Shakespeare’s All’s Well That Ends Well centers on the tale of Helena’s quest to marry the man she loves, the rather unimpressed Bertram, who initially refuses her due to her lack of social standing. Aided by fellow conspirator Diana, Helena devises a fail-safe scheme to ensnare her man. The production, directed by John Dove, stars Sam Crane and Ellie Piercey as Bertram and Helena, and includes performances by James Garnon as troublemaker Parolles and Janie Dee as Bertram’s interfering mother, the Countess of Roussillon. With lavish staging and costume, the production is a triumph that, according to The Independent, ‘leaves the audience reeling with happiness by the end.’

Reviews

"With so much to praise, it is hard to prioritise, but here goes..." (The Independent)

"This is a good, clear, well-spoken production by John Dove of one of Shakespeare's most beguiling but least-loved plays." (The Guardian)

George Walker is one of the few leading American composers of the 20th century to produce as many as five piano sonatas. Taken together, they securely chart a lifetime of stylistic change. Walker managed many other feats, a number of them connected to being the first Black person to break through various glass ceilings: the first to be accepted at the Curtis Institute of Music, the first to study with Nadia Boulanger, and the first to win the Pulitzer Prize in Music. Walker is also one of the only major composer-pianists to have recorded worthy performances of virtuoso standard repertoire including Beethoven’s “Emperor Concerto” and the Brahms second piano concerto.

REVIEW:

"This beautifully played (and beautifully recorded) set of George Walker's piano sonatas by pianist Steven Beck is especially valuable. The sonatas trace Walker's development as a composer, from a sort of post-Copland style through an approach to serialism (he only rarely adopted it wholesale, but the mark of Webernian economy is all over the second and third sonatas here), back to a broader free atonality deepened by rigor."

Walker generally resisted the use of African American vernacular material in his essentially modernist style, but he might then introduce it when it is least expected, in entirely original ways. Anyone interested in this giant of African American classical music but not knowing where to start could easily choose this release."

--AllMusicGuide.com (James Manheim)

There is a strong tradition of American piano sonatas. Off the top of my head I can think of examples by Ives, Copland, Barber, Sessions and Carter and there are, no doubt, others. To these we can add the five sonatas of George Walker, an impressive contribution to the medium, which fit neatly onto one disc.

I had not heard of George Walker until a few months ago, when he was composer of the week in the BBC Radio 3 series. I was impressed by what I heard and so was glad of this opporunity to hear these sonatas. He had a long and successful career in the USA, despite the difficulties caused by his being African-American. He always intended a life in classical music, which I note as some African-American musicians, despite being classically trained, gravitate towards jazz. There are occasional jazz references and references to spirituals and folk songs in his works, but no more than one might expect in any other American composer, Copland for example.

Despite these sonatas being composed over a period of fifty years, they have more in common than what sets any of them apart. Walker has a fondness for sinewy counterpoint and somewhat angular harmonies, rather in the Hindemith way. He also likes strong single lines and chord sequences. His idiom is clearly twentieth century but is not particularly dissonant, and he likes a good deal of rhythmic vitality.

The first two sonatas, the closest together in time, have much in common. The fondness for counterpoint and for variation form is common to them. However, the first is consistently more playful, even jaunty, while the second conveys a sense of disaster being just round the corner. The second is also the more compact, despite being in four movements rather than three, and its Scherzo is only one minute and twelve seconds long.

The third sonata has two brief movements before a longer one and here we find a new riuchness of harmonic vocabulary, even suggesting Scriabin at one point. The second movement, titled Bell, is simply a succession of slow chords. The finale features constant changes of mood and texture.

The fourth sonata, in two movements only, is more angular than the earlier works. there are many ideas, among which leaping single lines, bell-like chorales and a fugal toccata are noteworthy.

The fifth sonata is in one movement only and is a formidable work, tightly wrought and intense. Perhaps it is the finest of the five.

Steven Beck is a contemporary music specialist and offers committed performances. The recording is excellent. Walker’s music is well worth getting to know.

--MusicWeb International (Stephen Barber)

Doctor Faustus is Christopher Marlowe’s most renowned and controversial work. Famous for being the first dramatized version of the Faustus tale, the play depicts the sinister aftermath of Faustus’s decision to sell his soul to the Devil’s henchman in exchange for power and knowledge. In the first-ever staging of this menacing drama at the Globe Theatre, Matthew Dunster’s production features Paul Hilton as the arrogant, power-hungry Faustus and Arthur Darvill as the sardonic Mephistopheles, and includes several impressive magical stunts along the way.

Review

"A triumph of spine-tingling spectacle. Director Matthew Dunster conjures in a way that would delight the Prince of Darkness himself." (The Spectator)

With his tango nuevo, Astor Piazzolla has been welcomed into the world of classical music in a way that no other ‘non-classical’ composer has experienced. His music is played in concert halls around the world, and has been arranged for the most varied forces: symphony orchestra, string quartet, brass ensemble, mandolin orchestra, harpsichord… Taking their name from Piazzolla’s Escualo (‘Shark’), written in 1979 for his Quinteto Tango Nuevo, the five musicians that make up ESCUALO5 have a different approach, replicating the formation that Piazzolla performed with for much of his career: bandoneon, violin, piano, guitar and double bass.

The aim isn’t to recreate Piazzolla’s own performances, however – based in Munich but hailing from respectively Brazil, Germany, Greece and Belarus, the members are soloists in their own right, bringing their individual talents as improvisers and arrangers to the recordings. The program that ESCUALO5 have devised for their first album includes some much-loved as well as less familiar pieces for the quintet setup – Primavera Porteña, Soledad, Adiós Nonino, Fracanapa – as well as arrangements of Tango Suite and Histoire du Tango, originally for two guitars and flute and guitar, respectively.

REVIEWS:

Several of the pieces are arranged for new combinations, the Tango Suite for guitar and piano, and the Histoire du Tango, the masterful tracing of tango styles since 1900, for accordion, guitar, and double bass. The biggest thing is that without violating Piazzolla's musical texts, the group brings to his music a new and intense spirit. It is as if, having been established as part of the classical canon, Piazzolla's music is now subject to what has been called the chain of interpretation. It's a tremendously exciting release, consisting of Piazzolla standards like the Primavera Porteña from the Cuatro Estaciones Porteñas and lesser-known pieces like Fracanapa; Escualo5 adds something new to every single one, and the album will appeal to heavy Piazzolla collectors and newbies alike.

-- AllMusic.com

The release of a new recording of music by Piazzolla is, in my opinion, always a very welcome occurrence. Here we have passionate performances from the ensemble Esucalo5 which consists of violin, accorion, guitar, piano and double bass. Alongside the more familiar and extensive Tango Suite and Histoire du Tango is another longer piece Contrabajisimo (unknown to me) and a number of shorter pieces. A lovely production.

-- Lark Reviews

In 2019, when Alexandre Kantorow, at the age of 22, became the first French pianist to win the Gold Medal at the Tchaikovsky competition, his program included no less than three works by Johannes Brahms. Two of these, Piano Sonata No. 2 and the Rhapsody in B minor, he went on to record for release on his previous, highly praised recital disc, which was awarded distinctions such as Gramophone’s Editor’s Choice, Diapason d’Or, and Choc de Classica. The Brahms interpretations won Kantorow particular praise – the Guardian (UK) described them as ‘magisterial’ while the website ResMusica placed his sonata ‘among the great reference recordings of the piece – if not the modern one.’ There is much to look forward to, then, when Kantorow releases an all-Brahms album with a playing time of no less than 85 minutes.

He opens with music by a composer of a similar age as himself: Brahms wrote the Four Ballades in 1854 while only 21 years old, taking up a fashionable genre introduced by Chopin as late as 1840. The set is followed by the even earlier Sonata No. 3 in E minor which forms the center of the program. The sonata is of almost symphonic dimensions and it was indeed, along with its predecessors, famously described as a disguised symphony by no one less than Robert Schumann. To bring this stormy, impassioned album to a close, Kantorow has chosen a later, and contrasting work: With a lifelong admiration for Bach, Brahms in 1879 made a piano arrangement, for the left hand alone, of the iconic Chaconne from Partita No. 2 for solo violin – a composition that Brahms himself described as ‘a whole world of the deepest thoughts and most powerful impressions’.

REVIEW:

When he made this recording in 2020, Kantorow was just a couple years older than the 20-year-old Brahms who composed the Piano Sonata No. 3. He finds a youthful quality in the sonata and the Ballades that nobody else has quite touched on. Kantorow's Ballades are mysterious, with ghostly quiet passages and mighty climaxes -- again, not what one thinks of usually for Brahms, but again carefully constructed. Only in the Bach arrangement does Kantorow falter a bit. However, he takes chances, and this is all to the good. If one needed any more evidence that Kantorow is a young pianist to watch, it is here in abundance.

-- AllMusic.com (James Manheim)

GRAMMY®-nominated conductor and composer Benedict Sheehan leads The Saint Tikhon Choir in his new setting of the Eastern Orthodox Vespers in English. Inspired by the great All-Night Vigil setting by Rachmaninoff, Sheehan’s composition expands the genre with full settings of Psalms. Each verse is treated with deep musical pathos to express a full range of human emotion. Vespers also features virtuosic vocal solos, including the first for basso profundo in English. Soloists include Fotina Naumenko, soprano; Helen Karloski, mezzo-soprano; Timothy Parsons, countertenor; Paul D’Arcy, tenor; Jamal Sarikoki and Michael Hawes, baritones; Jason Thoms, bass; and Glenn Miller, basso profundo.

Encounter this music that projects a vision of hope and light for all. The Saint Tikhon Choir was founded in 2015 by Benedict Sheehan, the group’s artistic director, and Abbot Sergius of St. Tikhon’s Monastery. It is the first professional vocal ensemble connected with an Orthodox monastery in America, founded with a mission to foster and build up the American Orthodox choral tradition at the highest artistic level.

We now once again can continue our comprehensive and successful Röntgen Edition with a new production containing two albums dedicated to his last symphonies. These works once again demonstrating that Röntgen was the most highly imaginative composer in Holland during the second half of the nineteenth century. Julius Röntgen composed his Symphony no. 12 in C major (“In Babylone”) in 1930, along with eight further symphonies. Seven of these works are laid out in a single movement and last from ten to 15 minutes. The actual main theme of Symphony no. 12 is only heard at the end in the plein jeu of the organ. At the beginning of 1930 Julius Röntgen was awarded an honorary doctorate from the University of Edin‑burgh. The degree was proposed by Professor Donald Francis Tovey, with whom he had already developed a friendship by 1910. Tovey considered Röntgen the last link in a chain proceeding from Beethoven, Schubert and Brahms, a man capable of telling and teaching us of these 19th‑century titans. Röntgen was so surprised and delighted at the prospect of this tribute that he immediately set out to compose his Seventh Symphony in F minor, the “Edinburgh” Symphony. Following the model of Joseph Haydn and his “Oxford” Symphony, he intended to present it to the university’s senate at the awards ceremony. Röntgen celebrated the Christmas season and New Year’s Day with the newly married couple in Winterthur, where his newest – and last – symphony originated in 1930. Symphony no. 14 in D major (“Winterthur”) makes do with a small amount of material. The horns enter on natural harmonics in D major, seemingly emerging directly from the Alpine scenery.

Wim Statius Muller, who came to be known as “the Chopin of Curaçao,” spent just over 30 years in various security and counter-espionage organizations! Although for the most part Wim Statius Muller’s music is based on folk dance rhythms, it is nevertheless garbed in the fine attire of concert music, with the waltzes and other dance tunes. The extraordinary musician Louise Bessette offers on this new album all 22 pieces from the Antillean Dances collection and gives these dances the “royal treatment,” offering precise and exceptionally clear performances.

The present release is the most comprehensive Bruckner Symphonies cycle, including all 19 available versions. Anton Bruckner burst out of the confines of the cathedral using that most secular of musical forms, the symphony. The creator of some of the 19th century’s greatest orchestral music, Bruckner cut a singular figure among his contemporaries. This new complete Bruckner Symphonies edition from Capriccio reassesses these enduringly enigmatic and complex works. Presented by the Bruckner Orchestra Linz and the ORF Vienna Radio Symphony Orchestra, and featuring all 19 available versions, the cycle is scheduled for completion in 2024, Bruckner’s 200th birthday. The second release, of Symphony No. 8 (1890 version) is performed by Bruckner Orchestra Linz conducted by Markus Poschner.

Bridge's Complete Crumb Edition reaches Volume 20 with the first complete recording of the great American composer's recently completed Metamorphoses cycle. The "20 Fantasy Pieces After Celebrated Paintings" are Crumb's "Pictures at an Exhibition"- aural interpretations of famous paintings from our recent past including works by Picasso, van Gogh, Chagall, and Dali. Critic David Hurwitz writes: "Bridge's decision to embark on a complete edition of George Crumb's music remains one of the most significant recording projects currently in progress, as well as one of the most artistically successful."

Bach was renowned as a keyboard player as well as being an accomplished violinist, but as far as we know he didn't play the lute. He seems to have been fascinated by the instrument’s special sound qualities, however, and was clearly inspired by the possibilities of the Lautenwerk. This was a gut-strung harpsichord designed to imitate the sound of the lute and at least some of the works usually referred to as ‘the Bach Lute Suites’ were probably composed for this instrument. Jakob Lindberg recorded the complete suites in 1992. Returning to the composer almost three decades later, he does so in the company of his Rauwolf lute, an instrument built in Augsburg around 1590 and ‘modernized’ in 1715, during Bach’s lifetime. But this time, only two of the works belong to the standard lute repertoire – the Prelude BWV 999 and the Suite BWV 1006a, which in fact is the composer’s own arrangement of his Partita No. 3 for solo violin. For the remaining works on the disc Lindberg has taken the cue from Bach, making arrangements of Cello Suite No.1 and Sonata No. 1 for solo violin in full. He has also chosen individual movements from other solo works, including the highly complex fugue from Sonata No. 3 for solo violin. The amply filled album (88 minutes!) closes with the iconic Chaconne from Partita No. 2 in D minor.

La Fille de Madame Angot, an opéra-comique in three acts, was premiered at the Théâtre des Fantaisies-Parisiennes in Brussels on 4 December 1872 before scoring a similar triumph in France on 21 February 1873. In the Paris of the Directory period, Clairette Angot, an orphan raised by the people of Les Halles market, falls in love with the songwriter Ange Pitou. But, after many amorous and political plot twists, she resigns herself to marrying the wigmaker Pomponnet. Lecocq’s score, with its succession of hit numbers, created such enthusiasm that it enjoyed a run of more than four hundred performances at the Folies-Dramatiques, before conquering the French provinces and then the whole world in various translations. The work is still a relatively popular staple of the light operatic repertory even today. The Palazzetto Bru Zane here presents the first recording of the original version, with its unusual orchestration and several numbers that have fallen into oblivion.

REVIEWS:

La Fille de Mme Angot is a delightful show; and this new recording, which includes some changes from other recordings, is outstanding. It has been recorded before, but the earlier recordings were edited or shortened. Bru Zane’s new recording is the first of the original 1872 Brussels version using the operetta’s original orchestrations and contents.

The libretto (by Charles Clairville, Paul Siraudin, and Victor Konig) is set in the regime of post-revolutionary France, in the period before Napoleon and after Danton and Robespierre. Those intervening years were nostalgic for the 1872 audience, and the action was far enough in the past for a comic operetta. There are some allusions to this political tension when some of the characters support opposing sides. This is all lightened by LeCocq’s ingratiating score, and the proceedings are kept buoyant. The operetta was extremely popular and had almost 1000 performances in Brussels and Paris in its initial runs. Eventually it proved to be the most popular operetta of late-19th Century French theatre.

The new recording is simply delightful, the singing and playing effervescent. The cast is exceptional. Standouts include Veronique Gens as Mlle Lange and Anne-Catherine Gillet as Clairette. These ladies carry the show and their acting and singing is first-rate. The men are just as fine, with Mathias Vidal’s ripe tenor as the fickle Pitou, Artavazd Sargsyan as the fussy Pomponnet, and Matthieu Lecroart as the deceived Larivaudiere. Conductor Rouland leads the spritely orchestra, and the chorus is lively.

Bru Zane’s luxurious bound-in book includes a complete French and English libretto, track listings, notes, photos, drawings, and commentary. I would suggest purchasing this outstanding recording as soon as possible. My review copy is number 2426 of a limited edition of 4500.

-- American Record Guide

“Sosa and Keita deliver a work that variously ebbs, flows and sparkles.” (Jane Cornwell, Jazzwise)

SUBA is the second album from the collaboration between one of Cuba’s most prolific Jazz Artists, pianist Omar Sosa, and Senegalese kora master Seckou Keita. Omar and Seckou’s debut album Transparent Water has toured worldwide since 2017 to enormous critical acclaim. They are again accompanied on this tour and album by Venezuelan percussionist Gustavo Ovalles. Seven-time Grammy-nominated jazz pianist Omar Sosa has been passionately interested in exploring African musical cultures and their connections with his Afro-Cuban roots throughout his career, subtly blending traditional and contemporary sounds on many of his recordings. Seckou Keita has arguably become the most influential and inspiring Kora player of his generation, an exceptional and charismatic musician and a modern global citizen, with seven centuries of tradition and heritage expressed through his music.

Watch Sosa and Keita's Tiny Desk Concert for NPR Music!

REVIEWS:

With a lighter, lyrical, improvisational approach, the two musicians create something artistically special and pull it off with aplomb. With its sympathetic sensitivity to human condition, SUBA’s mesmerizing music is a hymn to courage, strength and perseverance in a post-pandemic world. Each relaxing track, whether emphasizing piano, kora or vocals, presents itself a prayer for health, unity and sunnier skies ahead.

-- Roots Music Report