Francis Pott's acclaimed musical voice is one of uncommon eloquence and seriousness of purpose, and his works have been performed and broadcast in over 40 countries. This recording presents world premiere recordings of two major pieces. At First Light is a memorial work which takes the form of a series of slow meditations surrounding an exuberant motet, with wordless commentary from a lamenting cello. Word, with it's significant role for the organ and the inclusion of texts by the Welsh priest and poet R.S. Thomas, reveals Gospel contemplation in a postmodern world.

The Phoenix Ensemble’s latest album Johannes Brahms / Elliott Carter: Clarinet Quintets is, of course, masterful. The Phoenix Ensemble now looks back on almost three decades of being a fixture in the national chamber music scene, focusing on performances and recordings of 20th- and 21st-century music. Indeed, it may be this particular specialization in complex musical structures that allows the musicians to explore Brahms' late quintet with the previously unheard thoroughness and careful reconnaissance displayed on this album. Strikingly, both faster movements in the work – the opening “I. Allegro” and the closing “IV. Con moto” – are examined more slowly, with deep profundity. Contrary to what one may expect, the work is enriched by reining in the tempo, enlarging the underlying thought process of Brahms' compositional technique as if viewed through a magnifying glass. But there's yet another artistic merit to this measure – unifying all four movements of Brahms’ quintet in terms of speed also makes them fit perfectly with the otherwise vastly different Clarinet Quintet (2007) by Elliott Carter, a work that consists of movements which blend into one another. The ensemble's previously restrained rhythmic energy is fully unleashed in this structurally dense contemporary composition, culminating in an enigmatic finale. In between, the listener finds the most delightful intermezzo in Carter's standalone piece Esprit Rude/Esprit Doux (1985), in itself, as the title suggests, a work of contrasts, thus bridging the gap between the centuries. But the work, and indeed this album, accomplishes more than that. In fact, with Phoenix Ensemble's two-fold skill of navigating of dissimilar musical languages, yet finding the common denominator between them, this record might just open up the eyes of Brahms lovers to the music by Carter – and vice versa.

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REVIEW:

The playing in the Carter quintet is assured and confident, as one would expect from contemporary music specialists. This is also a slightly different team from that in the Brahms. I have no complaints about the recording. The disc is housed in a cardboard sleeve rather than a jewel case and the booklet notes, in English only, are printed reversed out (white lettering on a dark ground), which does not make for easy reading. If the programme suits, don’t hesitate.

– MusicWeb International

On Parts to Play, critically acclaimed violinist Moonkyung Lee turns from the symphonic environment of the critically lauded label debut, Tchaikovsky, on which she performed with the London Symphony Orchestra, to a more intimate setting, with only pianist Martha Locker as her partner on a selection of works that include both stunning solo performances and intricate yet simple duets. Choosing to include Prokofiev’s “Sonata for Solo Violin” amid compositions from six contemporary composers who collectively represent three decades of works is indicative of Lee’s ability to tease out the subtle nuances of every piece she performs. The three-movement suite moves from the simplicity of Moderato’s Classical sonata format through the more lyrically, introverted Andante Dolce to the clever finale, Con Brio. Similarly, her transit through Benjamin Ellin’s composition for solo violin, “Three States at Play,” is a nuanced journey through three movements, in which the more serene second movement is bookended by two outer movements that are quite rhythmically active. When performing duets with Locker, such as on Rain Worthington’s “Jilted Tango,” Lee’s violin seamlessly integrates with the piano to create an atmosphere both spirited and poignant, capturing the “push and pull in a dance of love” implied by its title. Another sort of dance entirely is captured on the duo’s performance of the vibrant and upbeat “Grand Tartanella.” Moonkyung Lee’s career includes numerous accolades, awards and scholarships including the Yale Chamber Music Celebration, and an NYU/Steinhardt Doctoral Fellowship for Doctoral Studies, of which she was the first ever classical string performer recipient. Her extensive array of performances, both in Europe in the US, include collaborations with many eminent ensembles, conductors and performers.

Lucas Debargue’s third recording presents sonatas by Franz Schubert and polish composer Karol Szymanowski (1882 – 1937) Besides recording Schubert's famous Sonatas No.13 & No.14 the pianist continues to dedicate his musicianship to composers and works left in the shadow and presents Karol Szymanowski “I think it makes more sense to devote myself to an astonishing but little-known work, than it does to focus on pieces that people have heard too often.” – Lucas Debargue about Nicolai Medtner’s piano sonata, recorded on his last release Lucas Debargue has always been far off the beaten track, starting with his unusually late musical career to his interpretation of works where he widens the boundaries of the norm “Anyone who complains about uniformity in today’s music business will find the greatest pleasure in Debargue. He is different.” – NDR, Germany. “ Lucas Debargue takes the music beyond the accepted norm, questioning the status quo with a fresh perspective” - San Francisco Classical Voice. “Debargue is fantastically gifted: original, not tamed by any academicism, eccentric to the point of being mannered, but also thrilling as a result of his very personal tone.”– Frankfurter Allgemeine Zeitung

Antonio Ruiz-Pipó was a versatile musician whose compositions display both Andalusian and Parisian influences as well as reflecting his own life story of non-conformism coupled with an infinite love for humanity. This program reveals his inclination towards South American music, and in the duets Homenaje a Villa-Lobos and the quartet América she looks towards the habanera and samba (as well as a little boogie-woogie). Ancient sounds from a faraway land echo in the Homenaje a Antoniode Cabezón, while Cuatropara Cuatro and A Sevilla are pure Andalusian Ruiz-Pipó in terms of their colors, rhythms and narrative.

Robert Fürstenthal's story is an extraordinary one, a kind of "fairy-tale" of the twentieth century. Born in 1920, when Germany invaded, Fürstenthal took the path of many Viennese Jews and fled to the United States where he made his living as an accountant. The fact that he had written a few songs in his youth was forgotten but after 35 years, he rediscovered the woman who had been his first love, it rekindled both the flame of love as well as the urge to compose. Hundreds of songs - achingly lovely songs, laden with an autumnal sense of loss - flowed from Fürstenthal's pen from that moment on, preserving the spirit of fin-de-siecle Vienna under the Californian sun. Just before Fürstenthal died in November, 2016, at the age of 96, he had the satisfaction of hearing his songs in these wonderful performances - a last-minute vindication by two young musicians carrying his music into the future.

The new Musical Explorers series from ARC Music makes available, often for the first time, a valuable range of historical films and audio recordings gathered from all over the world. The next release on this series is Music of Tibet, curated by Simon Broughton. Accompanying the album is Deben Bhattacharya’s film, Echoes from Tibet, which was shot in 1979 in Ladakh, Darjeeling and Dharamsala. This is where many Tibetan exiles and the Dalai Lama (who appears in the film) are based. The music on the accompanying album was recorded in 1975 and 1979 in the refugee communities of Ladakh, Himalchal Pradesh, Sikkim and Darjeeling, and also in Sarnath, close to Varansi where The Buddha gave his first sermon. The music on the album was recorded by Deben Bhattacharya on his Nagra in 1975 and 1979. “For the new Musical Explorers series by the British label, the world music expert Simon Broughton has raised a real treasure.”

RAVEL: BOLERO, LA VALSE, ETC

Wilhelm Furtwängler (1886-1954),one of the greatest of 20th century conductors, leads four equally distinguished mid-century violinists and three eminent European orchestras in live performances of violin concertos by Beethoven (Röhn, Berlin), Mendelssohn (de Vito, Torino), Brahms (Menuhin, Lucerne) and Sibelius (Kulenkampff, Berlin). + Recorded during and after WWII, these performances have been newly re-mastered for this release.

For this very special collaboration, Ghita Nørby selected six of her favorite fairy tales from the pen of Hans Christian Andersen. The music of Michala Petri and her friends, Chen Yue, Lars Hannibal, Carolin Widmann, Ula Ulijona and Marta Sudbraba provide the perfect atmosphere of enchantment to frame Ghita’s voice.

The music of the British Isles has been charming audiences for centuries. This beautiful collection of Celtic music from Ireland, Scotland and Brittany features famous Celtic artists such as Cunla, Colm O Foghlu, Noel McLoughlin, Clannad, and many more. The songs presented are a shimmering array of the most wistful and beautiful songs and instrumental pieces, which are in a similar vein as the “Titanic” soundtrack, or the ever-popular “Riverdance.” Folk songs are presented here in their most authentic forms, as well as several more recent compositions inspired by these roots. This is true cornucopia of Celtic jewels!

Estonian violinist Kerem (b.Tallinn, 1981) is familiar as a performer in Britain as well as at home. He is also a prolific composer, with over 100 works to his credit, 3 symphonies among them. The three-movement 3rd Symphonny (2003) and the Lamento for viola and strings (2008–9) lie downstream from Shostakovich and Boris Tishchenko, and were inspired by the idea of the struggle of the individual voice against oppressive ideology.

The music of Iranian composer Behzad Abdi fuses dastgāh (the Iranian modal system) with Western classical forms. He wrote Iran’s first national opera, Rumi (Naxos 8.660424-25), and Hafez also exemplifies his approach to the medium. The opera’s subject is the great Persian poet and mystic Hafez, whose sonnets and poetry are still widely read across the Persian-speaking world today. Behrouz Gharibpour’s libretto traces the poet’s tribulations, memories of keeping his poems from being destroyed by a despotic government, and subsequent exile. Abdi’s polytonal technique serves to reflect the unique concepts of Hafez’s 14th-century poetry with passion, lyricism and power.

First published in March 1722, 57 years after the event that struck more than 100, 000 people, A Journal of the Plague Year is a compelling portrait of life during London's horrific bubonic plague. Through the eyes of H.F. (speculated to be Defoe's uncle, Henry Foe, from whose journals the book was supposedly adapted) we witness great grief, depravity and despair: crazed sufferers roam the streets, unearthly screams resound across the city, death carts dump their grisly loads into mass graves, and quackery and skulduggery feed on fear. But there is kindness and courage too, as mutual support and caring are upheld through the worst of days. Defoe's Journal is considered one of the most accurate accounts of the plague, and includes many contemporary theories about the disease, along with rolls of the dead and a literary mapping of London, street by street, parish by parish. It is a fascinating and intimate account from one of the earliest proponents of the novel.

For over fifty years, Britain’s foremost recorder player, John Turner, has composed a carol and sent the score as his Christmas Card. Until now just a personal gift to his friends, John was persuaded to record a selection, which has led to this beautiful album. Presented by the chamber choir Intimate Voices (which also performs as Voces Intimae) and featuring sopranos Sasha Johnson Manning, Eleanor Gregory and Philippa Hyde in solo and duet pieces, with obbligato harp and oboe in some, this is a lovely mixed programme of Nativity carols, composed very much in traditional style, in new settings of ancient texts. John Turner is a fine composer but is chiefly known as a recorder player and champion of contemporary composers, with dozens of recordings to his credit, many from Divine Art and Métier.

For their 'commitment, technical versatility, unanimity of ensemble and near-immaculate tuning' (Gramophone) the five musicians of Seldom Sene have won golden opinions in repertoire ranging from songs and dances from Renaissance Spain and England to their own transcription of Bach's Goldberg Variations: 'With passionate command, skilful precision, nuanced dynamics and their outstanding potential for colouring, the ensemble succeeds in creating a surprising spectrum of enchanting, unheard-of sounds from Bach's Variations without compromising the "idea" of the work. ' (MDR. De) Now they undertake a new adventure, having commissioned pieces from four composers of diverse backgrounds and idioms. Aspasia Nasopoulou has written a collection of 10 miniatures - 'Dipoles' - which are inspired by opposites such as Male/Female, Bent/Straight, One/Many and so forth, giving rise to a cycle of high contrasts. Her fellow Greek composer Thanasis Deligiannis plays on the talents of Seldom Sene as singers as well as instrumentalists in setting a triptych of texts in English by the poet Iacovos Camhis, with the whimsical title of a bit unfair. Sören Sieg's work brings together the joyful and relaxed temperament of much African music with the dramatic tension of European music. As a multi-talented composer and performer on wind, string and keyboard instruments he has composed 24 recorder suites: this is the latest, titled Mathongo Amnandi, meaning 'sweet Dreams' in Xhosa. Finally Seldom Sene play Quo quondam victa furore ('Where once madness excelled') by the Dutch composer Paul Leenhouts: a character piece telling a pastoral story from Roman literature which extols the virtues of a simple country life. Leenhouts, too, has a background in early music, as a distinguished performer and director in his own right: like the others, he has composed a vividly communicative piece which is beautifully tailored to the talents of Seldom Sene.

Rued Langgaard’s (1893-1952) inner division can be experienced at its extreme in the chamber music written between 1913 and 1924, in which the secure world of his youth is undercut by a dark musical understream. This is most apparent in the work for piano, Music of the Abyss, which is presented here in a transcription for chamber ensemble by Allan Gravgaard Madsen (born 1984) of which this is the first recording. This meeting between Langgaard and Gravgaard brings to a climax the work’s view of modern man’s destructive strength in a crazy ride towards the abyss.

Polish pianist and composer Franz Xaver Scharwenka was raised in the spirit of European Romanticism, championing the music of Chopin, Schumann, Mendelssohn and Liszt, and gaining enormous popularity for his own compositions, which Liszt greatly admired. Scharwenka’s fourth and final Piano Concerto (which the composer performed under the direction of Mahler and Stokowski) is a work of genius which stands at the apex of his achievement. The shorter pieces on this album have recently enjoyed renewed popularity, proving the value of Scharwenka’s legacy for modern listeners though much of his music remains to be rediscovered.

Louis Lortie’s Chopin series is achieving landmark status, as confirmed by the increasingly enthusiastic reviews of progressive volumes. This fifth one sumptuously highlights the Polish influences in Chopin’s music, offering gems from among the mazurkas and polonaises. Relatively brief in duration and simple in structure, the mazurkas reveal other aspect of Chopin’s music: quirky melodies, strangely chromatic harmonies, oddly accented rhythms, irregular phrase lengths, and wildly contrasting keyboard textures. They represent a fascinating part of Chopin’s output, for audiences and pianists alike. The vigour of the polonaises featured here, including the first two to be published, confirms Chopin as a radical, yet idiomatic transformer of the genre. The Allegro de concert, which Chopin was said to have kept for his projected return to ‘a free Warsaw’, is another link to his beloved country.

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

Celebrating his 75th birthday with a programme of Stravinsky, Hummel and Beethoven, “everything about Mariss Jansons exudes joy and sovereignty,” wrote Süddeutsche Zeitung. This thrilling, varied concert was recorded in January 2018, with Jansons and the Bavarian Radio Symphony Orchestra demonstrating the close relationship which has developed between them over the past 18 years. This recording also features a stellar quartet of soloists partnering with one of this fine orchestra, playing under the conductor who, even at 75, continues to inspire them to great artistic heights. Born in 1943 in the Latvian capital of Riga, Mariss Jansons grew up in the Soviet Union as the son of conductor Arvid Jansons, studying violin, viola and piano and completing his musical education in conducting with high honours at the Leningrad Conservatory. Further studies followed with Hans Swarovsky in Vienna and Herbert von Karajan in Salzburg. In 1971 he won the conducting competition sponsored by the Karajan Foundation in Berlin. His work was also significantly influenced by the legendary Russian conductor Yevgeny Mravinsky, who engaged Mariss Jansons as his assistant at the Leningrad Philharmonic in 1972. Over the succeeding years Mariss Jansons remained loyal to this orchestra, today renamed the St. Petersburg Philharmonic, as a regular conductor until 1999, conducting the orchestra during that period on tours throughout the world. Since 2003 Jansons has been Chief Conductor of the Bavarian Radio Symphony Orchestra and Chorus.

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REVIEW:

Beethoven insisted that the keynotes of his Mass were cheerfulness and gentleness, and these qualities are evident in a tenderly shaped Sanctus and Benedictus.

– Gramophone