In the late 16th century when vocal polyphony was developing into the excesses of the late Italian madrigal and the powerplay of multi-choir writing in Venice, Victoria, in Rome, chose to write his 18 Tenebrae settings with the simplest texture imaginable: four voices with internal sections for just two or three parts. These perfect miniatures force the question: how can so little mean so much?

Victoria’s austere yet profoundly moving setting of the Responsories for the services of Tenebrae (shadows) is one of the great classics of Renaissance music. In this new recording sung by solo voices it is restored to the low pitch and voicing intended by the composer.

These perfect miniatures are interspersed with nine of Christopher Reid’s heart-rending poems from his 2009 collection and Costa Book of the Year winner, ‘A Scattering’, a moving collection on the dying and death of his wife.

Following their critically acclaimed albums of Schubert (BIS-2597), Mozart and Birchall (BIS-2647), works for clarinet trio (BIS-2535) and, more recently, Beethoven and Berwald (BIS-2707), the Wigmore Soloists now turn their attention to twentieth-century English chamber works which, while eschewing some of the continent’s modernist tendencies, are both deeply personal and supremely written, highlighting the specific colors of each of the instruments.

Howard Ferguson’s Octet, a direct and engaging work, was the first of his works to attract attention. Ferguson’s skill is brilliantly demonstrated in this tonally ambiguous work, which takes its instrumentation from Schubert’s famous Octet.

The main characteristic of Sir Arthur Bliss’s Clarinet Quintet, like those of Mozart and Brahms with the same instrumental line-up, is its intense, overtly emotional lyricism, but the sunny, extrovert aspects of Bliss’s character ultimately prevail in the brilliantly energetic finale.

Robin Holloway’s Serenade in C for octet is the most recent work on this disc, and also features the instrumentation of Schubert’s Octet, which the composer acknowledges as a model. Few contemporary composers display as keen a sense of humor as Holloway who wished here to give “an affectionate twist to tonal common practice and light-music clichés all the way from Biedermeier Vienna to Southend Pier”.

Rakhi Singh is a violinist, music director, curator and composer based in the UK. In 2016 she co-founded Manchester Collective, a progressive group that the BBC describes as "transforming all our perceptions of what a classical music group can be."

"Sabkha" is the first single from Singh's full-length debut album Purnima (coming October 27) — a stirring stream-of-consciousness foray into signal processing and multi-tracking for violin, with Singh's own wordless vocals adding to the hypnotic mood. Purnima, which translates literally from the Sanskrit as "she who is the full moon,” is not only Singh's middle name — it's also a source of spiritual inspiration that has guided her own musical journey on her chosen instrument. Interpreting works by composers Alex Groves ("Trace I"), Emily Hall ("Outshifts"), Julia Wolfe ("LAD") and Michael Gordon ("Light Is Calling"), and augmenting them with unearthly electronic and electro-acoustic textures, Singh creates a haunting dreamworld of melody and sound that doesn't quite emit a completely "classical" aura — but instead suggests an altogether new one.

The performers write: ‘Selecting the repertoire for our album Path to the Moon, we wanted to explore a number of possibilities for binding together a programme. To place different works alongside one another is a wonderful way of bringing out new and unusual qualities in each piece. William T. Horton’s fantastic image The Path to the Moon immediately inspired a flurry of ideas, including works on the subjects of both night and the moon, as well as pieces which invoke the exploratory nature of humankind’s voyage to the moon. Britten wrote his Sonata for Cello and Piano only two years after the first object made by humans had touched the surface of the moon, in 1959. Humans throughout history and from all cultures have been drawn to and taken inspiration from the moon and we have tried to reflect this in our eclectic choice of song repertoire: from Toru Takemitsu to Nina Simone and from Lili Boulanger to Florence Price. As we hope you will hear on this album, Walker’s Cello Sonata rings with echoes of the sound-worlds of blues and jazz and is infused with a beautiful lyricism. We really believe that Walker’s Cello Sonata deserves to become a staple of the chamber music repertoire and are absolutely thrilled to offer you a recording of it in the context of our own exploration of a path to the moon.’

Franco Alfano possessed an innate melodic facility combined with a talent for unexpected timbres. From the neo-Classical Divertimento to the noirish post-war Nenia, the lightness of touch of Amour… Amour… to the impressionistic Una danza and luxuriously orchestrated Suite romantica, each work reveals a different aspect of this multifaceted composer. This release of world premiere recordings features the Orchestra Sinfonica di Milano conducted by Giuseppe Grazioli who makes his Naxos début.

REVIEW:

Franco Alfano (1875–1954) remains a marginal figure in musical life despite a fair degree of coverage in record catalogs. Yet he is a thoroughly original composer, one who possessed an innate melodic gift combined with a talent for unexpected timbres, as can be heard in the lavishly orchestrated Suite romantica. The half-hour work is heard on this album in a very colorful and expressive, excellently performed interpretation.

With Una danza, completely different colors are expressed and one may hear an influence of Debussy. This is followed by Nenia, a somewhat melancholy solo piece for accordion, sensitively played by Davide Vendramin, which finds its counterpart in the Aria of the Divertimento, even if the outer movements are very lively and playful.

The program, pleasing and excellently played, ends with the Waltz Amour… Amour…, originally composed for piano in 1901 and orchestrated in 1928.

-- Pizzicato

In November 2021, even before taking up his post as chief conductor of the Bavarian Radio Symphony Orchestra, Simon Rattle began a cycle of Mahler symphonies with a performance of the Ninth (BR-KLASSIK 900205). The Sixth followed in September 2023 (BR-KLASSIK 900217), and the conductor is now tackling the composer’s Seventh Symphony. This cycle marks the beginning of a new chapter in Mahler interpretation, as Rattle is just as passionate a Mahler admirer at the helm of the orchestra as his predecessors Jansons, Maazel, and Kubelík.

Simon Rattle gained his international reputation during his 18 years as Principal Conductor of the City of Birmingham Symphony Orchestra (1980–1998), which he made world famous. In 2002 he was appointed to succeed Claudio Abbado as Chief Conductor of the Berlin Philharmonic, a position he retained until June 2018. In March 2015 the London Symphony Orchestra elected him as their new Chief Conductor for the 2017-2018 season, a position he retained until summer 2023. Simon Rattle also maintains close ties with the Los Angeles Philharmonic, Boston Symphony, and Philadelphia Orchestras, as well as the Vienna Philharmonic.