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Appearing in the outer movements, Slyvan’s charisma enables Fussell’s Wilde to soar. The work sets selections from Wilde’s letters to Lord Alfred Douglas that reflect on the joys of fatherhood and his despondency after his trial and incarceration. Fussell folds in an artful Victorianesque tune, its temperament bending to suit the mood. The curtain raiser, High Bridge Prelude (alternately called High Bridge, Portrait of Hart Crane) is taken from a larger work commemorating Hart Crane.

Lukas Foss based his 53-minute cantata The Prairie on Carl Sandburg’s poem of the same name from his collection of Americana called The Cornhuskers. Written in the summers of 1941 and 1942, music from The Prairie first was heard in an orchestral suite played by the Boston Symphony directed by Serge Koussevitzky Oct. 15, 1943, and May 15, 1944, Robert Shaw led the cantata’s premiere in New York’s Town Hall.

The major classical recording labels, a few notable exceptions aside, seemed determined to continue their march toward irrelevance and oblivion this year. For independent outfits the prognosis was better: The budget-priced Naxos reigned supreme, while hardy concerns like Hyperion, Kairos, Testament and Bridge produced invaluable offerings. But some of the most robust activity in 2008 involved labels operated by those with the most to gain: musicians, orchestras, composers.

Though the Grammy Awards have never held quite the same cachet in classical music as they do in pop, they still carry a good deal of weight, especially for listeners seeking to navigate a bewildering array of new compositional voices and a thicket of recordings of standard repertoire. And this year’s nominations in classical categories, announced last week, include three with especially strong local connections.

The 2009 Grammy Award nominations were announced today and among them was Sanford Sylvan, baritone soloist featured in BMOP/sound's Charles Fussell: Wilde. Sylvan has been nominated for Best Classical Vocal Performance, making this his fourth Grammy Award nomination.

Nice. Charles Fussell has established his career in New England. He studied at Eastman with Thomas Canning and Bernard Rogers but has also worked with Boris Blacher and Virgil Thomson. His musical orientation is largely tonal (although structural elements of serialism hover at the edges), with no fear of dissonance.

The end of the CD era, we have long been told, is near. And it’s true that the onetime flood has narrowed to a flow, sometimes steady, sometimes faltering. But a few major labels and many small ones keep putting out many excellent recordings, as represented by the two dozen examples here, chosen by classical critics of The New York Times as records of the year.

Michael Gandolfi: Y2K Compliant
Boston Modern Orchestra Project, conducted by Gil Rose
(BMOP/sound); $17.99

The Boston Modern Orchestra Project performed new works in Jordan Hall on Friday evening by Martin Boykan, Robert Erickson, Elliott Schwartz, and Ken Ueno. The concert closed with Shoenberg’s Concerto for String Quartet and Orchestra, a very liberal arrangement of a Handel Concerto.

During each of jazz’s growth spurts, opportunity for greater complexity and freedom arose. When jazz went from Dixieland to hot, the improvisations and prominence of the soloist’s voice grew. Then from hot to swing and the big band era, the arrangements began to take on a new complexity. The music during the big band era further absorbed colors for its palette from the modern classical music coming out of Europe. Groups lead by Claude Thornhill, Stan Kenton and Woody Herman were some of the main proponents of furthering the sophistication factor on the bandstand and in compositions.