Cabezon: Complete Tientos And Variations / Glen Wilson
Naxos
CD
$14.99$29.99Save 50%Jun 26, 2012
“El ciego tañedor” or “the blind keyboardist”, Antonio de Cabezón was one of the most inspired masters of his day and a protégé at the court of King Philip II (whose favourite painting, reproduced on the cover of the booklet, came into his possession while Cabezón was with him in Brussels in 1555). Keyboard music was attaining a status equal to vocal polyphony at this time, and Cabezón’s sophisticated Tientos are at the forefront of a rapid rise in a new intensity of expression. Where the Tientos relate to vocal styles the Variations can frequently be traced to popular songs and dance tunes such as the Folía.
Antonio Soler’s eminent position at the eighteenth-century Spanish court led to a series of important works, both sacred and secular. Of them, the best known are his keyboard sonatas, many of which were written for the young prince, Don Gabriel, son of Carlos III. The sonatas manage to absorb the influence of Domenico Scarlatti but also exude the prevailing modernist trends of Vienna. Some are designed in pairs, and many employ subtle echo effects, syncopation and exciting, athletic leaps that show his delight in repetition and contrast. This is Volume 3 of the complete Soler Keyboard Sonatas.
American Classics - Antheil: Ballet Mécanique, Etc /Spalding
Naxos
CD
$9.99$19.99Save 50%Sep 01, 2001
George Antheil's infamous Ballet Mécanique exists in (basically) three versions, the first of which (for lots of synchronized mechanical pianos and percussion) has only recently been premiered and recorded for the first time by the UMass Lowell Percussion Ensemble. The version that scandalized Paris audiences in 1926 actually was an arrangement for lots of normal pianos and percussion, and this version was recreated on a long out-of-print MusicMasters disc. Daniel Spalding and his intrepid ensemble take on the composer's 1953 revision for the time-honored (via Stravinsky and Orff) ensemble of four pianos and percussion, an arrangement that reduces the score by about half while preserving the most important thematic material. It's a fine work in its own right, more conventionally "listenable" than the early versions, and it's easy to understand Antheil's desire to give the music wider currency. Spalding and his ensemble play very well indeed, and the recording balances the various special effects (airplane propellers and electric bells) in such a way that they register without ever becoming totally obnoxious.
You can't help but feel sorry for Antheil's subsequent career misfortunes. After all, no one today seriously castigates Stravinsky for not writing more Rites of Spring, and we can only view with bemusement the cold shoulder given Antheil's post "Mécanique" production, especially considering the fact that even this notorious work was as ignored in performance as the rest of his music. Antheil clearly recognized that, like Stravinsky's "Rite", the Ballet Mécanique was an artistic dead end, but as this disc proves, he wrote plenty of fine music both before and after it. Take the Serenade for String Orchestra No. 1. Here's a delightful piece, humorous and lyrical, full of rhythmic energy and good tunes. The Symphony for Five Instruments very cleverly balances an unusual ensemble of viola, flute, bassoon, trumpet, and trombone, and will appeal to anyone who enjoys the chamber music of Poulenc. The Concert for Chamber Orchestra (actually a wind octet), also reeks of Stravinsky and Les Six, but you'd be hard pressed to find anything by that septet of composers precisely like it.
In short, Antheil's neglect is completely unjustified, as this and other fine recordings now appearing on Naxos and CPO clearly demonstrate. As with the Ballet, Spalding and the Philadelphia Virtuosi Chamber Orchestra play these diverse other works with affection and relish. Naxos provides them with excellent recorded sound too. A winner in every respect, this disc should go far toward supporting the ongoing rehabilitation of this seminal figure in 20th century music. --David Hurwitz, ClassicsToday.com
Non-professional lovers of music ranged, in their mastery of the instruments, from amateurs to concert performers. So the instrumental fantasias were “molded” to the patrons’ specific requirements, and nourished a constantly growing market. The history of Pietro Morlacchi (1828-68) and Antonio Torriani (1829-1911) coincides with the history of the success of instrumental music genre in Italy. That these of the many published fantasias of the time survived, testify to their musical worth.
Metier’s top line release for 2015 is this program which may be the first ‘music DVD’ devoted to contemporary percussion works. More than that, it has been produced with stunning graphics and visual enhancements as well as ‘straight’ video of the performances thanks to the work of top Danish movie director Christian Holten Bonke. The program includes the most iconic of modern percussion classics, ‘Psappha’ by Iannis Xenakis, together with his much more recent ‘Rebonds’. Works by Henze, Donatoni and Ferneyhough utilize wide ranges of tuned and unturned instruments, while the pieces by Jodlowski and Globokar use different materials altogether. Even for the non-percussion fan, the film is one to watch again and again. Mathias Reumert is one of Europe’s foremost percussionists, having been awarded the DanishMusic Critics’ Prize for 2015.
Wilke te Brummelstroete, Peter Gijsbertsen, Jozef de Beehouwer and the Antverpia String Ensemble join together, lead by Ivo Venkov to showcase the Flemish composer, Jef Van Hoof. Van Hoof was a prolific composer of choral music, symphonies, songs, piano music and operas. His works were incredibly important to the struggling Flemish culture of his time.
Giuliani: Music for Two Guitars, Vol. 1 / McFadden, Kolk
Naxos
CD
$9.99$19.99Save 50%Dec 02, 2016
Mauro Giuliani was regarded in his day as "perhaps the greatest guitarist who has ever lived", making his name in Vienna and mixing with the likes of Beethoven. On his return to Italy in 1820, he consorted with Paganini and Rossini which resulted in his arranging four of the latter's overtures for two guitars. These versions abound in lyrical melodic lines, fast arpeggios, subtle colors and technical virtuosity also to be heard in the Gran variazioni concertanti. The Tre Polonesi concertanti are also full of joie de vivre, lively dance rhythms and elegant melodies.
John Blow, who was to give service to five monarchs, was born into a humble family in Nottinghamshire, presumably at Newark, sometime within a month of the beheading of King Charles I. He was a music scholar at the Magnus Song School in Newark before becoming a chorister in the Chapel Royal. There, under the tutelage of Henry Cooke, his colleagues included Pelham Humfrey, Robert Smith, William Turner and Michael Wise - all of whom achieved significant distinction in their later careers. Blow showed considerable promise as a composer; several of his anthems were included in the chapel repertory. Blow became an organ pupil of Christopher Gibbons before his first appointment at Westminster Abbey at the age of nineteen and he was made Musician for the Virginals to the King a year later. From 1674 until his death, he was Master of the Children at the Chapel Royal. In 1679 he transferred his office at Westminster Abbey to his pupil Henry Purcell, with whom he shared a close professional relationship and lifelong friendship. He took over the post again after Purcell’s untimely death in 1695, and held several other important positions in London: as Master of the Choristers of St Paul’s Cathedral and appointments at court. He continued to serve as Abbey organist until his death. Blow stands out as the dominant figure among the group of London-based musicians whose work is associated with the royal court beginning around 1650, and which assimilated first Italian, and then later elements of French influence. Among the new school of composers were Blow’s pupils Jeremiah Clarke and William Croft, and, of course, the towering musician of the age - Henry Purcell.
Opus 2 - the second album of violinist Sebastian Bohren & Chaarts Chamber Artists for RCA Red seal. A singular combination of Mendelssohn’s early, rarely performed violin concerto in D minor with works by Hartmann, Respighi & Schubert. The Violin Concerto in D minor was composed when Mendelssohn was just 13, and has remained popular since its rediscovery in the middle of the 20th century by Yehudi Menuhin. The Concerto funebre for violin and strings has established itself as Karl Amadeus Hartmann's most familiar work. Hartmann (1905-1963) discovered new and individual solutions that confirm the importance of his concertos as significant and original contributions to the development of this form in the 20th-century. “Old dances and arias”, Suite No. 3 - masterpieces of Ottorino Respighi. His Antiche danze ed arie, free arrangements of arias and dances from the sixteenth and seventeenth centuries, enables listeners to rediscover forgotten rhythms and tones. Franz Schubert wrote the Rondo for Violin and Strings, D 438 in 1816. Like the roughly contemporary Adagio and Rondo concertante in F major, D 487, the work is a concertante piece designed to highlight the skills of the violin soloist. The piece was unpublished during the composer's lifetime, not seeing publication until 1897, when Breitkopf & Härtel published it in an edition edited by Eusebius Mandyczewski.
Frescobaldi - Gesualdo - Solbiati: Music For Accordion
Brilliant Classics
CD
$7.49$14.99Save 50%Feb 24, 2017
On this new and interesting release, the works of two Italian Renaissance masters are performed on the accordion. The accordion is slowly emancipating, shedding its “light entertainment” image and claiming its right as a serious and valuable musical instrument. Its possibilities are enormous, its sounds and sonorities as varied as a church organ. This new recording presents keyboard works by Frescobaldi and Gesualdo, works which were intended for either harpsichord or organ, and therefore may be played on any keyboard instrument. The realization on accordion is fascinating in its fusion of both the harpsichord (its tactile precision) and the organ (its sustained polyphony.) Italian Francesco Gesualdi is one of the world’s foremost accordionists. He commissioned works for his instrument with many contemporary composers, and is well connected with composers such as Marucio Kagel, Sofia Gubaidulina and Wolfgang Rihm.
Debussy: Preludes Book I - Images Book I - Nocturne
Piano Classics
CD
$10.99$21.99Save 50%Sep 30, 2016
This release presents the first books of both the Preludes and the Images, works in which Debussy found his mature piano style, full of unheard colors, atmospheres and perfumes, each with a descriptive title, but even without the title pure creations of imagination and craftmanship. Alessandra Ammara is one of the finest Italian pianists of today. Her affinity with the French impressionist music is confirmed by her extraordinary recording of Ravel's piano works.
Widely regarded as one of America’s pre-eminent living composers, Joan Tower, who is also a pianist, is particularly devoted to chamber music. Organic structures underpin her string quartets; there is ‘heat from within’ and radiance of texture in "Incandescent", her third quartet, virtuosic interplay in No. 4, "Angels", and fluid connections in "White Water", her fifth string quartet. Only the third composer – after Stravinsky and Copland – to be commissioned by the Dumbarton Oaks Foundation, Dumbarton Quintet pursues extremes of moods both romantically consonant and dissonant.
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REVIEW:
Premiere recordings of three quartets and a piano quintet, composed over a 10-year span and performed by two outstanding American quartets. The Fifth Quartet has an aquatic feel and flow, the music leading towards an exquisite, radiant end. The Piano Quintet is a characteristically dynamic and angular score, tempered by the piano's warmth and and an intriguing range of combined sounds.
Schumann - Davidsbundler Against Philistines / Florian Uhlig
Haenssler Classic
CD
$6.99$13.99Save 50%Mar 10, 2015
With vol. 8, pianist Florian Uhlig reaches the midway point of his widely acclaimed, much admired first truly integral Schumann recording project. - This new CD deals with the dual nature of the composer and writer, finding it's finest expression in the David's bündlertänze (1st version, op. 6). - The typical romantic play of rubrics, musical ciphers and pseudonyms can also be found in the Carnival, op. 9. - Additionally, Mr. Uhlig has collected some related miniatures that Schumann either rejected or were never included in subsequent printed editions, at least three being world premiere recordings.
Experience the transcendent glory of Messiah in Sir Andrew Davis’s majestic, must-hear edition of Handel’s beloved classic. Recorded live on SACD, this unique version makes use of all the colours available from the modern symphony orchestra to underline the mood and meaning of the individual movements. Without detracting from the innate power of the original, the conductor’s score calls for moments of drama, pathos, and even, sometimes, whimsicality. It is supported by substantial brass and woodwind forces, and several percussion instruments (including marimba!).
REVIEW:
The performance is lightly cut, mainly toward the ends of Parts II and III, and both da capo arias (‘He was despised’ and ‘The trumpet shall sound’) have only the A section. Most of the ornamentation, including simple appoggiaturas, is omitted, as well as most occasions for what I call justified rhythms, where, say, upbeat eighth notes are taken as sixteenths to match other parts. Where choices are available, the common ones prevail, as in the 4/4 ‘Rejoice’ and the duet version of ‘He shall feed his flock’.
Tempos are crisp and modern, and the performers are all very good. The four soloists (with mezzo, not countertenor) are first rate; and the choir, which must number around 150, sings with the agility of much smaller groups. This is a “big” Messiah with none of the problems we normally associate with such endeavors. I guess we could call it “historically informed” because tempos are brisk and the spirit is not at all romantic. It also struck me as a gentle repudiation of Musicological Correctness—and that is no doubt a good thing. I dare say that if you had a contest lining up all the approaches to Messiah and had a review panel consisting of people with no musicological prejudices, this would be the winner.
Weber: Der Freischutz / Janowski, Sweet, Ziesak, Seiffert, German Symphony Orchestra Berlin
Sony Masterworks
CD
$7.99$15.98Save 50%Feb 17, 2017
The Overture is played with a sombre foreboding, the Peasants' March has a good raw sound, and the Wolfs Glen is vividly characterized. Among the singers, the most distinguished performance comes from Sharon Sweet. She has a most expressive sense of phrasing, always feeling the words and varying her rich, warm tone to convey them. Her two main numbers, ''Leise, leise'' and ''Und ob die Wolke'', are beautifully contemplative; and she joins sensitively in the Trio and the other ensembles. Ruth Ziesak's Aennchen sounds indeed a relation, with a family kinship in manner: she is less soubrettish than most singers of the role, but lively enough, and she makes an amusing success of the silly song about the dog. There is a magnificent Kaspar from Kurt Rydl, who glitters darkly in the Drinking Song, delivers ''Schweig! Schweig!'' with appalling menace, and speaks his lines in the Wolfs Glen more powerfully than any other performer of the role. Peter Seiffert brings to Max a good reputation as a Heldentenor in Wagner and Strauss; but there is an edge to his voice, and he can sound strained and even tremulous, as if he is trying too hard with melodic lines that for much of the time owe more to French example.
