Ernst Toch (1887-1964) was an Austrian autodidact whose music has never gotten the attention it deserves. His Concerto for Cello and Chamber Orchestra op.35 of 1924 is in four movements, the odd-numbered ones dark and impassioned, the even-numbered ones bouncy and playful, in both cases using a cool harmonic language something like Hindemith, though it also has lyrical late-Romantic sections closer to Pfitzner and Strauss. Toch's Cello Sonata op.50 introduces a new aspect to his music: neoclassicism. It emphasizes counterpoint and steady note-values, until the much freer, syncopated final movement, which is something of a drunken revel at high velocity. This still-sealed 2000 Albany CD ends with the Impromptu for Solo Cello in Three Movements op.90c (the a and b having been for solo violin and viola). Steven Honigberg is the cellist, Kathryn Blake the pianist, and Sylvia Alimena conducts the Eclipse Chamber Orchestra.

From the Fanfare review:

Toch, having laboriously and brilliantly made a name for himself in Vienna, felt 
the fascist flames licking his heels and left for the USA in 1933. There he 
settled making a living writing Hollywood scores and teaching. In 1948 the 
debilitating effect of overwork culminated in a heart attack and a resolve to 
concentrate on composition. His seven symphonies date exclusively from his 
American years. All are being recorded by CPO.

Of the works recorded here, with such mesmerising concentration and application, 
two are from the Austrian and German years and the solo cello work is from the 
year before his death. The Sonata (written for Emanuel Feuermann who gave more 
than twenty performances of the Toch Cello Concerto) is eldritch. Its central 
Intermezzo 'Die Spinne' is framed by two allegros of wandering tonality. These 
cut and grind in a way predictive of Shostakovich's more lively writing for 
piano solo fused with Bachian patterning.

The orchestra in the Concerto comprises only eleven instruments including a 
range of sparingly but tellingly used percussion. Textures remain open even 
though quite closely recorded. Its tonal centre is even more inclined to 
quixotic errantry than the sonata and must have been received at the time with 
palatable dismay in some circles. It is a work of gutsy virtuosity and spidery 
interplay - Stravinskian bustle, the rhapsodic peppery weave of Schoenberg's 
late quartets, Weill's mordant sarcasm, Prokofiev's scornful macabre and jaunty 
heroism - always full of movement. This is all most aptly and engagingly done by 
ensemble and soloist. Ideal 'gramophone' listening.

Wind forward a full thirty-five years and Steve Honigberg guides us alone 
through the Bachian, Hebraic, sentimental and florid pages of the ten minute 
Impromptu (somehow a contradiction in terms to have an Impromptu in three 
movements - it implies too calculated an approach). Of the three works this one 
tells on our emotional receptors most immediately. It was written for Gregor 
Piatigorsky on his 60th birthday so we can see the circles in which Toch was 
moving - I wonder if he wrote anything for Heifetz.

An anthology of music both caustic and emotional. The works of the 1920s break 
close to the bow-wave of the time.

Typically engaged and fervent performing values, excellent recordings 
homogeneous across the two halls and distinctly supportive notes. Admirably, it 
is not unusual for Steve Honigberg's CDs to have email addresses and weblinks 
and so it is here.

A welcome production.

  --Rob Barnett 

Disc is new and still-sealed.

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About Jimmosk's CDs
I sell high-quality, little-known works, mostly 19th- and 20th-century. Many of the CDs are used, some are still-sealed, and most are the only one of that disc I have to offer. I sell a low volume of CDs, but that way I can listen to each (except the sealed ones :-) and describe the music to give you a better idea of what you're in for before you plunge into the unknown!
   -Jim Moskowitz