At last! The absence of a really good disc devoted to the music of John Alden Carpenter has long been one of the most glaring lacunae in the American classical music catalog. Individual works have turned up now and then (Sea Drift, the ballet Skyscrapers, or Krazy Kat), but never for very long, and certainly not to the extent Carpenter's musical gifts warrant. In what we can only pray will be the first of several discs devoted to this fine composer, Naxos offers two world-premiere recordings, plus the first new version of Adventures in a Perambulator since Howard Hanson's Mercury Living Presence recording made in the 1950s.


Carpenter's music achieves originality through a synthesis of various elements: a solidly traditional educational background (he studied with, among others, John Knowles Paine and Edward Elgar); a touch of French impressionism (especially in the orchestration); and reference to American popular song and dance modes, including jazz. These elements remain constant in varying degrees throughout his life. And so in Adventures in a Perambulator (a delicious view of the world from inside a baby carriage), we hear Debussy-like modal harmony and enchanting orchestration featuring ample use of harp, celesta, and glockenspiel, along with a touch of Irving Berlin, and a whiff of nascent rag-time. The two symphonies graft these elements onto a larger-scaled structure, but come off sounding no less fresh. The First Symphony employs a five-in-one movement form that's full of surprises, including a magical, fade-away ending, while the Second adopts a more traditional three-movement structure and features an especially jazzy finale. While neither lasts more than 20 minutes, they are still major works, tuneful and sophisticated at once, and reminiscent of no one else.


The National Symphony Orchestra of the Ukraine, as so often in Naxos' American Classics series, turns in fine performances of these three pieces under John McLaughlin Williams. At times in the Second Symphony's finale, you become conscious of the fact that the orchestra isn't quite comfortable with the syncopated rhythms, but then Carpenter's writing is frequently very exposed, and the problem is minor at best. Sonically, recordings from this source have been steadily improving, and this is one of the best. This delightful, important, lovable music belongs in every late-Romantic collection.
--David Hurwitz, ClassicsToday.com

John Williams Legacy is a landmark collection featuring the maestro conducting his most iconic film scores, including beloved classics from Star Wars, Harry Potter, Jurassic Park, Indiana Jones, E.T., and more. Performed by world-renowned orchestras, including Berliner Philharmoniker, Wiener Philharmoniker, and the Recording Arts Orchestra of Los Angeles, these definitive high-fidelity recordings capture the composer's vision with unparalleled authenticity. Featuring liner notes by acclaimed journalist and author John Burlingame, this collection is a powerful celebration of one of film music's greatest careers and an essential addition for fans old and new. CD Digipak.

Relive the return of a cinematic icon with Indiana Jones and the Kingdom of the Crystal Skull (Original Motion Picture Soundtrack), composed by legendary maestro John Williams. Reuniting with the adventurous spirit of the franchise, Williams once again delivers a sweeping orchestral score filled with excitement, mystery, and nostalgia. Blending the unmistakable Indiana Jones themes with newly crafted motifs, the score enhances Indy's journey into Cold War-era intrigue, ancient secrets, and supernatural discoveries. From thrilling action sequences to more atmospheric and suspenseful moments, Williams' composition captures the timeless essence of the beloved archaeologist. Pressed on limited edition bronze vinyl, this release offers a striking collectible for fans and soundtrack enthusiasts alike. A perfect addition to any collection, it celebrates the enduring legacy of one of film's most iconic heroes and one of cinema's greatest composers.

Embark on one of cinema's greatest adventures with Indiana Jones and the Last Crusade (Original Motion Picture Soundtrack), composed by legendary film composer John Williams. Widely regarded as one of the standout scores in the series, Williams masterfully blends thrilling action cues with heartfelt themes, elevating Indy's quest for the Holy Grail. Featuring iconic motifs alongside new musical highlights such as "The Raiders March" and the majestic "Grail Theme," the score perfectly captures the spirit of adventure, humor, and father-son dynamics that define the film. Williams' rich orchestration brings depth and emotion to every moment, from high-stakes chases to quiet, reflective scenes. Pressed on limited edition sand coloured vinyl, this release is a must-have for collectors and fans of the Indiana Jones saga. A timeless score that continues to define the sound of cinematic adventure.

Face the darkest chapter of Indiana Jones' journey with Indiana Jones and the Temple of Doom (Original Motion Picture Soundtrack), composed by legendary film composer John Williams. This intense and adventurous score dives deeper into the franchise's emotional and thrilling extremes, blending action, suspense, and cultural textures into one of the most dramatic entries in the series. From the pulse-pounding "Anything Goes" opening to the relentless energy of "The Mine Car Chase," Williams delivers a score filled with urgency, mystery, and cinematic spectacle. Iconic themes like "Short Round's Theme" and "The Temple of Doom" heighten the film's atmosphere, while orchestral tension drives it's darker narrative tone. Pressed on limited edition orange vinyl, this release brings a vibrant visual identity to a legendary soundtrack. A must-have for collectors and fans of the Indiana Jones saga, it captures one of John Williams' most adventurous and daring scores.

John Williams wrote this suite for concert performance, and then worked with the National Philharmonic Orchestra to bring that experience to vinyl record. This fantastic long out of print album comes in a gatefold jacket with the original iconic Star Wars paintings by William Stout, images of John Williams, and notes from author Ray Bradbury, composer and critic, Christopher Palmer, and from the maestro himself. Out of print since original pressing in 1980. LP Packaging: 180 gm black vinyl pressing. Gatefold Jacket

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

The two works on this disc perfectly illustrate a particular type of secular cantata, the so-called ‘dramma per musica’. In such works the libretto is constructed dramatically, and the singers embody various roles, such as gods and other characters from antiquity, and allegorical figures. The parallel with opera is apparent, although the ‘drammi per musica’ do without any scenic element. Bach primarily used the form in works intended for princely tributes or academic festivities: educated audiences could be expected to recognize the characters and literary traditions involved. Both cantatas recorded here are ‘academic’ cantatas, composed in honour of eminent members of the faculty at the University of Leipzig. BWV 205 celebrates the name day of Dr August Friedrich Müller (3rd August 1725), and takes us to Aeolia, where Aeolus, the King of the Winds, holds the mighty autumn storms captive until it is time to let them loose on the world. To prevent any disruption of the celebrations for Dr Müller, the goddess Pallas, among others, entreats Aeolus to keep the storms in check for a while longer. Grudgingly he concedes to her wish, but only after singing an aria full of splendid bluster (Wie will ich lustig lachen…). One year later, Bach composed the cantata BWV 207 for the appointment of Dr Gottlieb Kortte as ‘professor extraordinarius’. The young jurist enjoyed particular popularity among the young academics, who probably were the commissioners of the cantata. In this work it is virtues such as Diligence and Honour which take musical shape, singing the praise of the eminent academic. The cantata closes with a chorus, Kortte lebe, Kortte blühe!, wishing the new professor a long and flourishing life – unfortunately to little avail, as Dr Kortte died only five years later, at the age of 33.

This wonderful Celebration of English Song was recorded especially for SOMM by baritone Roderick Williams deliciously partnered here by Susie Allan in a collection to gladden the hearts of all lovers of English music. This splendidly wide-ranging collection features two well-loved song cycles, Butterworth's Six Songs from A Shropshire Lad and Finzi's Let us Garlands bring. It also includes some of the best- known English songs of the periods before and after World War II - Ireland's world- famous Sea Feverand Great Things and The Kiss and Flying Crooked, from Ian Venables - now widely regarded as the finest living English composer of art songs and a true successor to Benjamin Britten, represented here by two irresistible settings of English folk-songs, The Salley Gardens and The Ploughboy. Also included are songs by Quilter, Gurney, Warlock and E.J. Moeran.

Commissioned by Richard Gregson-Williamson in 1989 for the Exeter Festival, Plague and the Moonflower by Richard Harvey takes the listener into an uneasy world, teetering on the precipice of the millennium, and tortured by fear. Alongside the scoring by Harvey is an exceptional libretto by Ralph Steadman. Performing on this recording are the Choir of New College, Oxford, under the direction of Edward Higginbottom, the New London Children’s Choir, under the direction of Ronald Corp, and the English Chamber Choir.

The repertoire on this CD extends broadly - in terms of style, genre, and chronology - across the compositional output of Igor Stravinsky. Spanning from his most celebrated score for Diaghilev's Ballets Russes, "Le Sacre du printemps" (1913), through the neo-classical Concerto en mi bémol "Dumbarton Oaks" (1938), up to the serial "Movements" (1959), the selection testifies to the enormous richness and variety of his artistic legacy. This diverse repertoire is presented here by Helena Bugallo and Amy Williams, however, from a unifying viewpoint: the "black and white" perspective of arrangements for piano duet or two pianos that the composer himself made.

The Rodrigo concerto (double woodwind, 2 horns, 2 trumpets and strings) needs real virtuoso playing—it is one of those works which are harder than they sound—but is most skilfully written. The cheerful first movement, starting up with typical Iberian belatedness from apparently idle introductory strumming, may make the most immediate effect, but undoubtedly the finest part of the work is the introspective Adagio, which shows that in the right hands even such seemingly cliché-bound elements as melancholy cor anglais solos and quasi-flamenco fiorilure can still be moving. Williams's reading differs somewhat from Bream's (which I still think superb): he takes the first movement a thought slower and just misses Bream's élan, but gives the finale actually more bite: he plays the slow movement sensitively, less dramatically and more dreamily than Bream (and incidentally changes the notes of the final arpeggio). It is a throughly musical performance, a worthy rival to that by his distinguished fellow-countryman.

-- Gramophone [7/1966]
reviewing Concierto de Aranjuez on LP

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This is not a record for purists, but never before on disc have I heard a performance of the vividly atmospheric Falla ballet anything like so involving as this. Stokowski may indulge in some souping up of the texture in the haunting "Pantomime", but I confess that that is how I have always wanted to hear it, and the brisk songs and dances (not just the "Ritual Fire Dance") have a dramatic bite that conveys the freshness of excitement that must have attended the first appearance of a ballet which so patently extended from Russia to Spain the new and exotic medium developed by Diaghilev. Diaghilev himself certainly appreciated its potential quickly enough with the ensuing Three Cornered Hat.

Shirley Verrett makes a superb soloist, characteristically rich-toned most of the time but from time to time flinging at us impressive imitations of raucous flamenco chest-tone. The recording, larger than life, dates from the early sixties, but it is still impressive, rich and atmospheric.

-- Edward Greenfield, Gramophone
reviewing El Amor Brujo on LP

Sir Andrew Davis takes his multi-award-winning Elgar discography to the next level with breathtaking interpretations of Falstaff, Elgar’s most accomplished and characteristic work, and several orchestral songs, with exemplary support from the BBC Philharmonic, all recorded in surround-sound. Owing to its technical challenges and more complex harmonic language, the composer always had a high opinion of Falstaff, saying that he had enjoyed writing i Gramophonet ‘more than any other music I have ever composed and perhaps for that reason it may prove to be among my best efforts’. His earlier music for Grania and Diarmid pays tribute to the Irish legend of Diarmuid and Grainne; the Funeral March is probably Elgar’s noblest creation, and echoes the popular Pomp and Circumstance Marches. The various less well-known songs, given heroic interpretations by the baritone Roderick Williams OBE, span the multiple facets of Elgar’s style, from the stern and dramatic impressions of Op. 60 to the satirical and impish jollity of ‘Kindly do not SMOKE’.

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REVIEW:

This is a superbly perceptive traversal of Elgar's Falstaff, evincing a strength of purpose, emotional candor, and meticulous attention to detail. Right from the outset there's an irresistibly idiomatic swagger, acquity, and temperament. Baritone Roderick Williams is at his eloquent best in an attractive selection of orchestral songs.

– Gramophone

John Rutter has an unmistakable style whose identifying characteristics include some favorite rhythmic and melodic elements, devices that tell us immediately that this is the composer of both For the beauty of the earth (one of Rutter's more popular, enduring anthems) and Look at the world, written in 1996 for The Council for the Protection of rural England, and one of eight pieces included on this disc (besides the title work), all of which were composed for various occasions during the past 10 years. Many of the familiar and well-loved staples of Rutter's music are here--the flowing melodies, catchy rhythms, and pop-tinged harmonies; but there also is much evidence of a composer both as inspired as in his classic What sweeter music and more complex than usual in both thematic ideas and expressive technique.


The opening of the outstanding Mass of the Children (a work completed in early 2003 and first performed at a Carnegie Hall concert) is full of promise, its exciting, engaging, Britten-esque tune for children's chorus capturing our attention and setting the stage for a fresh, new experience. I only wish that Rutter had continued with this idea and developed it--or at least played off its dancing, jaunty style. But instead the children's song melds (albeit very nicely and easily) into a Kyrie that's more comfortably in the traditional Rutter character--a perfectly effective transition and comprised of very fine, well-fashioned music, but leaving us to imagine what greater adventures might have been.


There are many more marvelous passages for the children's voices, including the lovely Benedictus, a lilting, Siciliana-like section whose initial gentleness expands into a full-bodied expression, joined by the adult choir and soloists. One of the more affecting passages--and most impressive in terms of text setting, mood, and orchestration--is the Agnus Dei, whose opening minutes capture the profound seriousness and eternal consequences of our plea for mercy. Just as suddenly, the children take over with a tender, beguiling setting of William Blake's The Lamb, returning our thoughts to the innocent one who "became a little child", the one to whom we pray. Then, not unsurprisingly for this optimistic composer, we're left with a Dona nobis pacem benediction that's as strongly reassuring as we can imagine. In addition to the standard Latin Missa brevis texts, Rutter also characteristically organizes his material by inserting texts from other sources, "giving the whole work the framework of a complete day, from waking to sleeping", beginning and ending with settings of a morning and evening hymn by Bishop Thomas Ken.


The remaining works are highlighted by A Clare Benediction (which Rutter wrote for his alma mater), the a cappella Musica Dei donum (widely known for its inclusion in the tribute to Linda McCartney, A Garland for Linda), and an unusual and quite demanding setting of Come down, O Love divine for unaccompanied double choir. The Cambridge Singers (whose roster shows a major turnover of singers from its last incarnation) is as vocally well-matched, technically polished, and musically involving as always. The Cantate Youth Choir is a delight, and the two soloists are ideal. The sound grants both spaciousness and warmth to the singers and orchestra, so that in all it's hard to imagine a session with this recording that would be anything less than satisfying, especially for Rutter fans, who will have to have this--and who will be thrilled to have a new release from this revered composer and his choir, whose recordings during the past few years have been all too few and far between. [9/8/2003]
--David Vernier, ClassicsToday.com