This album pays homage to the guitar. While the casual listener may recognize many of these works as favorites from the guitar canon, the majority of the repertoire wasn’t originally written for the instrument.

Only the Sor and the Brouwer were originally guitar compositions. The other works started life in a different form, and stand testament to the strength and versatility of the guitar to not only play such a diverse range of repertoire, but to truly embrace it. With its polyphonic capabilities and roots in popular music around the world, the guitar is singularly capable of such a traverse of styles. This album is not, as the title may imply, a collection of the most beloved or greatest hits from the classical guitar repertoire, but instead a demonstration of the power and ability of the guitar to perform and assume ownership of such beloved repertoire.

New York-based Australian classical guitarist Rupert Boyd has been described by The Washington Post as “truly evocative”, by Gramophone as a “fine guitarist”, and by Classical Guitar Magazine as “a player who deserves to be heard”. He has performed across four continents, from New York’s Carnegie Hall, to festivals in Europe, China, India, Nepal, the Philippines, New Zealand and Australia. Active as both a soloist and chamber musician, Rupert Boyd regularly performs throughout the world in Boyd Meets Girl, with cellist Laura Metcalf, and as part of the Australian Guitar Duo with guitarist Jacob Cordover.

REVIEWS:

The sheer versatility of this instrument comes to the fore in a really eclectic selection, which traverses centuries of music from Bach to The Beatles in a sunny 60 minutes.

– BBC Music Magazine

Boyd is a very fine musician. His sense of line is beautifully showcased in Bach’s Suite, while his rhythmic acuity enlivens from the onset of Jobim’s Felicidade, performed here in Roland Dyens’s masterly arrangement. The final item, Boyd’s own technically assured arrangement of John Lennon’s ‘Julia’, makes for a quiet, slightly downbeat encore.

– Gramophone

Béla Bartók’s formative years as a composer in Budapest were stimulated by fashionable musical salons hosted by the wealthy Emma Gruber (later Zoltán Kodály’s wife). His landmark Rhapsody, Op.1is dedicated to Gruber, while the earlier Variations are a romantic homage to his talented colleague Felicie Fábián, composer of the theme. The virtuoso Etudes focus on hand flexibility for pianists –the pieces For Children are based on Hungarian and Slovak peasant songs partly collected by Bartók. These revelatory sounds caused Bartók to change his approach to composing. He likened the arranging of a peas-ant melody to ‘the mounting of a jewel’, producing extremely effective miniature masterpieces of graceful perfection.

Classical Music

This selection of Armenian piano music reflects the national characteristics, influences and technical developments of its composers over a 70-year period. The colourful dance element spiced with Armenian modes that is so distinctive is contrasted by Tigran Mansurian’s courageous avant-garde Three Pieces from 1971. The Armenian ‘Mighty Handful’ are represented by quintessential works by Mirzoian and Sarian, while several world première recordings expand an appreciation of the national style’s variety and versatility with music couched in ethereal depth and lyric virtuosity. HAYK MELIKYAN is recognised internationally by classical music audiences and critics alike as one of Armenia’s most versatile and imaginative musicians and among today’s most engaging virtuoso pianists. He studied at the Komitas State Conservatory of Yerevan and leads an active concert life. Melikyan is a laureate of numerous international piano competitions, including the Orléans Concours International and the IBLA Grand Prize. In 2013, he received the title of Honored Artist of the Republic of Armenia. His solo album Arutiunian: Complete Piano Works (GP718) received The Best Classical Album prize at the annual 2018 Swallow Music Awards in Armenia. Hayk Melikyan has given premières of numerous works by contemporary composers and a number of pieces have been specially written for him.

The fifth Naxos recording of works by Kenneth Fuchs with the London Symphony Orchestra, conducted by JoAnn Falletta, won the Grammy Award in 2018 for Best Classical Compendium. This new album reveals his mastery of the band medium and features the exceptional United States Coast Guard Band, in definitive performances of seven works for symphonic winds by one of America’s leading composers. Kenneth Fuchs is one of America’s leading composers, and has written music for orchestra, band, voice, chorus, and various chamber ensembles. This release features the alto saxophone concerto Rush, in its version with wind ensemble, presented by soloist Greg Case, who is co-principal saxophonist of the United States Coast Guard Band and has been a member since 1997.

This first volume of Brahms’ complete songs spans a period of nearly 25 years. A prolific composer of Lieder, Brahms’ adherence to traditional form was accompanied by a modern approach to compositional style. Thematically, most songs explore ideas of love, loneliness and solitude, perfectly exemplified by the Vier Gesänge, Op.43. In a similar way the Sechs Lieder, Op.86 share a common theme of a farewell to life. This volume contains some of his greatest songs, including Die Mainacht, as well as little-known jewels such as Versunken.

Classical Music

TOUR D'AFRIQUE

Distinguished international pianist Jorge Federico Osorio brings his flair for French music to works of the Baroque, Romantic, and early 20th century eras by Jean-Philippe Rameau, Emmanuel Chabrier, Gabriel Fauré, Claude Debussy, and Maurice Ravel. Fittingly, Osorio opens The French Album with Fauré’s exquisite Pavane and concludes with the ever-popular Pavane pour une enfante défunte by Fauré’s student, Ravel. The Mexican-born, European-trained pianist offers eight of Debussy’s pictorial Préludes, each with its unique sound world, including the mystical La Cathédrale engloutie, one of the most stunning pieces ever composed for piano. Another audience favorite is Debussy’s evocative Claire de lune from his Suite bergamasque. Providing contrast, Rameau’s whimsical Les Tricotets conjures the back-and-forth motion of knitting needles. A set of Spanish-flavored works include Chabrier’s Cuban-inspired Habanera; Debussy’s lively La Puerta del Vino, depicting sailors carousing and enjoying their wine, and La soirée dans Grenade, where the piano imitates the sound of a guitar; and Ravel’s Alborado del gracioso, brimming with Iberian rhythms.

REVIEW:

What appears to be a hodgepodge of French pieces actually emerges as a carefully crafted program. Pianist Jorge Federico Osorio begins with Fauré’s famous Pavane, where his elegant phrasing and fluid “walking” tempo assiduously segue into a well-contrasted Debussy group. He brings a strong rhythmic profile and dry-point clarity to works dominated by rapid passagework such as Les collines d’Anacapri, Ce qu’a vu le vent d’Ouest, and Feux d’artifice, as well as Ravel’s Alborada del gracioso.

While Osorio certainly embraces the sensual undercurrents in Clair de lune, Voiles, Feuilles mortes, and La cathédrale engloutie, the climaxes have plenty of backbone. The pianist similarly integrates curvaceous lilt and unsentimental grit in Chabrier’s Habanera and Debussy’s habanera-like La Puerta del Vino and La soirée dans Grenade. Three selections from Rameau’s G major Suite stand out for Osorio’s care over ornaments, although his slightly heavy way with the final selection, Ravel’s Pavane, misses the animation and flexibility of the old Gieseking and Casadesus recordings. All told, an enjoyable and well-put-together recital.

– ClassicsToday.com (Jed Distler)

Classical Music

Vincent Persichetti's organ music holds an important place in 20th-century repertoire. Steeped in tradition and yet open to the currents of modernity, he developed a thoroughly distinctive musical language. The selections from his Hymns and Responses for the Church Year, Op. 68explore traditional form with a refreshing harmonic palette, while the Dryden Liturgical Suite contrasts meditative elements with virtuoso bravura. Persichetti's most extensive organ piece, the Auden Variations, is supremely contrapuntal and accomplished, whereas the Sonata for Organ, though convention-ally structured, daringly explores free tonality.

Hailed as an “epic traversal of solo violin repertoire” and a “monumental achievement” (Chicago Tribune), American violinist Jennifer Koh’s complete Bach & Beyond recordings, pairing J.S. Bach’s violin sonatas and partitas with 20th- and 21st-century works inspired by Bach’s groundbreaking masterpieces, are now available in a convenient, economical boxed set offering all three albums for the price of two. Bach & Beyond Part 1 features Koh’s “alluring performances” (The New York Times) of Bach’s Partitas Nos. 2 and 3, Eugène Ysaÿe’s Sonata No. 2, Kaija Saariaho’s Nocturne, and the world-premiere recording of Missy Mazzoli’s Dissolve, O My Heart, commissioned for Koh by the Los Angeles Philharmonic. The Newark Star-Ledger cited the violinist’s “distinctive voice over a range of styles.” Toronto’s The Whole Note said of Bach & Beyond Part 2, “Koh, as always, is superb, her intelligence and interpretation always matching her outstanding technique” in Bach’s Sonata No. 1 and Partita No. 1, Bela Bartok’s Sonata for Solo Violin Sz. 117, BB 124, and Saariaho’s Frises. Koh’s Bach & Beyond Part 3 earned BBC Music Magazine’s and ClassicsToday.com’s highest ratings for performance and recording quality. The Strad admired Koh’s “eloquent, artful, yet unadorned playing” in Bach’s Sonatas Nos. 2 and 3, Luciano Berio’s Sequenza VIII, and the world-premiere recording of John Harbison’s For Violin Alone, written for Koh. AllMusic said, “Koh’s series is highly recommended to those in search of an experience that will reward repeated hearings.” Audiophile Audition called it a “remarkable three-disc effort, recommended to all with a good degree of urgency.”

Excerpts of reviews from previously released volumes included in this set:

Bach & Beyond, Part 1

Koh makes short work of the Bach pieces—not in a bad sense: she just nails these works with a confident technique and a free-flowing, un-mannered style that remains true to Bach yet reminds us that a modern violinist is at the helm. Although ostensibly “modern”, the works by Saariaho and Mazzoli still incorporate time-honored traditions of solo-violin writing and don’t stray into what some might call “experimental” territory. These are both very ingratiating and accessible works to anyone who appreciates interesting, involving, intelligently written new violin music.

– ClassicsToday.com (10/10)

Bach & Beyond, Part 2

Koh’s Bach is amazing as usual–so fluid and delivered with such a sensitively nuanced, confident authority. A personality emerges: is it Koh? is it Bach? It’s either or both, but ultimately, who cares? This is exceptional Bach playing. Throughout, Koh is in command, from the dazzling explications of the Bartók Fuga and Presto movements, to the sometimes frighteningly audacious dynamic and timbral assertions of the Saariaho.

– ClassicsToday.com (10/10)

Suddeutsche Orgelmeister, Vol. 4

Lullabies for Mila is dedicated to Alessio Bax’s daughter, Mila. The album begins with a moving dedication: “This album is not only a carefully curated playlist of soothing classics to calm a baby and perhaps make him or her fall asleep quicker. It is also a gift from parents to their children, with the hope that they will share music with their loved ones, not just to entertain them but also to enrich their lives.”; This disc compiles works from Bax’s past Signum albums, including performances with Southbank Sinfonia and Lucille Chung. It also contains a new recording of the Grieg’s Nocturne from his Lyric Pieces.; Alessio Bax is a celebrated and award-winning pianist. Gramophone says “His playing quivers with an almost hypnotic intensity,” and the Dallas Morning News calls it “an out of body experience.” He has performed as a soloist with over 100 orchestras.

Classical Music

Vocal Recital: Wunderlich, Fritz - SCHUMANN, R. / SCHUBERT,

The recording project Northscapes weaves works-from the first decades of the twenty-first century by composers from the Nordic and Baltic countries of Europe-into a tapestry of soundscapes, vibrating between landscape and the imagination, between the external and internal, between nature and psyche. What these works for piano solo share is a particular attunement to nature, reverberating out of the ever-present reservoir of pagan myths, legends, and folk music of the region. Their sensitivity to the sonic environment allows these composers to explore the liminal space dividing yet connecting landscape, soundscape, and mindscape.

More than mere musical "representations" of the striking natural landscapes of the North, each work, in it's own way, attempts to transform the natural world into a sonic landscape, a mindscape, into imaginary geographies. More than simply pastoral nostalgia, these sonic meditations on nature reach beyond the physical to the spiritual, probing the limit dividing the objective and subjective. Whether it is vast cosmic space or the intimate, interiority of the expressive voice, these works harness the power of music to probe the emotional contours of the tension between world and mind.

Haunted by landscapes colored by memory, fantasy, dreams, decay and infused with emotion, this music shifts consciousness through a transformational synthesis of landscape, soundscape, and mindscape - a shift from imaginary soundscapes to soundscapes of the imagination. In the hands of Lithuanian pianist Ieva Jokubaviciute, Northscapes is a sonic Aurora Borealis, Northern Lights of the ear and mind. -- Christopher Zimmerman

REVIEWS:

A superb recital disc from a quite exceptionally talented pianist…I was consistently won over by the fabulous talents of Jokubaviciute. The representative of her agency described her in an email introducing this recording as “one hell of a pianist”. For once, such a comment is an understatement!

-- MusicWeb International

This fascinating, unusual and at times enthralling selection is performed with a great balance of precision, understanding and respect. Importantly for a program in which textural considerations are central, Northscapes is beautifully recorded with warmth, plenty of space and no brassiness in the upper registers.

-- Limelight

It is a fascinating, well-balanced programme, played with engrossingly undemonstrative virtuosity…Jokubaviciute navigates the contrasting demands of each work with hugely impressive skill and Sono Luminus’s sound is superb. This is an enthralling programme from the northern world that no listener wary of contemporary music need be fearful of (Vasks’s nostalgically evocative score, for instance), though demands are sometimes made of their ears. Recommended.

-- Gramophone

The five compositions on this album are inspired by the lives and works of five women from history. Carlotta Ferrari (b.1975) has composed numerous pieces inspired by historical figures as well as pieces inspired by literature and works of art. Several of these directions are brought together in the five compositions on this album, which celebrate three religious figures, an artist, and a writer. In Ferrari's distinctive modal style, she creates expressive musical portraits of these women. The first four works on this album all employ the "Restarting Pitch Space" (RPS) system of modal harmony. First developed by Carson Cooman in 2005, Carlotta Ferrari has worked extensively with this system in many compositions written since 2016. Carson Cooman (b.1982) is an American composer with a catalog of hundreds of works in many forms-ranging from solo instrumental pieces to operas, and from orchestral works to hymn tunes. His music has been performed on all six inhabited continents. As an active concert organist, Cooman specializes in the performance of contemporary music. Over 300 new works have been composed for him by composers from around the world, and his organ performances can be heard on a number of recordings of which this is his fourth for Divine Art. This recording of the wonderful main organ of Laurenskerk, Rotterdam, Netherlands (Marcussen & Son) was made using the Hauptwerk remote digital access system.

Korngold’s music for Shakespeare’s comedy Much Ado about Nothing, premiered in Vienna in 1920, enjoyed instant success and soon spread around the world. But the music has not been heard as Korngold intended since the 1st production. For this recording, made in conjunction with a staged US premiere, Korngold’s complete score was reconstructed from the original Viennese materials and is played here by the chamber-orchestral forces for which it was written.

REVIEW:

This is indeed a worthy and welcome addition to the Korngold discography. At long last we have a further complete performance of the composer’s delightful incidental music to Shakespeare’s comedy. It joins the sequence recorded by Ondine with John Storgards conducting. The music was first performed in Vienna’s Schönbrunn Palace when Korngold was just 21. It was very successful and the composer would later go on to adapt the music for various chamber ensembles and as an orchestral suite. Now we have the music as it was performed at Schönbrunn together with choice dramatic overlays including Balthasar’s Song, ‘Sigh no more, ladies, sigh no more; Men were deceivers ever’, Beatrice’s soliloquy as she yields to love, and the two sets of lovers’ happy uniting in the final wedding scene.

The orchestra is the same size and specification as that at Schönbrunn with a string quartet rather than a string section so that proper balances with all the other instruments can be assured. With the string quartet are: solo flute/piccolo, oboe, clarinet, bassoon, trumpet and trombone with two horns, a piano, harmonium, harp and three percussionists plus solo timpanist. The original parts were available so that each player could replicate the bowings and articulations used in Vienna. Furthermore, all the composer’s own recordings of the work were made available too, so questions of tempo and portamento could be addressed. Conductor John Mauceri was a very apt choice for he has had much experience conducting Korngold and is a stalwart champion of film music, an asset that might well be regarded as not being far removed from the spirit of this work – in fact the March of the Watch could be considered a pre-echo of Korngold’s Sherwood Forest scenes from his The Adventures of Robin Hood. Mauceri also contributes the erudite notes for this album.

Korngold’s conception works very well in his chosen ensemble. It points up the comedy and irony such as that in March of the Watch and in the dreamy romanticism of the Garden Music. All those intimate glistening string-harp-and-harmonium figures, and rippling piano arpeggios, suggest birdsong and flowers nodding in zephyr breezes. It’s all in gentle romantic waltz time, plus the contrastingly intense almost Mahlerian Funeral Music. Although I would have thought it unnecessary, five of the pieces that have dialogue are repeated again in purely instrumental dress.

There have been a number of recordings of Korngold’s purely orchestral suite from Much Ado About Nothing. Of these I would unhesitatingly recommend Caspar Richter’s 2002 reading originally released on CD DCA 1131. This is not only because it included, for the first time, the enchanting Garden Music but also for the other items on this album which had great appeal especially Korngold’s divine Abschiedlieder Songs  (Songs of Farewell). A delight for committed Korngold fans.

-- MusicWeb International (Aan Lace)

She’Koyokh, award-winning klezmer and Balkan music ensemble, present vibrant and exhilarating music, straight from London’s melting pot: soulful Eastern European Jewish, Balkan, Turkish and Gypsy music. Performing “the best klezmer & Balkan music in Britain” (Evening Standard), She’Koyokh have spent fifteen years absorbing the rich folk music traditions of Eastern & Southern Europe and Turkey. The band’s evolution spans the origins of busking at East London’s Columbia Rd Flower Market to performing at WOMAD and Sziget festivals, recording live for BBC radio, and playing venues from the Southbank Centre to Amsterdam’s Concertgebouw. Masters of the genre, She’Koyokh’s repertoire includes Bulgarian oros, Serbian kolos, Bosnian love songs, ballads from the mountains of southwest Turkey, as well as rip-roaring klezmer music.