Chicago Classical Review

Zimmerli: Letters From The Front. Ian Gindes, pianist. John Riesen, Angela Born, Desiree Hassler, David Govertsen (Lexicon Classics).

There have been surprisingly few classical releases in 2026 that actually have something positive to say about America on the occasion of the country’s 250th anniversary. That makes Patrick Zimmerli’s Letters From The Front even more welcome.

As the title indicates, the composer-saxophonist’s large-scale song cycle for four voices and piano sets a variety of letters written by soldiers or their loved ones that span the nation’s conflicts, from the Revolutionary War to the Gulf War.

Zimmerli writes in a populist tonal style that falls easily on the ears. Texts are varied and well-chosen, avoiding pathos and the merely sentimental.

Following an Overture that moves from sprightly to more ruminative, mezzo-soprano Angela Born opens the cycle with “I’ll live for your letters,” written from a mother to her son who is about to depart for WWII. Born’s rich voice and conversational style nicely set the intimate tone for the ensuing songs to unfold.

All four singers are in synch with the straightforward style of these settings and bring out the expressive profile of each naturally, without excess or special pleading.

Tenor John Riesen has the lion’s share of the settings. He beings apt rustic humor to “I set myself down,” a man’s jaunty epistle to his brother during the Revolutionary War. The tenor sounds a more nostalgic note in the ensuing “Tonight two fellows got together,” an affectionate reminiscence of a soldier dancing with his wife.

Bass-baritone David Govertsen conveys the dignified quiet patriotism of “A minute doesn’t go by” (a man writing to his grandson) as well as the elegiac essence of “Poem for Irving F. Diamond” with emotional restraint. The horrors of battle are powerfully put across by tenor Riesen in “Vietnam War Song,” and he and soprano Desiree Hassler are moving in the ardent Civil War duet of “Where are you tonight?”

“I have a rendezvous with death”is a somber unaccompanied work for the full quartet with a madrigal-like opening and complex contrapuntal interweaving of voices by Zimmerli. The finale for all four singers reprises music from earlier settings for an effective and resonant coda.

There is a dropped word (“not”) in the reprise of “I live for your letters” that should have been retaken since it completely changes the meaning of the line. That apart, the performances are exemplary and all four singers are excellent. Pianist Ian Gindes is the fulcrum of this project, providing superb accompaniment for the singers while bringing character and refined expression to his keyboard playing throughout.

Unlike many recordings in this increasingly bottom-line, digital-only era, complete texts are provided in the CD folder and my colleague John von Rhein provides an eloquent program note.

What comes through most powerfully in Letters From The Front is the decency and humanity of these American voices and the understated power and heartfelt, noble expression of their words.

One hopes that composer Zimmerli will score his cycle for chamber orchestra and that some enterprising presenter will bring that version before the public. Meanwhile this timely CD is highly recommended for all—especially for the veteran in your life or the families of those who have served.

To find out more about Letters From The Front or order a CD, click here,

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