Famed for his operatic music, Jake Heggie has always been a devoted and prolific songwriter. Three early song cycles for soprano and piano feature in this release, each cycle exploring the many varied facets of the three women depicted, who include Ophelia and Eve. Each was written for a specific singer and they all reflect Heggie’s very personal and exciting lexicon of musical influences, which range from folk and jazz to art song and music theatre.

This is not the first time Michala Petri has juxtaposed recorder works from Britain and her home country, Denmark. A quarter of a century ago she combines soloes, duos and trios – with other Petri family members (RCA, 5/89,- long out of print) – by Arnold, Asger Christiansen, Holmboe, others from Germany and Norway, plus the wonderful Sonatina Gordon Jacob wrote for her in 1983 - also included here. None of the other works has been repeated from that earlier disc and of the composers only Britten did not write especially for her….

The warm heart of this superbly played programme is the Sonata (1980) by Holmboe, who, like Arnold and Jacob, wrote several works for Petri. Like all late Holmboe, light and peace are the pervading features of the three movement. A wonderful advert for this instrumental pairing and for virtuosity in general. Superbly engineered sound.

– Guy Richards, Gramophone [5/2015]

Hard on the heels of the marvelous Arcangelo Corelli sonata CD from this duo, featured in Fanfare 38:4, is this delightful fraternal twin of a release…. [I]t goes without saying that anything this superstar pairing puts its hands to will be extraordinary…. Recommended? Without a doubt! It is a wonderful program, imaginatively presented.

– Ronald E. Grames, Fanfare [3/2015]

Pianist Angela Brownridge made her concert debut at Wigmore Hall when she was only twelve years old. Since then she has toured the world, recorded three albums prior to this one, and has performed at the BOZAR Brussels, Konzerthaus Berlin, and Concertgebouw A’dam. Brownridge has been compared to some of the legends, including Rachmaninov and Cherkasky. The New York Times called her “one of the world’s finest pianists” and a “true genius… Her performances were passionate, rhapsodic, and totally compelling. She is a marvelously exciting artist, and a wonderfully assertive pianist with a strong sense of musical structure.” For this release, Brownridge has chosen staples in the piano repertoire, Ludwig van Beethoven’s Piano Sonatas no.’s 3, 23, and 30. Her interpretation of no. 23, “Apassionata,” has garnered her critical accolades.

Classical Music

All four works on this disc rely on existing compositions, with titles that more or less specifically refer to this fact. In the case of Rachmaninov's Corelli Variations, it is the famous theme used by Corelli in his violin sonata La Follia which undergoes a radical pianistic treatment taking it through all the sonic and atmospheric possibilities offered by the instrument. With his celebrated transcription of Bach's Chaconne, Ferruccio Busoni had a very different aim, wanting to shed new light on the work without actually changing it. As he himself wrote, Bach taught him 'to recognize the truth that good, great and universal music remains the same, regardless of whatever means through which it resounds.' A virtuoso pianist, Busoni nonetheless had recourse to great skills in writing idiomatically for the instrument, and turned his transcription into a truly pianistic work. Ravel's collection of waltzes was composed as a nod to Schubert, who in 1823 had written two collections of waltzes, the Valses nobles and Valses sentimentales. In no way is it possible to call the work a pastiche, however - in it Ravel shows the range of his musical palette, in a manner that caused Debussy to call his ear 'the most refined that has ever existed'. Finally, Stravinsky's Three movements from Petrushka is the composer's arrangement of music from his own ballet, commissioned by Arthur Rubinstein. The origin of the music to Petrushka was in fact a sketched work for piano and orchestra, and the later arrangement was therefore to an extent a return to the original concept. The result is a virtuoso piece, in which an almost percussive approach to the instrument is combined with lightning-quick changes in atmosphere and sound. Freddy Kempf has previously recorded no less than ten highly acclaimed solo discs for BIS, of which the latest also contained a series of legendary piano works, namely Mussorgsky's Pictures, Ravel's Gaspard de la Nuit and Balakirev's Islamey - according to Gramophone's reviewer 'a formidable programme formidably played... This is "live" virtuosity with a vengeance, with absolutely no hint of a safety net.'

One of JS Bach’s most famous and loved masterpieces with the Portland Baroque Orchestra conducted by Monica Huggett. The double-CD package includes full texts and translations. (Avie)

"Completed in Wahnfried on November 21, 1874. I say nothing further!!” With these words written at the bottom of his Götterdämmerung score, Wagner thus finished his composition of the entire Ring Cycle. The Frankfurt Opera also concluded Vera Nemirova’s highly praised production of the work in January, thus raising the bar.

REVIEWS:

Tempos and forward-movement are well-judged…The characters play off one another, diction is close to flawless; we can hear the sarcasm in Hagen as well as the craziness in Alberich…

The quiet evil with which the second act begins…is about as creepy as anything I’ve ever heard, with the high strings nervously stuttering and the winds and brass roiling—not to mention those trills on the Wagner tubas as the scene changes! Wagner’s solos for winds are as suddenly noticeable as Mozart’s. You are never bombarded by sound save for the truly big moments: the end of the prologue, the scene with the vassals, Siegfried’s Funeral March, and the final cataclysm, making these moments all the more powerful.

The cast is worthy. Lance Ryan…remains a bright-voiced hero…both of his high Cs are amazing…in general he is in solid voice. He is very moving in his death scene, phrasing handsomely and with a quiet resignation that is unbeatable on recordings.

Susan Bullock continues the Cycle as Brünnhilde…Every word counts: her conviction in the Waltraute scene; her horror when a stranger breaks through the fire; her reaction to Siegfried’s entrance for the Wedding Scene…and a fine Immolation Scene…suffice it to say that as far as wedding the words and music, she’s second to none, and her enunciation is spotless.

Gregory Frank[’s]…voice is big and dark enough…and he has an audible sneer that can send chills down the spine. His hatred, jealousy, and cunning are omnipresent, and he’s a fine phony in the first act.

Jochen Schmeckenbecher’s Alberich is about as unnerving as any you will ever hear in his scene with Hagen. Anja Fidelia Ulrich is a good, alluring Gutrune. The three Norns are excellent (Mahnke is the second; Meredith Arwady is the first; and the deliciously-named Angel Blue is the third); the Rhinemaidens are very expressive…

The chorus…is another of this set’s glories. Along with Weigle’s non-intrusive, clear-as-a-bell story-telling and the stunning playing of the Frankfurt Opera, this set is a winner. It’s among the most committed sets around. The sonics are spectacular.

-- ClassicsToday (Robert Levine)

The latest release in hänssler CLASSIC's Historical SeriesNicolai Gedda was one of the most famous singers of the 20th centuryA valuable compilation of recordings of the great Nicolai Gedda from the SWR archives

Classical Music

Andreas Hakenberger spent his entire professional career within the territory of the Crown of the Kingdom of Poland, remaining for 20 years as chapel-master at the Lutheran Church of St. mary’s in Gdansk. Here he wrote his most outstanding works, a sequence of important motets written in cori spezzati, or polychoral technique. The rich tonal coloring obtained through the combinations of vocal parts is enhanced by the variety of the accompanying instrumentation. With astute use of imitation and rhetorical pauses, Hakenberger’s music emerges as richly colorful, graceful and vibrant. There have been very few recordings of the music of Andreas Hakenberger. This release offers by far the most of his music yet to be issued, and contains all of the 55 motets preserved in the Pelplin Tablature.

This release is the 10th in a unique collection of popular German songs, performed by Fritz Wunderlich, this album focusing on recordings from the 1950's and 60's. It is well known that Wunderlich was an exceptional singer, yet it never fails to surprise when hearing him singing works from different genres and discovering how he developed from his early performances to later in his career. This album focuses on the recordings which began his career and the sames repertoire which he later returned to with a more mature sound and approach. Both this release and all future volumes contain recordings that Wunderlich made for the company from which SWR grew. They are only available here.

William Mathias was one of the foremost British composers of the 20th century and one of the very few of his generation from Wales who established an international reputation. The lively Christmas sequences Ave Rex and Salvator Mundi contrast with the splendor and tenderness of the rarely-performed anthem An Admonition to Rulers. Also included are the joyful Wassail Carol, the popular organ solo Toccata Giocosa, and premiere recordings of All Thy Works Shall Praise Thee and The Lord's Prayer - respectively the composer's first and last choral works.

Romain Descharmes concludes his generally impressive cycle of Saint-Saëns piano concertos with this coupling of the formerly popular Fourth, and the increasingly popular Fifth. His performance of the Fourth, the composer’s most original work in the medium, is impressive. It’s a difficult work to pace; there’s a lot of slow music, and the thematic material is expressively pretty neutral. If the work is “about” anything, it’s a study in thematic metamorphosis and chromatic counterpoint versus diatonic harmony.

Descharmes and conductor Marc Soustrot understand the music well. The opening variations are nicely contrasted, the ensuing Andante attractive in its flow. The long finale effectively integrates the ongoing return of the main themes, with Descharmes weaving into and out of the instrumental textures smartly and sensitively. It’s an interpretation that consistently holds your attention, and rewards your patience.

The “Egyptian” Concerto isn’t quite as good. The outer movements are fine, especially the rollicking finale, but the long central movement could be more effectively shaped, its “orientalisms” indulged just that more characterfully. Still, as in the Fourth, the performance reveals a lot of meaningful detail, especially in the finale, and Descharmes isn’t afraid to take a step back and let other instrumental colors take center stage once in a while. Ultimately this complete set of the five piano concertos stands among the best out there, even if everyone will have favorite individual performances. This is an achievement of which everyone can be proud.

– ClassicsToday (David Hurwitz)

In 1904 Max Reger wrote what was to be the first in a major sequence of variations on themes by his great predecessors. The Variations and Fugue on a Theme by J.S. Bach was written for piano but its richness and virtuosity exceed the scope of the instrument. Ira Levin’s orchestration clarifies the structure, intensifies climaxes and reduces its length. The Four Tone Poems explore the paintings of the symbolist Arnold Bocklin and form symphonic mood pictures that veer from delicacy to Bacchanalian frenzy.

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REVIEW:

That this is a welcome release scarcely needs to be said: too often Reger is considered a significant composer for organ, but significant within that niche: a master of fugal writing, perhaps on the heavy teutonic side. But, of course, there has always been more to him than this. This Naxos release allows wider access to his works in commendable performances by a conductor evidently deeply sympathetic to his cause.

The Variations and Fugue on a Theme by J.S.Bach, Op.81 (1904) are an arrangement by Ira Levin of Reger’s work for piano. In 1904, Reger considered it his finest work to date, and it was enthusiastically greeted on first public performance. The theme comes from the aria ‘Seine Allmacht zu ergründen, wird sich kein Mensche finden’, originally a duet for tenor and contralto, with oboe, viola d’amore and continuo, from Cantata No. 128, Auf Christi Himmelfahrt allein. Reger had insisted that the pianist treat the theme ‘sweetly and always very legato—that is to say, like an oboe solo’. Levin’s arrangement catches that very well.

It should be noted that Levin does not merely rearrange for different instruments: he reconstructs the work in a valuable reimagining – tempo is slower, preferring 6/4 time to Reger’s more general 6/8. He omits four variations (6,7,11 and 12), and uses a broad variety of instrumentation, notably in percussion, though no instruments not found elsewhere in his works. The result has revealing clarity and a taut architecture, very enjoyable in its own terms. Orchestration brings out very sharply the relationship to the organ, especially in the opening variations, and perhaps even more to Reger’s reverence for Brahms: sonorities are frequently Brahmsian. Levin is absolutely true to the spirit of Reger and his special emotional world. If the letter is Reger is an issue, some will prefer the piano version: but there is more than enough room for both.

Four Tone Poems after Arnold Böcklin, Op.128 (1913) is Reger’s best-known orchestral work, inspired by the paintings of Böcklin, the 19th Century Swiss artist. These were symbolist pictures, with some abrupt changes of mood. Reger marks these shifts with subtlety. The overall mood is serious, but with many charms, notably in Der geigende Eremit (‘The Hermit Fiddler’) with its lovely violin solo, wonderfully captured by Klaudyna Schulze-Broniewska, the leader of the Brandenburgisches Staatsorchester.

Add the slightly romantic arrangement by Reger of O Mensch, bewein’ dein’ Sünde gross, BWV 622 to the mix, and we have a CD whose appeal should move far beyond Reger enthusiasts. This is a splendid introduction for those who have thought of Reger as too heavy for their tastes, and packed with insights for those who have come to love him.

– MusicWeb International (Michael Wilkinson)

REVIEW:

It's remarkable that this classic Christmas opera hasn't received more recordings, but one reason may be its relatively short length (45-50 minutes) and the fact that it's more about the story and its quickly-paced dramatic aspects than the singing--Menotti focuses primarily on dialogue and less on stand-alone arias (this was written for television after all!). But the ensemble nature of the score, the sensitively wrought interaction of the sympathetically drawn characters, the humor, and the poignant relationship of the poor, crippled shepherd boy and his mother, are what give the work its charm and make it so affecting. Not that there aren't many clever and catchy, very pleasing tunes and a couple of fine ensemble numbers and choruses. Menotti's music is just enough and just the right blend of old and newer style.

Although the original 1951 television production conducted by Thomas Schippers (RCA) retains a dramatic edge over this excellent and very welcome newcomer--not to mention a vocally more solid cast--conductor Alastair Willis and his colleagues present a fully satisfying performance that has the advantage of first-rate, modern sound.

My only criticisms concern the acting--there could be a little more use of dramatic pauses and inflective touches, especially at the shocking moment when Amahl discovers he can walk, or in the scene when the Page discovers the Mother and the gold, which here lack the full measure of dramatic force exemplified by Schippers' cast. However, we mostly enjoy the easy interaction of the characters, such as the very effective, poignant moment when the Mother discovers the Kings at the door, or in Amahl's engaging banter with the Kings. The chorus is also fine, as is the orchestra, whose particular colors and instrumental balances are so important to the proper effect of the performance. Ultimately this is a production of this classic work that will hold up to many years of repeat hearings--and it's a pleasure to have it in a recording that obviously relishes and successfully captures the ambience of its chamber-opera character.

--David Vernier, ClassicsToday.com

Listen to the Naxos Podcast to learn more about this release

Soustrot’s Saint-Saëns symphony cycle was quite good, and this new project looks to be similarly successful. For my money, the five piano concertos remain one of the most underrated groups of major works in the entire romantic repertoire. Yes, Nos. 2 and 4 get played more often than the rest, but there isn’t a dud in the bunch. It’s really only prejudice against the French aesthetic–the formal freedom, love of color, flash, and the dance–that prevents the music from getting the recognition that it deserves. That, and perhaps the fact that the melodious ease that informs all of Saint-Saëns’ writing makes a mockery of German pretensions to ownership of instrumental music in large forms.

These performances demonstrate a thoroughly “French” sensibility. Romain Descharmes savors the music’s charm and brilliance without indulging in excessive sentimentality. The First Concerto, with its surprising wiring for horns, has a breezy freshness that completely disarming. It’s played with joyful directness and a complete lack of affectation. I enjoy fast and dazzling versions of the Second Symphony, with its whirlwind finale, but Descharmes treats the piece with almost epicurean relish, nowhere more so than in this sassy, witty account of the central scherzo. There’s no lack of virtuosity, but also time to savor the music’s many harmonic delights.

Through it all, Soustrot accompanies with total confidence, and the sonics are terrific. A disc to savor.

– ClassicsToday (David Hurwitz)

This unique release contains live recordings taken in 1957 and 1958 from the broadcast concert series Eddie Sauter’s Music Time, during which Eddie Sauter was leader of the orchestra at the Sudwestfunk. Trumpeter and bandleader Eddie Sauter took over Kurt Edelhagen’s orchestra at the Sudwestfunk in 1957. This was his first time conducting a jazz Big Band without a co-leader. Eddie Sauter’s Music Time became a place for Sauter to experiment with his music. The programme recorded here shows a fantastic balance between standards, originals, and experiments.

I’m sorry to say it but these days my heart usually sinks when I receive a disc that includes Allegri’s Miserere. I’m sure it’s an irrational and unfair prejudice on my part but I find the piece repetitive and it’s definitely over-exposed on CD. However, there are two reasons for making an exception here and welcoming its inclusion on this new disc by the Vasari Singers. The first is that it’s very well sung. The second is that’s it’s an integral part of an especially well thought-out programme.

This is a programme of connections, one of which is the commissioning, by Harry Christophers and The Sixteen, of a setting of the Miserere by James MacMillan specifically to complement the Allegri setting. MacMillan succeeds brilliantly in fulfilling the request for his piece to be complementary and it’s very good to hear the two settings side by side, as here. Allegri uses three different choral strands in his setting: the full choir, plainchant verses sung by one or more male voices, and a distant semi-chorus. Some recent recordings I’ve heard opt to have the chanted passages sung by a lone male cantor and that works very well, providing extra contrast. Jeremy Backhouse adopts the more usual approach and has a group of men singing these verses: they do so with impressive unanimity. The semi-chorus is ideally distanced and very impressive they are. The top soprano ornaments some of the phrases. She does so tastefully and these decorations add variety. This is a very successful performance.

James MacMillan didn’t seek to replicate Allegri’s three-strand approach – wisely, I think; that would have risked pastiche. However, he does vary his choral textures most resourcefully during the setting. His piece is expertly imagined for the voices and the music is very responsive to the sentiments expressed in the text. I like very much the way that several times MacMillan writes passages that remind us of Allegri’s setting – yet he writes these sections without compromising his own compositional voice. This is a fine homage to the earlier setting and the Vasari Singers do it very well indeed.

The Allegri and MacMillan pieces are linked, albeit across the centuries. There’s a link also – and one that is much closer in time – between the pieces by Pizzetti and Malipiero that open the programme. They had been good friends but had fallen out – the fault lay with Pizzetti, it seems. In 1937 they patched up their quarrel and, as a gesture of reconciliation, they agreed both of them would write a setting of the De Profundis, each dedicating his piece to the other. Malipiero composed his eloquent setting for a solo baritone accompanied by viola and piano. In this performance an organ is used instead of a piano and, quite honestly, I find it hard to imagine that a piano would be preferable, given the nature of the music and the organ’s sustaining power. Here the baritone is Matthew Wood, a member of the Vasari Singers. He’s very impressive; his voice is well-focused and pleasing in tone and his diction is admirably clear. I enjoyed listening to him very much and the husky tone of Jon Thorne’s viola makes a very attractive addition to the texture. The other interesting feature of the accompaniment is an optional part for bass drum. It’s a very discreet part but Daniel Burges, a member of the choir, gauges the part perfectly so that it adds an unexpected colouring to the piece without intruding.

Pizzetti’s setting, for which he uses a shorter and somewhat different version of the text, is for seven-part unaccompanied choir. It’s very beautiful and Jeremy Backhouse and his singers do it full justice. We should divert for a moment from Pizzetti’s music to consider the small piece by Puccini, which I don’t recall hearing before. It was composed in 1905 to mark the fourth anniversary of the death of Verdi. It’s for chorus accompanied by viola and organ. The viola adds a plangent tone to the texture, which is most effective. It’s a short and largely unassuming piece and, in a programme of links, it merits its place because the second time the piece was heard was at a 1924 memorial service for Puccini at which Pizzetti delivered the eulogy.

It’s Pizzetti who provides the most substantial work on this disc in the shape of his 1922 Requiem for unaccompanied choir. This very beautiful piece is something of a rarity in performance though it’s been recorded at least once before. That recording is a superb Hyperion version by the Choir of Westminster Cathedral and James O’Donnell, made as long ago as 1997 (CDA67017). I don’t see that Hyperion disc as a competitor to this new Naxos recording; rather, the two CDs are complementary. One reason is that the programmes differ: The Westminster Choir, who also include Pizzetti’s De Profundis, offer music by Frank Martin as the remainder of their programme. The other, more important factor is that the two choirs offer very different – and equally valid – listening experiences. The Westminster choir is all-male with trebles on the top-line and they’re recorded in the spacious acoustic of Westminster Cathedral. So by listening to them and to the Vasari Singers we can get two nicely contrasting views of Pizzetti’s eloquent Requiem.

There is a pronounced flavour of plainchant in the music and that’s evident right from the start of the Introit. From the basses’ chant-like opening phrases the music soon flowers into lovely polyphony, which is beautifully sung here, the sopranos radiant. There’s a full setting of the Dies Irae and the tone of a lot of the music may come as a surprise. The opening, which is again chant-inspired, is very subdued, basses and altos singing the text while the tenors and sopranos float wordless melismas over the melody. These melismatic phrases recur several times during this movement, which is by some distance the longest in the work. There are several impassioned outbursts when the words justify such treatment but the prevailing mood is that of a prayer for forgiveness. The concluding lines, ‘Pie Jesu Domine, dona eis requiem. Amen’, are set to the most gentle music imaginable. This deeply affecting though brief passage is tenderly sung.

Pizzetti divides his choir into three four-part groups - one female, two male - for the Sanctus. This is memorable, the complex textures creating a ‘buzz’ of sound. The ‘Hosannas’ are ecstatic. The music for the Agnus Dei is texturally much simpler; it’s a gently prayerful setting which the Vasaris sing with great sensitivity. Unlike, say, Fauré or Duruflé, Pizzetti chooses to end not with a setting of In Paradisum but with Libera me. This predominantly dark text is marked to be sung ‘with profound fervour’. This is troubled, unsettled music though there is a serenely beautiful passage at the words ‘Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.’ The very end of the work sets words about God judging the world by fire; a far cry, indeed, from the vision of the angels leading the departed soul into Paradise with which a number of Requiems conclude.

Pizzetti’s Requiem is a work of great beauty and sincerity and it deserves to be far better known than it is. This sensitive and expertly sung performance by the Vasari Singers can only help its cause.

Over the years I’ve heard quite a number of recordings by this choir and I’ve been consistently impressed. However, I fancy this disc may be just about the best thing they’ve ever done. A thoughtfully conceived and interesting programme has been flawlessly executed. The singing not only gives consistent pleasure but also prompts admiration. The recording has been produced by Adrian Peacock and engineered by Will Brown; they have achieved excellent results. Finally, Brenda Moore’s notes are very good indeed. I hope it will not be long before the next Vasari Singers disc and in the meantime I urge you to try this one, especially if you don’t know the Pizzetti Requiem – or even if you do.

– John Quinn, MusicWeb International

“A Riveting Piano Recital” (The New York Times, 2017) David Greilsammer’s new album venture, Labyrinth, is a project that he has been developing since 2017 in a number of concerts given in New York, at the Ravinia Festival, Illinois, in Lancaster and Sheffield, and at the Flagey in Brussels. The fascinated listener can follow this trail here, while keeping hold of the thread and following the light, encountering composers both well and less well known, from every period and style, with whole works and ephemeral fragments cunningly interwoven. While reconnoitering music by Beethoven, Janácek, Satie and Bach, we also have the surprise of a first world performance of Repetition Blindness by Ofer Pelz – specially commissioned for the program – and of a piano arrangement by Jonathan Keren of Chaos by Jean-Féry Rebel (also a first performance) as well as George Crumb’s mesmeric Magic Circle of Infinity.

Spark plays Baroque music. That sounds simple, but is in fact highly complex. That's because when an ensemble like Spark approaches a past era, that can only come about with a fresh new perspective, bold reorientation and lots of delight in experimentation. It is not for nothing that the ECHO Klassik prizewinning formation enjoys a reputation for blending the old and the new, tradition and innovation, the familiar and the unheard-of in a unique manner. Consequently, on their upcoming release "BE BAROQUE" the five exceptional musicians are not interested in simply arranging Baroque works for their formation. On the contrary: in their new arrangements they aim to highlight new aspects, intensify moods and awaken unforeseen associations. Baroque manners are assimilated, spun and transformed into the musical language of the 21st century. Based on a number of masterworks by Bach, Vivaldi, Handel and others, Spark creates its very own Baroque tableau whose color spectrum ranges from almost true-to-the-original reproduction through to a completely new composition.