Margaret Brouwer (b. 1940):
- The Art of Sailing at Dawn
- Rhapsody, Concerto for Orchestra (2021 version)
- Symphony No. 1, "Lake Voices"
- Path at Sunrise, Masses of Flowers
- Pluto (version for orchestra)

One of the great joys available to open-minded music listeners, of all genres and styles, is coming across music never heard before and that yet moves that listener. The rush of novelty and exploration can run the gamut from interesting to enthralling. I had never heard any of contemporary American composer Margaret Brouwer's music prior to reviewing this disc and I am glad I now have.

Much of the orchestral sound world is extremely evocative, redolent of natural landscapes, and certainly with a basis in an emotional response to the world. For example, this was immediately apparent in the lyrical gentle undulating 'The Art of Sailing at Dawn' (a hint of Adam's type minimalism at the start), and the opening movement of the Symphony No.1 'Lake Voices'.

The language is undoubtedly modern and crosses a wide variety of styles from early 20th century impressionism to more challenging contemporary, traversing elements that remind me at times of John Adams amongst others. The orchestral richness is assured and compelling, the Rhapsody, Concerto for Orchestra as one example focuses on exploring a wide variety of textures. In addition, the development of pieces feels similarly confident and capable. For example, the final piece Pluto has an arc-like structure focused on the destructive aspects represented by the planet, surrounding a central section that in the words of the composer, "when it comes close to the restoring warmth of the sun and to the song of the sun spirit". The effect is often beautiful, bewitching and at times tormented, the structure providing a simple and yet satisfying structural rhythm for the composition.

Ms. Brouwer's approach draws from many different styles, and yet is no mere polymath, it has an intense creativity that makes me want to hear more from the composer. References to other composers provide some waypoints for a new listener, but none provide a satisfactory all-encompassing description. So, I would maybe sum the listening experience as contemporary but very listenable.

I have not heard the other two Naxos releases of her music, those others being chamber and vocal releases, but I would certainly want to give them a listen. Much of what I delighted in this release was the mosaic of orchestral textures, yet grounded in emotion that gives me the confidence and willingness to explore further. It is good to hear contemporary music that while pushing against the boundaries of style, does not lose the fundamental creative spark rooted in an intense sensitivity to human experience of the world and society around us.

The poly-stylistic approach receives the customary enthusiastic and capable advocacy from Marin Alsop (what a library of recordings she has been building up), and the ORF Vienna Radio Symphony Orchestra. The recording is open, clear and sensitive to the varied orchestral timbres involved and the wide dynamic ranges inherent in most of the pieces.