In 2005 Igor Levit and Xiaohan Wang performed, together with the Kolner Kammerorchester under Helmut Müller-Brühl, as outstanding talents of the semi-final of the “International Beethoven Competition for Piano Bonn”. The competition had been initiated in the same year by the then President of the Federal Republic of Germany Horst Kohler. The young pianists, today successful all over the world, performed on that occasion Beethoven's piano concertos nos. 1 and 2. On this recording, Igor Levit performs the First Concerto, and Xiaohan Wang the Second.

Rovshan Mamedkuliev was first prize-winner at the prestigious Guitar Foundation of America Competition in 2012, and now stands as one of the world’s most exciting young instrumentalists. He has constructed a programme with several themes. Iberian music is represented by Falla, Albéniz and Turina, and by two of the titans of guitar playing, Miguel Llobet and Francisco Tárrega. He also includes music by his Azerbaijani compatriot, Fikret Amirov, whose folkloricinfluenced music is another thematic link. The kaleidoscopic Just How Funky Are You by Andrew York and Leo Brouwer’s An Idea explore the guitar’s contemporary vitality.

A posthumous record? "Nothing to declare!" as Rachid would have said, leaning on the bar counter, with messy hair, bright eyes, and a raspy voice. He's there, you can't miss him. He may be laid to rest in Algeria, but he hasn't left us. He knew that those who are allegedly missing are well and alive: "Do you really know the others?" the master of rock-Cha�bi once asked, quoting the greats Johnny Cash, Oum Kalthoum, and Andy Warhol in a prophetic song titled Andy Walhoo. He wrote this arabic-punk-electro piece with guitars, balafon, and mouth harp before succumbing to a heart attack on September 12, 2018. With boundless energy, Taha wrote eleven songs together with Toma Feterman for his eleventh solo album, diving deep into his roots as usual. First, Algerian Cha�bi, so subtle, yet so complex. Then rock, which took the world by storm during the postwar period, and punk, it's offshoot, in the style of The Clash. Finally, electronica, the musical revolution of the late twentieth century, as hypnotic as the Gnawas guembris or Sufi trance sounds.

Classical Music

Two great German music traditions are fused together on this electro-acoustic album from Berlin-based composer Johannes Motschmann: the classics, and electronic music. Using analogue synthesizers, the Yamaha CP-70, and an old Wurlitzer piano, these dark and melancholic tracks mesh rhythmically with massive percussion and violin sounds. All of the components of these tracks, from percussive sounds to violin tracks, were recorded in the same acoustical space. This allows the handmade electrosounds to be perceived in their full, natural qualities. Boris Bolles helped to mix and master these works, as well as provide some of the violin tracks. Johannes Motschmann received his musical education at the University of Music Carl Maria von Weber in Dresden, then at the University of Music in Karlsruhe, and finally at the Hochschule fur Musik “Hanns Eisler” in Berlin. He studied piano, composition, and electronic music with such scholars as Jorg Herchet, Wilfried Jentzch, Clemens Kuhn, and Wolfgang Rihm. Motschmann’s compositions have been performed by Ensemble Modern, the NDR Radio Philharmonic, and the SWR Symphony Orchestra.

Classical Music

A highly fashionable instrument in the 18th c., C.P.E. Bach used the flute in his compositions throughout his life. His works for the instrument, including the complete sonatas for flute featured on this 2CD set, frequently betray the influence of Friedrich II (Frederick the Great), yet the distinctive traits – surprising twists, sensitivity, expressiveness and new compositional approaches – of a composer as great as C.P.E. Bach often surface. Dorothea Seel plays a copy of a late-Baroque Transverse flute; Keyboardist Christoph Hammer on period fortepiano provides the accompaniment.

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Also available on standard DVD

‘My Vienna’ is Jonas Kaufmann’s deeply personal tribute to the world-famous melodies from the birthplace of waltz and operetta and follows up the album release from Fall 2019. The 100-minute film consists of Jonas Kaufmann’s Wiener Konzerthaus concert interspersed with documentary-style segments where Jonas Kaufmann explores the city’s fascinating lighter musical heritage. His concert from the Wiener Konzerthaus includes well-known Viennese songs like “Wien, Wien nur du allein“, “Im Prater blühn wieder die Bäume”, “Sag beim Abschied leise “Servus““. He also sings scenes from famous operettas such as “The Merry Widow”, “Wiener Blut” and “Die Fledermaus” where soprano Rachel Willis-SØrensen joins him on the duets.

This is already our third encounter with the great Polish composer Fryderyk Chopin – an encounter, in fact, that is as unusual as his music, which has delighted people around the world for over one hundred and fifty years. In Fryderyk’s day, not everybody was able to listen to his works. To hear one of his concerts they would have had to travel to where he lived – in his early years that meant going to Warsaw, and later even further, i.e. to Paris. Today, all we have to do is listen to one of his albums and imagine that the genius composer is playing especially for us.

Monteverdi’s great opera is a celebration of unwavering devotion, conveyed in some of the composer’s most poignant, heart-breaking music. After two brutal decades of war, the weary Ulysses is washed up on the rocky shore of his home island of Ithaca. There, he discovers the hordes of depraved admirers who have beseiged his faithful wife Penelope in his 20-year absence – and launches into battle to win back her love. Monteverdi’s opera is a celebration of unwavering devotion, conveyed in some of the composer’s most poignant, heartbreaking music. John Eliot Gardiner leads an exemplary cast of world-class singers alongside the Monteverdi Choir and English Baroque Soloists in this live recording from The National Forum of Music in Wroclaw, Poland – part of their critically acclaimed Monteverdi 450 tour in 2017.

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REVIEWS:

Faced with lots of recitative and practically no arias, singers and players abandon themselves to intense arioso, jazzy cross-rhythms between poetry and continuo, and take-no-prisoners dissonances. Furio Zanasi, Lucile Richardot, and Hana Blažiková bring a depth of acting almost without rival.

– BBC Music Magazine

Recitatives flicker and spark with detail. Instrumental textures are spare and speeds swift, and there’s a welcome sense of narrative drive. Text is king, but it’s the rhetoric of the English Baroque Soloists that really counts. Zanasi is a smooth, patrician Uliss. There are more classically beautiful accounts of Il ritorno d’Ulisse available, but perhaps none with quite so much life.

– Gramophone

All of the works in this programme were prize winners in the hotly contested 2018 Huang Zi International Chinese Piano Composition Competition, an event marking the 80th anniversary of the death of this influential composer and educator. Themes explored include the charm and unpredictability of China’s landscape, alongside elements of Chinese musical and theatrical aesthetics. Joint First Prize winners were Emile Naoumoff, whose Celestial Parade describes the composer’s wonderful experiences while in Shanghai, and Zhiliang Zhang, whose Qiao Ling Liu Dan portrays six widely differing ‘Dan’ or female characters in Sichuanese opera. Huang Zi (1904–1938) was the most influential composer and music educator of his generation, mentoring many distinguished Chinese musicians. To mark the 80th anniversary of the death of Huang Zi, the People’s Government of Chuansha New Town, Pudong New Area, Shanghai, and the American Pacific Musicians Association jointly launched the HUANG ZI International Chinese Piano Composition Competition from August to November 2018. 52 piano works from all over the world were submitted to the competition, and the impressive collection of works in this recording comprise the joint winners of both Third, Second and First Prizes.

Under the dual influences of Goethe and Berlioz, Wagner wrote A Faust Overture in Paris. Years later, in 1855, he returned to the work, revising it to create an even greater sense of drama and narrative conviction. In the excerpts from his romantic opera Lohengrin we hear the visionary Prelude to Act I and the Act III Prelude, which includes the well-known Wedding March. Elsa’s Dream is sung by the internationally acclaimed soprano, Alessandra Marc. The orchestral music from Parsifal contains some of the most transcendent music Wagner ever wrote.

Long regarded by Danish musicians as their secret treasure, the songs of Peter Heise perfectly represent the unique qualities and achievements of the Danish Golden Age. Though mostly not in direct contact with each other, these artists and writers shared a profound interest in exploring and understanding their personal life and experience, and left a body of introspective work which has had a huge impact on European culture. No longer a secret, these songs can now take their rightful place alongside the works of Hans Christian Andersen, Christen Kobke, Soren Kierkegaard and so many others.

REVIEW:

The Danish composer Peter Heise 1830-1879 composed about 300 songs, most of them on Danish texts, a few also on German poems. Dacapo now presents the complete recording of those songs. Anyone loving lieder will appreciate these romantic and melodically fine songs in consistently good interpretations. The producers must be given credit for always finding the right voice type for the songs with a variety of male and female voices.

– Pizzicato

Barcelona native Leonardo Balada’s creative style has been labelled ‘Dalí’s surrealism in music’ – an aspect of his work explored in this programme through the technique of ‘sound transformation’ in which abstract musical materials become familiar melody. Fusing traditional and contemporary elements, Caprichos Nos. 6 and 7 engage intimately with Spanish culture and history, while the virtuoso Double Concerto, heard here in an arrangement for flute, clarinet and piano, blends well-known Mexican folk tunes with the composer’s distinctive avant-garde style. The Naxos label has been releasing recordings of the music of Leonardo Balada for many years now, and his profile has achieved a level at which each new disc is greeted with much interest and healthy sales figures in the contemporary music genre. This particular recording also promises wider circulation in being related to Ivan Ivanov’s book Leonardo Balada and Surrealism in Music to be published by Routledge. This is aimed towards teaching surrealism in Universities as well as being of interest to wider audiences. The new release will be used as an example on the music analyzed in the book, but will also be attractive worldwide because of the international status of surrealism in art.

This is the newest release in the popular series the Musical Advent Calendar. Featuring the best professional and amateur ensembles of the SWR, this release includes the most famous Christmas songs.

Also available on Blu-ray

‘My Vienna’ is Jonas Kaufmann’s deeply personal tribute to the world-famous melodies from the birthplace of waltz and operetta and follows up the album release from Fall 2019. The 100-minute film consists of Jonas Kaufmann’s Wiener Konzerthaus concert interspersed with documentary-style segments where Jonas Kaufmann explores the city’s fascinating lighter musical heritage. His concert from the Wiener Konzerthaus includes well-known Viennese songs like “Wien, Wien nur du allein“, “Im Prater blühn wieder die Bäume”, “Sag beim Abschied leise “Servus““. He also sings scenes from famous operettas such as “The Merry Widow”, “Wiener Blut” and “Die Fledermaus” where soprano Rachel Willis-SØrensen joins him on the duets.

Bach's sacred music written before he went to Leipzig, including all the works from the Weimar period, are often lumped together as "early" cantatas. This is misleading and ultimately inaccurate, since Bach was already 38 years old when he moved from his post as Kapellmeister at Köthen in 1723 to take up his duties as Kantor at the Thomaskirche in Leipzig. In fact most of Bach's church cantatas date from the Leipzig years, as does the consolidation of the stylistic, structural and technical features of his vocal works, but even the repertoire composed before 1714 can hardly be termed “early". The works composed at Mühlhausen, demonstrating a striking sureness of touch in their conception, placed the 22-year-old among the finest contemporary cantata composers. Bach's earliest church cantatas are still clearly marked by 17th-century traditions. As well as the influences of older members of the Bach family, those of Buxtehude and Pachelbel the Elder, and Italian and French masters are evident, technically, structurally and stylistically. A particularly characteristic feature of the pre-Leipzig cantatas is Bach's exceptional delight in experimental and complex handling of an extremely wide range of instruments, with refined sound effects (such as the use of the bassoon) and poly- and homophonic settings and forms.

Old and New Worlds is the result of an international collaboration between Ars Veritas (Gothenburg, Sweden) and Schola Cantorum (Miami University, Oxford, Ohio). It features great choral works of the past and the present. Ensemble Ars Veritas started in 2010 at the University of Stage and Music in Gothenburg. Jakob Patriksson led the work on creating an ensemble focusing on early church music and the sacred music it later inspired. One of the hallmarks of Ars Veritas is the concerts that gradually illustrate the evolution of Western European church music: from the sacred unanimous Gregorian music to the first completely independent polyphonic works.

Joaquín Rodrigo is best known for his Concierto de Aranjuez, but the fame of this great work has hidden a prolific and courageous artist who struggled against blindness and hardship, and whose luminous, optimistic music is captured here in rarely heard works for violin that span almost his entire life as a composer. The timelessly beautiful Adagio from the Sonata pimpante is indeed comparable to that of the Concierto de Aranjuez, and all of these pieces are captivating in their intense lyricism and profound originality, from the Dos ezbozos expressing childhood memories of the Parterre Gardens in Valencia, to Rodrigo’s only piece for solo violin, the Capriccio, and the vivacious and nostalgic Set cançons valencianes.

Classical Music