This third double CD set completes Gilbert Rowland's survey of these Handel's groundbreaking solo keyboard music, works that began to free the form from the formal constraints of Allemande, Courante, Sarabande, Gigue. Forty-plus years of recitals, appearances at major festivals in several countries, together with regular broadcasts, have helped to establish Gilbert Rowland's reputation as one of Britain's leading harpsichordists. The standard of playing is very high indeed... a most enjoyable recording. (The Consort on Vol.1)

The multi-award-winning Latvian composer Eriks Esenvalds’ 21st-century choral sound is both exquisite and angular, and in this album he explores ideas of ‘translation,’ legend and the divine. With his expanded tonality and employment of shimmering singing hand bells in ‘Translation,’ and the angelic use of the viola and cello in ‘In paradisum’ he creates music of ravishing refinement. In ‘Legend of the Walled-In Woman’ Esenvalds transcribes and employs an authentic Albanian folk song.

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REVIEW:

Ethan Sperry’s immaculate Portland State Chamber Choir clearly relish the luscious choral textures, which often expand into 16 parts. The engineering captures with great clarity both this sense of spaciousness and the extreme dynamic range. All the solo vocal contributions are magnificent...A stunning, timely triumph, therefore, full of ravishing, transformative and deeply touching music.

– Gramophone

Van Cliburn's youthful impetuosity is most convincing. This is very much a performance that takes one along with it, just as a fine performance live in the concert hall would.

It is some eighteen months since Van Cliburn's surprisingly successful account of the Brahms Second Concerto appeared, and on the face of it this vast youthful inspiration of the First Concerto should suit Van Cliburn's special qualities even more closely. And so it proves, and though Leinsdorf and the Boston Symphony do not prove such perceptive collaborators as the lamented Reiner with his Chicago Orchestra, this is in terms of pianistic display and dynamic driving force as exciting a performance as we have ever had on record. The way for example that Van Cliburn in the finale sweeps the music on from the first subject into the second is irresistible. Those pianists who insist on relaxing may seem a little lacking in excitement in direct comparison—even to Clifford Curzon. Where they score—and Curzon of course is the prime example of a thinking virtuoso in this work—is in the subtlety of shading. You could not claim for Van Cliburn much sense of 'inner' thoughtfulness. But that does not mean he is hard, and throughout the warmth of the playing is as striking as the dynamic drive. It is a pity perhaps that in the American manner the soloist is put so close to the microphone, for it is hard for him to achieve a real pianissimo, however gently he plays. But RCA's technique of spotlighting individual instruments (not merely the piano) pays off very well at the climax of the slow movement—a moment that for me at least is perhaps the most important single passage in the whole work. If in the great call of the rising fourths slowly enunciated over piano arpeggios you have a sense of culmination and achievement such as opera composers provide at moments of dramatic catharsis, then I am disposed to think favourably of the whole performance. It is so with the Gimpel performance on HMV Concert Classics where Kempe is marvellous, and here Leinsdorf (with the help of the spotlighting engineers) directs with more warmth than I remember from him for a long time.

In the first movement of course, Curzon's subtlety coupled with his wiry strength is a hard combination to compete with, but Van Cliburn's youthful impetuosity is most convincing. The speed is not fast (much less fast than in the Fleisher/Szell performance for example) and Leinsdorf, though not specially good on detail, gives the music a tremendous sweep which exactly matches the soloist's sense of command.

I hope I have made it clear that this is very much, a performance that 'adds up'. In other words it takes one along with it, just as a fine performance live in the concert hall, and on that account I have been wary of drawing too sharp a contrast with Curzon on the basis of a side-by-side comparison of extracts. Curzon, I think, would be most people's choice, but if I wanted bravura above all, then Van Cliburn even more than his fellow young American, Leon Fleisher, provides it. Apart from the balance, the recording—I have so far heard mono only—is good, though it never achieves the atmospheric clarity that the Decca engineers provided for Curzon.

-- Gramophone [3/1965]
reviewing the original LP release of the concerto

Since his emergence on the musical scene in 2002 when his Symphony No. 1, “Oceanic Days” was the winner of The Nordic Council Music Prize, Faroese composer Sunleif Rasmussen has continued to make a name for himself and his island home on the world music scene. Among his many striking compositions is a growing corpus of works featuring the recorder. Beginning with his expansive concerto for recorders and large orchestra, Territorial Songs (2008-09), Rasmussen sought to expand the instrument’s persona and possibilities, freeing it from its historic associations with the music of the Renaissance and Baroque, pushing it into new territories. In this mission, the composer has been exceptionally fortunate to have as muse and musical partner one of the greatest recorder players ever, Michala Petri. The current project represents an overview of works composed from 2009 to 2020. All are scores featuring the recorder: as concerto soloist with a symphony orchestra, (Territorial Songs), a string ensemble (Winter Echoes), an obbligato in a complex choral setting (“I” ), chamber music (Flow), and unaccompanied (Sorrow and Joy Fantasy), each work a milestone in Rasmussen’s musical development . As always, Michala Petri brings each score to life with consummate artistry and is perfectly matched by each of the ensembles performing with her.

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.

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

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.

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

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.

The Barber of Seville is Rossini's most popular opera. It's effervescent overture (written originally for another work!) presents a perfect platform for the amusing plot in which the barber, Figaro, stage-manages a romance between Count Almaviva and Rosina, and puts to flight the old suitor, Dr Bartolo. 'Largo al Factotum' is one of the most popular arias in opera - nearly 200 years after it's first performance it is still one of the great show-stoppers. But why was the opera received with boos and catcalls at it's first performance in 1816, and why did Rossini return to the plot and environment presented so sublimely by Mozart? Opera writer Thomson Smillie and actor David Timson present the background in their informative but entertaining manner.

The programming Philippe Graffin is always surprisingly remarkable. He is a master in making a logical connection between unknown or forgotten repertoire and "main" repertoire, and also a master in breaking new ground, on this release by introducing a cadenza of his own. For this release, on the one side, he has chosen the often-recorded Violin Concerto in E Minor by Mendelssohn with the cadenza written by himself, and on the other side, included the not-often recorded and controversial Violin Concerto in D Minor. Philippe Graffin has established an indisputable reputation for his interpretations of the French repertoire. Philippe made his first recording with Yehudi Menuhin conducting the Royal Philharmonic Orchestra and his many highly acclaimed recordings since then bear witness to a questing mind and include many world premieres. He has rediscovered original settings of Chausson's Poeme and Ravel's Tzigane and has championed the forgotten violin concertos of Faure and the English composer Coleridge-Taylor.