•For their second OehmsClassics recording, the Lower Austrian Tonkünstler Austria decided on the Mendelssohn First and Third Symphonies. Recorded live at the Vienna Musikverein, these performances further reveal the growing sense of appreciation conductor Andrés Orozco-Estrada is receiving. He is soon to be appointed Principal Conductor of the hr‑Sinfonieorchester, Frankfurt, Music Director of the HoustonSymphony and Principal Guest Conductor of the LondonPhilharmonic.

Robert Schumann: Works for Piano (Recordings 1956-1959)

Volume 55 in the critically acclaimed Liszt Complete Piano Works series features transcriptions of pieces by his contemporary Eduard Lassen, performed here by award-winning pianist Andrey Ivanov in his recording debut. Andrey gave his first concerto performance at the age of nine. In 2006, he was selected to study at the Central School of Music in Minsk, graduating to the Moscow Conservatoire. He won first prize at the Belgrade and Minsk International Piano Competitions and went on to perform in Moscow, St Petersburg, Belgrade, Brussels and Amsterdam. He is currently studying at the Birmingham Conservatoire with Pascal Nemirovski.

The unconventional structure of Gian Francesco Malipiero’s music takes us on a journey through unexpected, sometimes incredibly beautiful vistas. The Sixth Symphony is a rich and songful celebration of string sonorities and moods, while the heroic Ritrovari and evocative Serenata mattutina display Malipiero’s expertise in writing for unusual chamber ensembles. The Cinque studi, heard here in their premiere recording, demonstrate an astonishing range of contrasting moods- a kaleidoscopic sonic tour with no more than a small orchestra, which juxtaposes orchestral strings with a wind group of a single flute, oboe, clarinet and bassoon and two horns, and a percussion group of cymbal, bass drum, tambourine, celesta, and piano.

Band Music - WARREN, G.W. / MELILLO, S. / DYKES, J.B. (One N

Classical Music

Mauro Giuliani was both a virtuoso performer on the guitar and one of the great figures in early 19th-century composition for the instrument. His variations, studies, sonatas and other works have entered the repertoires of generations of subsequent performers. The six dazzling Rossiniane for solo guitar are fantasias on themes taken from the great Italian composer’s operas. They offer a compendium of the guitar as a miniature orchestra revealing refinements of technique and expressiveness never before achieved on the instrument.

The Legacy of Aaron Copland is an eclectic collection of works written by the great American composer Aaron Copland. Regarded as the "dean of American music", Copland's works are said to evoke the limitless American landscape as they achieve a difficult balance between modern music and American folk styles. (Altissimo)

Features music of Irving Berlin, Leroy Anderson, Frank Loesser, and more, arranged for wind ensemble.

Classical Music

This release presents 18 arias by Italian authors of the seventeenth and eighteenth century, all taken from the famous Alessandro Pasotti collection and performed on horn and piano. The Pasotti collection Ancient Arias was published for the first time in 1885 and for a very long time has been the main source for the knowledge of operistical music of the seventeenth and eighteenth centuries. These were times where musical philology was just at its beginning. The horn player Nilo Caracristi and the pianist Giancarlo Guarino perform eighteen arias chosen by themself with any changes from the original text published by Pasotti showing to the the audience both their cleverness and the exceptional communicative force of this music. This is an enjoyable release from the first to the last note.

Even before Rossini, Giovanni Paisiello was the first composer of the Libretto for The Barber of Seville. It is lovely to compare both versions, however, this release is unique in that it was the work’s first release on any format, and is still regarded as the best. Legendary Italian baritone Ettore Bastianini stars as Figaro. The rest of the cast is also incredible, making this release even more attractive to opera connoisseurs. The production was recorded at the Piccolo Teatro di Musica in March of 1953.

The legacy of the conductor Sergiu Celidache is honored with a re-release of a 1965 live performance with the Orchestra e Teatro "La Fenice" di Venezia. With a program that included winning performances of Mussorgsky's "Pictures At An Exhibition", along with the not usual inclusion of Cherubini's "Symphony in D" and the then premiere of a work by Swedish composer, Sven Erik Back, the maestro Celidache's reputation as an iconoclast among conductors with his programming choices is evident with this collection. With exception technical and sound quality, this live recording presents a significant opportunity towards a reappreciation of Celidache.

This recording traverses Canada America and the British isles in music that has helped define the culture of those nations. England is represented by two of its most celebrated composers, Holst and Vaughan Williams, and the iconic Scottish ‘Auld Lang Syne’ is traditionally sung to greet each New Year. Celebrated Canadian songs include Jimmy Rankin’s Juno Award-winning ‘Fare the well love.’ Eric Whitacre’s distinctive harmonic clusters can be heard in ‘Go lovely rose,’ and Gordon Lightfoot counts Bob Dylan among his many fans, Dylan once declaring that when he heard a song such as ‘Pussywillows, cat-tails’ he wished “it would last forever.” The Elora Singers, formerly known as the Elora Festival Singers, founded in 1980 by artistic director Noel Edison, is an all-professional Grammy and twice Juno-nominated chamber choir known for its rich, warm sound and clarity of texture. They are also renowned for their commitment to Canadian repertoire and for their collaborations with other artists from across Canada and around the world.

These two works present two sharply contrasting sides of Malcolm Arnold: his limitless resources of knockabout fun, and a sense of existential tragedy. But each score presents its own surprises: the jocularity of the Grand Concerto Gastronomique conceals some seriously good (though not seriously serious) music; and the delicately scored Ninth Symphony, written after five years when its composer had, in his own words, ‘been through hell’, irradiates its emotional restraint and elegiac tone with moments of light and warmth.

REVIEW:

Overall, this is a typically excellent disc from Toccata; first rate music receiving effective performances presented in an informative and valuable package. Even the rather sombre, indeed haunted, image of Arnold that stares bleakly from the booklet cover is well-chosen and apt. Given that it is two decades since we have had a new survey of Arnold’s magnificent symphonies, I hope that this will prove to be just the beginning of a new cycle – a warmly welcomed disc.

-- MusicWeb International

Listen to the Naxos Podcast to learn more about this release

Great fun! A new full-length ballet, especially one as tuneful as this, with an exciting story, is always a welcome addition to both the ballet repertoire and to recorded music.

José Luis Domínguez, who also conducts on this set, is a significant figure in Chilean music as a conductor. This ballet is his first large-scale symphonic work. It is little surprise that, like many conductor-composers, he has such a sure sense of orchestral balance and capability, something evident throughout this work.

The ballet tells a simple story – with plenty of action, set in California – of Joaquín Murieta, a nineteenth century brigand, perhaps the inspiration for Zorro. His origins are obscure, but he has been adopted as something of a folk hero in Chile from where he might have originated. Pablo Neruda wrote a play about him, later turned into an opera by Sergio Ortega. Those works end with a gruesome finale as Murieta is shot and beheaded.

Domínguez ignores that, instead creating a tale set during the Gold Rush, in which Murieta and his men come to the rescue of a town under threat from the villainous Galgos. There is no decapitation but rather the happy outcome of reunion with the beloved Teresa. Think of this as a blend between Robin Hood and The Magnificent Seven.

The comparison is apposite, as Domínguez is quite specific that his music is inspired by symphonic soundtracks of composers such as Korngold, Herrmann and Williams. That is a clue not only to its style, but also to his idea that it should work as a stand-alone piece. This recording is a must for anyone who enjoys the great film-scores: all the virtues of sweeping themes, varied instrumentation and memorable tunes are here.

Performances are committed and in the best Hollywood tradition, with good recorded quality.

If a great ballet company such as the Royal Ballet were to take this into their repertory, one could imagine it quickly becoming a popular hit, rather in the manner of Khachaturian’s Spartacus. A fine ballet conductor, like Barry Wordsworth, would relish this score.

– MusicWeb International (Michael Wilkinson)

Track Listing

Act I

Prologue [4.26]
The town’s people [3.53]
Teresa [7.12]
The Galgos’ Entrance (The imprisonment of the innocent) [3.17]
Joaquín Murieta’s entrance [3.20]
Teresa and Joaquín (pas de deux) [4.48]
Tresdedos [1.50]
Exit of the town’s people [1.30]
El Caballero Tramposo (The drunk variation) [2.04]
Murieta’s entrance (The freeing of the prisoners – The battle) [6.27]
Murieta and Tresdedos [3.25]
The leader of the Galgos interrogates the disguised Murieta [2.37]
The bustling town [2.04]
The women’s entrance (Variation) [4.40]
The leader of the Galgos flirts with one of the wives [6.07]
Interlude (Teresa’s Song) [3.48]
The town’s festivities and the Nobleman’s Spanish Dance [5.07]
The toast and the people’s dance [4.26]
The disguised Murieta’s intrusion [4.36]
Entrance of Murieta’s men and battle [6.15]
Teresa and Joaquín’s reunion (Pas de deux) [11.17]
Epilogue [2.31]

Canadian-born Joel Hastings was the winner of the 2006 8th International Web Concert Hall Competition and the 1993 International Bach Competition at the Kennedy Center in Washington, D.C. He won particular acclaim for his performance at the 10th Van Cliburn International Piano Competition in Fort Worth, Texas. Reviewers described his playing as passionate, mesmerizing, hypnotic, and transcendental. A Steinway Artist, he performed solo recitals and orchestral engagements across Canada, the United States, and in Europe. His discography includes live recordings of Liszt’s song and operatic transcriptions and Chopin’s 24 Etudes. His recordings received Canadian critics’ awards, and were praised in publications such as American Record Guide, Limelight magazine, and Musicweb International. His playing was featured on CBC national radio and numerous stations throughout the United States. In August 2014, Naxos released his recording of solo piano music by the American composer Carter Pann to much critical acclaim (8.559751). Joel Hastings died in 2016 at the early age of 46.

Spanish music has been enriched in recent years by a series of striking and exciting double concertos featuring the country’s emblematic instrument, the guitar. Leading composer Anton Garcia Abril has written prolifically for the guitar and Concierto de Gibralfaro offers three evocative vignettes for two guitars. Mistral by David del Puerto is written for the highly unusual combination of guitar and accordion, a single movement concerto of great color and dynamic palette. Guerena’s Concierto ecuanime, for guitar and vibraphone, embraces the rhythmic influence of jazz while employing the tuning used in the rodena form of flamenco. Miguel Trápaga was born in Cantabria, Spain. He studied at the Ataulfo Argenta Conservatory, and at Royal Conservatory of Music of Madrid with Javier Canduela and Demetrio Ballesteros, respectively. He also received lessons from Jose Tomas, Miguel Angel Girollet, Manuel Estevez, and others. He has won top prizes in several international competitions, and has performed in broadcasts for Spanish National Radio, BBC, and others.

The dignified bearing and quiet wisdom of Nikolai Myaskovsky (1881-1950) gained him the sobriquet "the conscience of Russian music," and those qualities are reflected in the unemphatic strength of his music. His orchestral, chamber and instrumental works are regaining the currency they once enjoyed, but his large corpus of songs, many of them understated masterpieces, has yet to attract systematic attention – a situation that this series hopes to remedy. The pairing here of his late Violin Sonata with his last two song-cycles for soprano and piano mirrors the Moscow concert in 1947 when all three were given their first performances.

REVIEW:

This disc can be recommended just for the vocal works. The late Violin Sonata is a bonus, especially in its final revised version – the work underwent two revisions after its 1947 premiere by David Oistrakh and Lev Oborin. Just a few years ago, there were no recordings of the piece.

The 28-page booklet contains very well translated informative notes and full song text translations from Russian into English. This outstanding release is highly recommended. For me, it is one of the finest discs of 2021.

-- MusicWeb International

Originally written as a set of piano pieces, Mussorgsky's splendid Pictures at an Exhibition translates the artistry of the composer's friend Victor Hartmann into unforgettable music. Peter Breiner's new orchestration creates a showpiece for our times, achieving contemporary sounds through unusual instrumental combinations, and right up to a spectacular Great Gate of Kiev performed by 104 musicians. Mussorgsky's remarkable song cycles contrast encounters with death against the often uneasy world of children in the Nursery.