Ondine is pleased to announce the first release with Austrian violinist Benjamin Schmid with a performance of Reger’s Violin Concerto and the Chaconne for Solo Violin. This release invites to listen to a captivating performance of Reger’s Violin Concerto, a hugely charming big romantic work with broad sentimental gestures.

Most of César Franck’s works received scant attention at the time of their composition and Hulda was never performed in his lifetime. The narrative is set in 14th-century Norway at the time of the great tribal kings, with marauding hordes spreading fear and terror throughout the land. Hulda is kidnapped and transferred from one tribe to the other, her family is killed and she herself is humiliated. However, Hulda’s spirit cannot be crushed, and she survives with revenge as her goal in life. Franck’s music portrays raging clans, bloodthirsty murderers and shattered lives, but also moments of exquisite tenderness in this acclaimed revival of a forgotten masterpiece that places the role of Hulda among the great tragic stage heroines.

Among Stephen Dodgson’s portfolio of more than 250 works are chamber operas, of which Margaret Catchpole: Two Worlds Apart is a most striking example. It is based on the true story of a woman who was convicted of the then capital crime of horse stealing and transported to Australia, and Dodgson conveys the romance and drama of the story with characteristic lyricism and rhythmic energy. Words are paramount for Dodgson, and his setting is vivid, immediate and tonal, with some swaggering rustic moments amidst the precise characterization and idiomatic instrumental writing.

As a boy during the years 1822–23 Liszt studied in Vienna with Czerny and Salieri, at the same time as Schubert was winning his reputation as a leading composer in the city. Many years later Liszt did much to introduce Schubert’s music to a wider audience, not least through his prodigious transcriptions. In the case of the Three Marches and Mélodies hongroises, Liszt selected music originally written for piano duet, but in Soirées de Vienne, a set of nine pieces of which some were to remain prominent in Liszt’s concert repertoire, he fashioned a sequence of truly memorable valse-caprices.

Recipient of the National Medal of Arts, Pulitzer Prize, and a GRAMMY Award, William Bolcom is one of America’s most senior and internationally acclaimed composers. Commissioned to expand upon the under-represented horn trio repertoire, Bolcom has written a modern counterpart to Brahms’ Trio for Horn, Violin and Piano, Op. 40, in which he incorporates multiple styles into a substantial composition. The Suite No. 2 for Solo Violin is by turns frenzied, melancholic and light-hearted. Bolcom states, “Both works are performed beautifully and well recorded. Bravi tutti!”

REVIEW:

The Philadelphia Orchestra’s first two releases for Ondine under Christoph Eschenbach (Bartók and Tchaikovsky) were extremely good, no doubt about it, but this Mahler Sixth is really extraordinary. Part of its success must stem from the fact that the best German conductors usually do misery especially well, finding the dark side of just about everything. If you don’t believe me, check out Kurt Sanderling’s startlingly deep and edgy rendition of Poulenc’s Concert Champêtre on Supraphon. So you can just imagine what can happen with a piece like Mahler’s Sixth. Anyone fortunate enough to have heard Eschenbach’s performances of this work with the NDR Orchestra in Hamburg will know that he has a special feeling for its harrowing intensity and expressionistic instrumental palette. Toss in the collective virtuosity of the Philadelphia Orchestra, and the result is, to put it mildly, pretty special.

As a coupling, the early piano quartet movement is more appropriate than you might at first think. First of all, it shares the same key as the symphony, and second, it’s useful to have it along as part of an all-Mahler program, allowing collectors to round out their collections without having to search for an acceptable all-chamber-music program. The engineering also represents the best in this series so far, with virtually no audience noise, tremendous presence in both stereo and multichannel formats, and extremely natural balances between orchestral sections. I know that Mahler Sixes seem to be a dime a dozen these days, but this one, a first for Philadelphia, belongs among the elite few (Bernstein I and II, Chailly, Levi, T. Sanderling, and Gielen). It’s just bloody thrilling.

— ClassicsToday.com (David Hurwitz)

The wedding in 1568 of Renate of Lorraine to Wilhelm V, heir to the throne of the Duke of Bavaria, was a sumptuous, 18-day spectacular designed to rival those of the Italian courts. Orlande de Lassus had been the court’s maestro di cappella since 1556. Using an eye-witness account of the event, Ensemble Origo presents a hypothetical reconstruction of some of his musical contributions – a Te Deum, the moresca (a genre related to the villanella), and an improvised comedy – thereby shedding light on some of the various meanings that the music had for its 16th-century listeners. Ensemble Origo is an early music ensemble founded in 2010 and directed by Connecticut-based musicologist and conductor Eric Rice. Its aim is to present vibrant performances and recordings of early music – from the Middle Ages through to the Baroque – that reflect the context in which the repertory was originally produced and heard; ‘Origo’ is Latin for ‘earliest beginning’, ‘lineage’, or ‘origin’. The ensemble draws on a roster of musicians from Connecticut, Boston, and New York.

From Eric Rice, Director of Ensemble Origo: "This recording originated from my curiosity about the moresca, an Italian musical genre that caricatured Black Africans. I wanted to know where, how, and for whom these pieces were performed; this recording of four vignettes from a 16th-century wedding is the result."

"Like most scholars and performers of early European music, I am a white person of privilege, and among the many things such privilege has afforded me is the opportunity to study and perform this music. While I do not claim any first-hand knowledge of exclusion due to my race, my gender, or the traditional beliefs of my ancestors, I am fervently interested in understanding racism, oppression, and their manifestations in cultures past and present. Oppression in music of the past is often simple erasure on the part of music historians and performers: the tacit denial that people of other races even existed in a particular time and place, either through neglect or refusal to bring their documented presence to light. Such erasure, in turn, has resulted in a lack of understanding of how music was used to perpetuate the myth of white European superiority."

"In this recording, I aim to show the presence of Black Africans in several 16th-century European musical works, to demonstrate how these works were used, and to invite our listeners to consider their various purposes, including the perpetuation of the white superiority myth. While I could have demonstrated such uses solely in the context of scholarly articles, these have less currency and immediacy than the act of listening – of bearing witness with the ears – to this music, which must first be performed by modern musicians. Indeed, many of these representations have to be heard in order to gain a robust understanding of how they function. This performance of Lassus’s moresche in something like their original context does not constitute an endorsement of the views expressed in them, nor does it represent unambiguous advocacy for them as works of art. Though these pieces have been recorded before, little regard has been paid to the original context in which they were created and performed. This recording seeks to address that."

Le Nozze In Baviera: Sung Text

REVIEW:

In the early spring of 1568 the wedding took place in Bavaria of Renate of Lorraine to Wilhelm V, heir to that Southern German dukedom. Lassus had by then travelled extensively (there are claims that he also visited England and France) from his native Mons at least to Germany and Italy. He was Duke Albrecht V’s (Wilhelm’s father) maestro di cappella and so provided the music for a celebration which Albrecht was determined to make an occasion to be remembered. The following year Massimo Troiano wrote a description of the event(s) in a form sufficiently detailed and vivid to allow Rice to attempt a hypothetical reconstruction of how the music may have sounded.

There its humour (Lucia, celu [tr.6], for instance), piety (the Te Deum [tr.1]), uninhibited celebration (Cathalina, apra finestra [tr.8]), parody and Burlesque (Álla la pia calia [tr.3]), bawdy (O Lucia, miau [tr.7]), ceremony (Chi chilichi [tr.9]), and pathos (Chi passa per 'sta strada [tr.12]). This last is actually by a contemporary of Lassus, Filippo Azzaiolo, who was born between 1530 and 1540 and lived until after 1570 and gets just that one track on the CD.

In fact there is all the fun, frolicking and abandon of a wedding—especially one lasting as long as this one did… at least a fortnight. So the guests (here the performers of Ensemble Origo) realise that they had better behave themselves and hold their drink, and temper their abandon with lucidity and a measure of decorum which mustn’t sound too reluctant. The performers here get this just right.

For many new to Lassus, Le nozze in Baviera will give a slice of his non-sacred works that ought to delight and invite further exploration. For those who value this—yes—still much underrated composer, the CD may show something new. In all cases, it is one to revel in.

– MusicWeb International

During the Biedermeier period, the piano gained huge popularity as a domestic instrument, and piano concertos were increasingly arranged for chamber music ensembles. Ignaz Lachner’s superb arrangements of Mozart’s piano concertos are well known, but his brother Vinzenz Lachner’s arrangements of Beethoven’s concertos are a rarity, though equally as valuable. This volume completes the cycle of Beethoven’s Piano Concertos in Vinzenz Lachner’s transcriptions for piano and string quintet.