Oscar contender Roma goes beyond history: it captures the perception of time, everyday life and the history of Mexico

Directed by Academy Award and Golden Globes winner Alfonso Cuarón (Gravity, Y tu mamá también, Harry Potter and the Prisoner of Azkaban)

Curated by the director Alfonso Cuarón and the soundtrack producers Lynn Fainchtein and Randall Poster, the soundtrack of ROMA brings us back to the sonic Mexico of the 1970s, when the famous XEW, a reference of Mexican radio, transmitted English pop and rock, while gradually introducing the new Mexican pop, through performers like José José, Juan Gabriel, and Rigo Tovar, musical icons that in the present, have remained as references of Mexican and Latin American music.

The music of ROMA portrays the musical diversity of those years, from rock as the nascent symbol of the counterculture, to a few months of the Avándaro Festival, to the tropical rhythms and pop that marked the decade.

This emotional musical compilation narrates in itself many stories of the Mexico of those years, immersed in sociopolitical and cultural transitions that seem to oscillate between the impetus of change and resistance to it. That is why ROMA is the portrait of the great mosaic of sounds that face and complement each other in a clash between the past and the possibility of a future; between the world and Mexico and among the many Mexicos that the film shows us.

ROMA, is the most recent production by Alfonso Cuarón and the first Mexican film to win the "Golden Lion" as best film at the Venice International Film Festival; considered by critics around the world as one of the best movies of 2018 and of recent years.

Classical Music

In this second volume of Andre Jolivet’s complete works for flute, Kobe International Flute Competition winner Helene Boulegue explores further examples of some of the most individual and important of all 20th-century works for the instrument. The Flute Concerto No. 1 exemplifies Jolivet’s genius for liquid melodic lines and frenetic bravura. The intricately scored Suite en concert for flute and four percussionists is one of the most fascinating in the repertoire, whilst the Sonatine is both trance-like and rhapsodic.

Pianist Ursula Oppens, stalwart champion of 20th- and 21st-century American music and recipient of multiple Grammy nominations and other honors, celebrates her decades-long friendship and professional association with composer Laura Kaminsky on an album of world-premiere recordings. The program includes two recent works written for the pianist: Kaminsky’s Piano Quintet, performed with the Cassatt String Quartet, “a concise work of considerable substance and atmosphere” (New York Classical Review) and the turbulent Reckoning: Five Miniatures for America for piano four-hands, with pianist Jerome Lowenthal, created expressly for this recording. A large-scale Fantasy for solo piano explores sonorities from French Impressionism to jazz. Oppens gave the New York premiere in 2017.

Kaminsky’s Piano Concerto was inspired by visual images of sunlit rivers in New York City and St. Petersburg, Russia, where Oppens gave the world premiere with the St. Petersburg Chamber Philharmonic led by its artistic director Jeffery Meyer. On this world-premiere recording, Meyer, who is also director of orchestras at Arizona State University, conducts the ASU Symphony Orchestra.

REVIEW:

The solo piano Fantasy is just that, an imaginative fantasia piece that moves in unexpected directions at Kaminsky’s whim. A few hints of jazz rhythm come and go in it as well as a remarkable passage in which the two hands play completely different and opposing lines against each other. Interestingly, this Fantasy is longer than the entire Piano Quintet and only eight seconds shorter than the entire Piano Concerto that ends the disc. More and different permutations follow within that time span, all of them unexpected and interesting. These performances, all first recordings of these works, are all excellent, which helps us to appreciate Kaminsky’s sound world. Highly recommended.

– The Art Music Lounge

Titan of the contemporary keyboard, Ursula Oppens is a rarity among artists living today. She is the stalwart bearer of a mid-century musical torch that apparently burns eternal. How fortunate we are to have such musicians as Oppens still making music with fortitude, passion and tireless faith.

Oppens wields her piano at the album’s centre, steering a varied vessel with consistent skill and surety. Even in brief piano passages, as she peeks out from dense ensemble material, Oppens’ artistry sings unmistakably. The 20-minute solo Fantasy (2010) should be considered a tour de force in and of itself. When it comes to a career such as Oppens’, dedication and staying power carry the day. May she always urge us to listen close and listen well, ever compelling our ears toward the future.

-- The WholeNote

Rachel Barton Pine’s ‘Testament’ is one of the best of this set of peerless works to have been released since Isabelle Faust’s definitive volumes of 2010 and 2012.

There is in her interpretation a surprisingly striking contrast between its crystalline voicing, clear articulation, and warm tone that makes the listener feel that it is concerned with the plain and simple beauty of the music as much as with the genius of its counterpoint and relationships between movements. All this is further supported by the sensible combination of Baroque bow and metal strings on a period instrument in modern set-up – the tuning is unfailingly accurate and the strength of the bowing means there is never any interference with the musical line by a squeak or break.

These are thoughtful and generous performances amplified by great maturity and depth.

– Gramophone (Editor's Choice; June 2016)

Sony Music Masterworks releases VENOM: LET THERE BE CARNAGE (ORIGINAL MOTION PICTURE SOUNDTRACK) with music by award-winning composer MARCO BELTRAMI (Scream, Resident Evil, A Quiet Place). The album features score music written by Beltrami for the highly anticipated sequel to the 2018 worldwide box office hit film Venom. Sony Pictures film, Venom: Let There Be Carnage, is in movie theaters on Friday, October 1. Of the soundtrack, composer MARCO BELTRAMI says, "Because of COVID restrictions, we had to change the way we worked on processing acoustical sounds. Where we'd normally work with live musicians to create source material, here we had musicians record at home and then re-amp them at Sony. In addition, we worked with feedback looping to create some of the aggressive tones for Carnage. The film presented a lot of fun musical challenges, from a unique enhanced brass theme for Venom, to the altered woodwind theme for Carnage and Shriek, to a slightly bluesy feel for Eddie. Overall, in spite of those COVID restrictions, I feel very lucky we were able to still record many of the orchestral sessions at Sony and have it come out sounding so good!"

By the time of Emperor Joseph II’s death in 1790 Beethoven was a member of the court musical establishment in Bonn. To mark the occasion, Beethoven was commissioned to write to cantatas, one to mourn Joseph’s death and the other to celebrate the accession to the throne of Emperor Leopold II. Although Beethoven was only 19 years old at the time, both works show the embryonic marks of his greatness: intense expression and control of structure in one, and an almost operatic panache in the other. Neither piece was performed during Beethoven’s lifetime.

Olagón: a Cantata in Doublespeak is the newest album from multiple Grammy Award-winning chamber ensemble Eighth Blackbird. The project finds the innovative new-music sextet collaborating with vocalist Iarla Ó Lionaird of the Irish supergroup The Gloaming; Princeton-based composer-fiddler Dan Trueman; and Pulitzer Prize-winning Irish poet Paul Muldoon. A modern retelling of an ancient Irish epic, Olagón depicts — not without irony and humor — a privileged “power couple” mired in envy, greed, and adultery, descending into criminality and addiction as Ireland’s “Celtic-Tiger” economy collapses in the early 21st century. Trueman’s score combines elements of the traditional music of Ireland, Norway, and America with the raw urgency and sonorities of contemporary classical music. Muldoon’s text interweaves verses in English and Irish Gaelic, seasoned with word-play and wit. Ó Lionaird, whom The Guardian calls “one of the most dramatic voices in contemporary music,” sings the text in the unique and highly ornamental Irish style known as sean nós. The production incorporates the gorgeous young voices of students of acclaimed Irish sean nós singer Treasa Ní Mhiollain, who also makes an appearance. Eighth Blackbird is “one of the smartest, most dynamic contemporary classical ensembles on the planet” (Chicago Tribune). Olagón is the new-music sextet’s ninth Cedille Records album. Four of their previous Cedille recordings won Grammy Awards in the Best Small Ensemble/Chamber Music Performance category.

Musicians from the UK travel to The Gambia in this unique cultural exchange. Under the guidance of Gambian percussionist and vocalist Musa Mboob, musicians from both countries create an inspired, energetic, tribal, West African soul music. "... captivating sounds of West Africa in it's most innovative masterpiece of artistic creativity... " (ebonyonline. Net) Musa Mboob and XamXam aim to bring you the perfect blend of traditional West African music with a modern twist. Musa has made it his aim in life to continue the family tradition of playing percussion and promoting traditional music from The Gambia. In 2017 Musa returned to The Gambia with a new set of musicians and returned with this collection of new songs that capture the exciting Gambian vibe.

Leo Brouwer is universally acclaimed as an innovative composer, and this fifth volume of his complete guitar works contains some of his longest and most ambitious pieces. Danzas Rituales y Festivas Vol. 2 covers the gamut of virtuosic techniques and includes a movement dedicated to Pedro Mateo Gonzalez, while Brouwer considers the Sonata del Pensador to be ‘one of my most valuable pieces.’ Rich in Cuban rhythms, introspection and astonishing virtuosity, Brouwer’s work is the result of a lifetime of musical exploration alongside a passion for music of the past.

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REVIEW:

Much of the disc does not call for extended periods of virtuosity, but the music requires an inner feeling for the composer so as to provide a shape to movements that are frequently slow moving and sparing in notes. The distinguished Spanish guitarist, Pedro Mateo Gonzalez, has an affinity to Brouwer.

– David's Review Corner (David Denton)

One of Giuseppe Verdi's most dramatic, profound and moving works, the Requiem (1874) was written in heartfelt response to the passing of poet, novelist and Italian patriot Alessandro Manzoni in 1873. This superb reading, witnessed and recorded in Edinburgh, Scotland in 1960 under the masterful and knowing direction of Carlo Maria Giulini, features the then relativity new Philharmonia Orchestra (founded 1945) and Chorus, with a cast of vocal soloists that featured, on the women's side, Joan Sutherland and Fiorenza Cossotto, Luigi Ottolini and the recently deceased Ivo Vinco on the men's.

Voyage is the newest release from the Cincinnati Pops conducted by John Morris Russell and features the world premiere recording of the title track by Academy Award-winning composer Michael Giacchino, written to commemorate the 50th anniversary of the Apollo 11 Moon Landing and the historic “giant leap for mankind.” This 96th Cincinnati Pops album draws inspiration from the stars and also features selections from Holst’s The Planets, as well as science fiction favorites from both the big and small screens.

he music of the Stift Heiligenkreuz in the Vienna woods became known throughout the world a few years ago: the CD “Chant – Music for Paradise”, on which Cistercian monks from the monastery sang Gregorian chorals, became an international chart success. On this CD, the esoteric aspect of contemplative sacred vocal music is less prominent; the focus is rather on the power of the vocal and instrumental works of the baroque age that are linked liturgically. In fact, a brother of the monastery wrote some extremely important compositions as early as the 17th century; one of the places in which he published them was the collection “Cultus Harmonicus”. From the works of Father Alberich Mazak, the musical form of a baroque liturgical mass at the Stift Heiligenkreuz can also be reconstructed and this has been complemented on the CD by pieces from other composers of the 17th century. Leading the way here is the ensemble dolce risonanza, the founder and conductor of which, Florian Wieninger, reconstructed the vespers for Holy Cross Day (Exaltatione Sanctae Crucis, 14 September). The CD therefore offers a variety of ways of approaching the music: celebrate solemn vespers in the company of the dolce risonanza ensemble and the monks of the Stift Heiligenkreuz while you discover the works of an Austrian composer that were almost unknown until now and which have been preserved in the library of the Stift Heiligenkreuz.

This unusual album begins with archival recordings, in excellent sound, of the Russian-born composer-pianist Tcherepnin (1899–1977) playing some of his most memorable piano music. The 2nd part of the CD, performed by the Russian pianist Shilyaev, presents a selection of attractive, rarely heard works from various periods in Tcherepnin's career.

REVIEW:

As the only composer to have done significant work in all 5 UN Security Council nations—Russia, Britain, France, China, and the USA—it is unsurprising that Willi Reich, in his biography called Alexander Tcherepnin a ‘musical citizen of the world’.

Piano Sonata No.1 began life as No. 14 but Tcherepnin destroyed vast amounts of his juvenilia; not that you’d ever guess that this sonata was written by someone so young it is so incredibly self assured, an assurance which will have come from all the works he had previously composed. It is a fabulously rich piece of writing with a theme that emerges in the first movement that would have been worthy of Liszt. This sonata and the Op. 85 piece are played by the composer himself showing his complete mastery of the instrument both technically and compositionally.

Incredible as it may seem for such a prolific composer his second sonata had to wait 42 years to be written. The first movement is fascinating, alternating between lento and animato while the second, marked andantino is wistfully beautiful. The final animato has the sonata finally disappear mid-phrase.

His Quatre Préludes Nostalgiques from 1922 come next, the first of which creates an air of mystery. The second is a quiet interlude before the third’s tempestuoso lives up to its name. The last one is a mixture of sadness and grandeur.

The final work on the disc played by the composer himself is a little 1½ minute cracker with almost all the notes coming from the piano’s lowest register. At this point pianist Mikhail Shilyaev takes over showing how gently he can caress the keys which is what is required with the first of his contributions Moment Musical from 1913, when the composer was only 14, and is its first recording.

From 1918 to 1919 we have another first recording, Tcherepnin’s Petite Suite. This is full of delights. Rondo à la Russe from 1946 is “Russian” as it is supposed to be but interestingly Tcherepnin otherwise rarely shows his origins in his music though sometimes he does remind one of Rachmaninoff or Prokofiev. Entretiens composed over a ten year period from 1920 to 1930 is in ten parts, all of them showing the composer’s inventive flair. One of the recurring ideas in his music is the evocation of bells as with the final piece from the set.

Tcherepnin enjoyed fun as much as being serious and this is amply demonstrated in the little Polka from 1944. Scherzo from 1917 has elements of both Prokofiev, Tcherepnin’s idol at the time, and Rachmaninoff, though much harsher in sound to his lushness, though it begins that way. The set of 10 little pieces that together form Expressions, dating from 1951, are the only ones played by Shilyaev that are not first recordings and each bears a title rather than a tempo marking. At the Fair brings some Russian elements into play and I was reminded of Stravinsky. Barcarolle is a beautiful and delightful sounding piece and one of the longest on the disc at 3 minutes long; Tcherepnin had an amazing ability to exploit ideas within a tiny time-frame. La Quatrième from 1948-9, the last offering, is another first recording. It’s full of grandeur and the title is a reference to the Fourth Republic in France which heralded its post-war era following liberation. It received its première only in 1959 since it was part of a project by the publisher to have several compositions from immigrant composers of the École de Paris group in a collection that never materialized.

The overall impression one is left with after hearing this disc and others of Tcherepnin’s music is the breadth of his inventiveness; there is never a dull moment and discovering his music has been one of the musical highlights for me this year. As one would expect the tracks recorded this year sound fresher and crisper than those recorded by the composer in March 1965, though to have his own interpretations of those works is so valuable. Tcherepnin showed what a considerable pianist he was while Shilyaev amply shows his interpretive skills with that full range of moods and touches. This is vital for music that can range from a mere whisper to almost cataclysmic thunder.

The booklet notes by Benjamin Folkman are extremely well written, highly informative and contribute towards making the whole experience both enjoyable and memorable. If you have discovered the wonderful world of Tcherepnin’s piano music then this disc is a must for you and, if not, it is a perfect place to start to get to know this fascinating composer.

-- MusicWeb International

Much has been said and written about the origins and first appearances of the Gypsies. Their first documented existence in Europe dates back to the early fifteenth century and most scholars agree that they originally came from Northern India. This is based on the resemblance of their Romany language to certain languages in Northern India. Apparently, the Gypsies migrated into Persia in the 11th century and further into South East Europe around the beginning of the 14th century and from there into Western Europe. Today, Gypsies live all over the world, including North and South America and even Australia. As many Gypsies worked as musicians or entertainers, they had a considerable impact on the music of the countries in which they lived- their own particular musical style often combined with the folk music of a particular country, thus preserving the traditions over centuries. The so-called Gypsy repertoire can be described as a blend of Russian, Hungarian and Romanian influences but on the other hand the Roma have contributed their own style to many areas of music and influenced other artists in their music, such as Bizet, Brahms and Dvorak, to name but a few. In this compilation, a variety of Gypsy music has been included, from purely traditional to modern, including soloists who excel with their instruments, small Gypsy ensembles, large Gypsy brass bands, some of the greatest Gypsy singers and composers as well as travelling Egyptian Gypsies, recorded on location.

Classical Music

Blu-ray pressing. Paul Anka is known as the last great crooner. On this live release, Anka promotes his successful Rock Swings project by performing many of the tracks live alongside his own classics including 'Diana', 'My Way', 'New York New York', 'Put Your Head on My Shoulder' and more.

When the revered writer Alessandro Manzoni died in 1873, Verdi was unable to bring himself to attend the funeral. Instead he composed his monumental Messa da Requiem in Manzoni’s memory and conducted its first performance on the first anniversary of the writer’s death. In addition to its profound spirituality, the work also brings together all the finest qualities familiar from Verdi’s operas, qualities that include endless melodic lines and powerful musico-dramatic effects. The present performance was recorded in Los Angeles’s legendary Hollywood Bowl in August 2013 and brought together three superstars from the world of music: the conductor Gustavo Dudamel, the tenor Vittorio Grigolo and the bass-baritone Ildebrando D’Arcangelo, all of them at the top of their form. “It was an important and exceptional evening … That experience involved a radical and wondrous rethinking of the Requiem on Dudamel‘s part.” (Los Angeles Times)

Classical Music

The centerpiece of this program is the first ever recording of the Hiawatha Melodrama, a concert work for narrator and orchestra designed to show the kinship between Dvořák's New World Symphony and Longfellow’s poem The Song of Hiawatha, which Dvořák said had inspired him in the symphony. It takes music from the symphony, as well as passages from the American Suite and Violin Sonatina, and fuses them with the poem, which is recited by a bass-baritone. Also included is music by Arthur Farwell, who was influenced by Dvořák, and was a proponent of Native American music. This recording thus celebrates the crosscurrent of influences between the Czech composer and American music and culture.