Well folks, we made it. Another year in the books. 2022 was, for the most part, a seemingly normal year (whatever “normal” may mean these days). Besides the start of a senseless war in Ukraine, a contentious election season, climate change worries, and other tensions and tragedies at home and abroad, many of our activities have largely returned to how they were pre-spring 2020. It seems that, finally, the worst of the pandemic is behind us. (At least, one can hope. *Knock on wood.*) Personally, I have a lot to be thankful for this year. I finished my dissertation, graduated with a PhD in musicology, and got the chance to travel to London and the East Coast/Midwest. There were some low points, too. A mild bout of COVID (after successfully dodging it for 2.5 years) and a so-far-unsuccessful job search cast a bit of a cloud over the final months of the year, but all things considered, I’d give 2022 an enthusiastic two-thumbs up.
Classical music also experienced something of a renaissance this year, and the recording realm captured some incredible artistry and fantastic music. There’s lots to love: vivacious viola music from an underrated Baroque composer, a stunning Christmas oratorio, the soundtrack from a mind-bending new streaming series, the list goes on. Vocal music made quite a showing, in particular, with many intimate recordings that probe the depths of the human experience, particularly those of underrepresented communities.
Below are ten of my favorite recordings from this past year and five honorable mentions. As I say every year, Spotify and Apple Music are great for their convenience, but streaming royalties are generally atrocious. By all means, feel free to stream and enjoy the albums below, but if a particular one strikes you, please consider purchasing it as a digital or physical copy. Outlets like Bandcamp are especially great options for this, as most of the proceeds go directly to the artists.
Alright, let’s begin. In no particular order…
J’Nai Bridges, Will Liverman, Paul Sánchez, Leonardo Altino & Caen Thomason-Redus – Shawn E. Okpebholo: Lord, How Come Me Here? – Spirituals, Folk Hymns, and Art Song Reimagined (Navona Records)
The African American spiritual is perhaps the most miraculous genre of American music. Though a by-product of slavery—an abhorrent scar on our nation’s history—these songs encapsulate a stunning range of human expression in the face of shocking injustice, from grief and anger to joy and hope. Lord, How Come Me Here? presents a new look into this rich repertoire, featuring several spirituals and folk hymns arranged by the young American composer Shawn E. Okpebholo. Okpebholo is a remarkably-gifted arranger; his harmonic palette is broad and luminous, yet sensitive, and the results are breathtaking. This album tag-teams between the voices of two extraordinary singers—mezzo-soprano J’Nai Bridges and baritone Will Liverman—with amicable accompaniment from pianist Paul Sánchez. (Cellist Leonardo Altino and flutist Caen Thomason-Redus also appear in two separate tracks, which add an extra dash of color.) Rounding out the album is Two Black Churches, an original composition by Okpebholo that offers a striking reflection on two separate tragedies—the 16th Street Baptist Church bombing in 1963 and the mass shooting at Mother Emmanuel AME Church in 2015. “How much has changed?” asks Okpebholo in the liner notes. Clearly, we have a long way to go as a nation. We would do well to listen to this music, learn from our history, and work towards a brighter, more just future.
Dr. Kevin McBrien 