Night; 11. Home; 12. One Voice of All.
Musicians – Ayelet Rose Gottlieb: voice; Bernard Falaise: guitars, keyboards and electronics; Hamin Honari: Persian hand percussion; Stéphane Diamantakiou: contrabass and synthesizers.
Released: 2025
Label: Corne de brume
[ayeletrose.com]
Runtime: 48:27
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