The Classical Review

Zimmerli: Letters From The Front. Ian Gindes, pianist. John Riesen, Angela Born, Desirée 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 letters written by American 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 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 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 by a soldier of dancing with his wife.

Bass-baritone David Govertsen conveys the quiet, dignified 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 Desirée Hassler are moving in the ardent Civil War duet “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 redone 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 cycle, providing superb accompaniment for the singers while bringing character and refined expression to his keyboard playing throughout.

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

One hopes that Zimmerli will score his cycle for chamber orchestra at some point and that an enterprising presenter will bring that version before the public. Meanwhile this timely CD is highly recommended for all—especially veterans and the families of those who have served.

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