UN is the result of many hours of practice, concerts and a lot of work done, but above all it is the result of five people who, although time has passed and making five very different lives coincide with each other has become difficult, can't wait to meet up to play together, giving life to a project that connects the contemporary Italian repertoire to the American Jazz and Blues ones. Luciano Berio, through the blasts of Call, captures the attention and prepares the listener for the inexorability of the four movements of For Brass by Giuseppe Garbarino; an electric History of Mok by Alessio Manega involves and charges the audience with energy which Corrado Saglietti, with his Blues and Encore from the Any Time Brass Quintet collection, welcomes and transforms into dance, transporting the listener overseas. Who better than Duke Ellington and George Gershwin to squeeze the juice of so much passion? Summertime is just one of the themes that greet listeners with the same warmth felt by the musicians when recording them. Erika is still trying to understand if she is reading an 8 or a B on the score; Michele consolidates his career as Major with the patience that distinguishes him; Marina, extricating herself from the numerous instruments that she inexplicably plays at a level beyond human comprehension, is determined to divide Nicolò and Federico, engaged in their usual umpteenth and eternal squabble: immersed in their very well known calm and relaxed mood, the five members of the Canaja Brass Quintet have never been so proud to wish you happy listening.
Johann Strauß's Die Fledermaus (The Bat) has been part of the Bayerische Staatsoper's repertoire since 1895 and has always been performed there by star-studded casts. In December 2023, the curtain rose on a spectacular new production of this piece. Director Barrie Kosky gave the "operetta of all operettas" a new look: a society, an entire city dances towards the abyss in a colourful, lavish set (stage design: Rebecca Ringst, costumes: Klaus Bruns). The setting is Vienna, the city of the golden operetta era, where Die Fledermaus premiered in 1874. A volcano boils beneath the glamour of feather boas and tutus. Not only for Gabriel von Eisenstein, the bat's revenge becomes a nightmare when, during a glittering masked ball at the residence of Prince Orlofsky, a fake marquis and a fake chevalier, an alleged Hungarian countess and plenty of budding artists meet for a raucous party. Glasses are clinking, relationships are shaken, there are lies, there is love, and dancing (choreography: Otto Pichler). The people celebrate while they still can, true to the motto: "Happy is the one who forgets...". General Music Director Vladimir Jurowski - in his third new Munich production together with Barrie Kosky - brings new aspects of the score to the fore. Diana Damrau makes her role debut as Rosalinde, Georg Nigl interprets her husband Gabriel von Eisenstein, Katharina Konradi appears as Adele and Martin Winkler as Frank; other roles feature Markus Bruck (Dr. Falke), Sean Panikkar (Alfred), Kevin Conners (Dr. Blind) and Miriam Neumaier (Ida). The actor Franz Josef Strohmeier and the tap dancer Max Pollak, among others, play the six-fold frog.
Johann Strau's Die Fledermaus (The Bat) has been part of the Bayerische Staatsoper's repertoire since 1895 and has always been performed there by star-studded casts. In December 2023, the curtain rose on a spectacular new production of this piece. Director Barrie Kosky gave the "operetta of all operettas" a new look: a society, an entire city dances towards the abyss in a colourful, lavish set (stage design: Rebecca Ringst, costumes: Klaus Bruns). The setting is Vienna, the city of the golden operetta era, where Die Fledermaus premiered in 1874. A volcano boils beneath the glamour of feather boas and tutus. Not only for Gabriel von Eisenstein, the bat's revenge becomes a nightmare when, during a glittering masked ball at the residence of Prince Orlofsky, a fake marquis and a fake chevalier, an alleged Hungarian countess and plenty of budding artists meet for a raucous party. Glasses are clinking, relationships are shaken, there are lies, there is love, and dancing (choreography: Otto Pichler). The people celebrate while they still can, true to the motto: "Happy is the one who forgets". General Music Director Vladimir Jurowski - in his third new Munich production together with Barrie Kosky - brings new aspects of the score to the fore. Diana Damrau makes her role debut as Rosalinde, Georg Nigl interprets her husband Gabriel von Eisenstein, Katharina Konradi appears as Adele and Martin Winkler as Frank; other roles feature Markus Bruck (Dr. Falke), Sean Panikkar (Alfred), Kevin Conners (Dr. Blind) and Miriam Neumaier (Ida). The actor Franz Josef Strohmeier and the tap dancer Max Pollak, among others, play the six-fold frog.
Around Gershwin is star accordionist Richard Galliano's tribute to George Gershwin, in-terweaving his music with works by early twentieth-century composers such as Debus-sy, Rachmaninoff, Satie, Ravel and Faure, as well as new compositions of his own. Seen through the lense of Galliano's masterful musicianship, these pieces create the sensa-tion of a sonic odyssey.
The pieces in this album represent the Miró Quartet’s artistic home in many ways. The four works include two new commissions for the Miró by Kevin Puts and Caroline Shaw, as well as works by George Walker and Samuel Barber. The concept of home and our complex relation to it is woven in a variety of ways into all the music in this album: this music invites you to feel, reflect, and engage in Miró’s world. This is Miró second album.
Enchanting tales and timeless legends are the common threads running through this album conceived by Duo Jatekok: Naïri Badal and Adelaïde Panaget are transformed into sorceresses on four hands and two pianos - enchanting guides who lead us through a programme featuring a Faustian pact, magic, and the world of childhood. At it's heart is Liszt's Piano Sonata, brilliantly transcribed for two keyboards by Saint-Saens: 'It illustrates the eternal struggle between the hubris of excess and the tragic fall, between light and darkness', say the duo of this 'Faustian' masterpiece by Liszt, a great admirer of Goethe. In a more carefree but equally fantastical vein is the famous Sorcerer's Apprentice, which Paul Dukas himself transcribed in 1898. The trance-like atmosphere and frenzied dancing continues with Manuel de Falla's El amor brujo (Love the magician). Finally, Mussorgsky's Night on the Bare Mountain, a 'danse macabre between the world of the living and that of the spirits', rounds off this supernatural odyssey.
The Opus Two violin-piano duo presents new arrangements of musical highlights from Stephen Sondheim's brilliant Broadway shows. Arranger Eric Stern reminisces about his work with Sondheim: "I was one of the many lucky ones who got to work with Sondheim and experience close hand his genius, collaborative nature, and inherent kindness." Stern's work with Sondheim included the 1984 revival of Pacific Overtures, conducting Sunday in the Park with George in the second year of it's original run, co-music directing the first production of Into the Woods, conducting productions of Follies, and conducting Merrily We Roll Along at the Kennedy Center. Mr. Stern writes that "My last conversation with him was about the Little Night Music suite which you'll find on this album. We are all extremely grateful for his enthusiastic endorsement of the arrangement and performance, muted only by our sorrow that the rest were written after his passing."
Firenze, Landini & Teramo: Paradigma Medioevo - Music from 14th-Century Italy
Brilliant Classics
CD
$10.99$13.99Save 20%Jan 19, 2024
Polyphonic 14th-century Italian secular music seems to emerge out of nowhere in the history of music. Nevertheless, this tradition – which often goes by the name Ars Nova – fits seamlessly into the history of Italian culture. Our knowledge of it has been pieced together from relatively few sources, which nevertheless reveal three distinct phases. In its first phase, Italian Ars Nova spread out from universities, including those of Padua and Bologna, which had strong links with the dominant and contemporaneous French Ars Nova. In the second phase, the centre of 14th-century Italian polyphony seems to shift markedly to Florence. The final phase, which bridged the late 1300s and early 1400s, shows the influence of intense cultural exchange brought about by an international circulation of musicians and poets caused by the political instability of the papacy’s return from Avignon to Rome and the consequent heightened mobility among the various courts and their entourages.
This phase is reflected in such sources as the renowned Squarcialupi Codex. Compiled in Florence around 1415, it contains over 350 compositions (madrigals, ballate and cacce) and is the source of the majority of the tracks on this album. Francesco Landini (c.1325/35–1397) is represented by five of his 141 ballate and the virelai ‘Adiu, adiu dous dame’. Also from the Codex are one ballata by Andrea da Firenze (c.1350–1415) and two ballate and a caccia by Antonio ‘Zacara’ da Teramo (1355–1416). Three instrumental tracks complete the album, two of them from the ‘London’ Manuscript (British Library) compiled in Florence, probably in Medici circles. In addition to mostly polyphonic music by Landini and other Florentine composers, this tome features several anonymous instrumental works including the lively dances ‘Chominciamento di gioia’ and ‘Tre fontane’. The madrigal ‘Aquila altera’ has a different background entirely: the version presented here is the instrumental arrangement found in the Codex Faenza, a unique volume assembled in the early 15th century containing around 50 Italian and French polyphonic compositions for organ.
Bernstein: Music for String Quartet; Copland: Elegies / Lin, Kress, Kim, Feldman
Navona
CD
$16.99Sep 15, 2023
Navona Records is proud to present MUSIC FOR STRING QUARTET; the world premiere recording of renowned composer Leonard Bernstein’s long-lost work. Composed by an 18-year-old Bernstein during his studies at Harvard; the piece has been steadfastly shepherded from its re-discovery to this historic release by former Boston Symphony Orchestra Librarian John Perkel; and is performed here by Lucia Lin; Natalie Rose Kress; Danny Kim; and Ronald Feldman. “Movement I” and the newly-discovered “Movement II,” which was found within the U.S Library of Congress; are accompanied here by the seldom-recorded duo piece Elegies for Violin and Viola by composer Aaron Copland; a musical mentor; collaborator; and dear friend of Bernstein’s.
Isabella Lundgren - vocals
Carl Bagge - piano, music arrangements
Musica Vitae - string ensemble
On the 20th of January 2009, Barack Obama was inaugurated as the 44th president of America. In his speech, he said: “Starting today, we must pick ourselves up, dust ourselves off, and begin again the work of remaking America”. With those words, he echoed the lyrics from the song "Pick Yourself Up," written by Dorothy Fields in 1936.
Dorothy Fields (July 15, 1904– March 28, 1974) was an American librettist and lyricist. She wrote over 400 songs, 15 Broadway musicals, and 26 films. Her strong characterizations, precise language, and heartfelt and humorous approach have granted her a special place in the history of American music and popular culture.
This album is a love letter to this remarkable woman who was way ahead of her time.
Stellar violist Anna Serova pays homage to Sir William and Lady Walton, and to ‘La Mortella’ – the beautiful garden they created at their home on the island of Ischia. The album features Walton’s Cello Concerto transcribed by Serova for viola, plus three new works by Italian composer Roberto Molinelli dedicated to La Mortella; World Premiere Recordings.
This diverse programme of works for guitar trio is bound by the common thread of music inspired by stories from literature, stage or screen. With it's rhythmic exuberance and tragic beauty, Bernstein's West Side Story has never lost it's freshness and relevance. Ensemble member Luca Isolani's Note fuori campo is a homage to the versatile Italian composer Nino Rota, who, like Manos Hadjidakis, first shot to international fame with an Oscar-winning film score. Ravel's Ma Mere l'Oye evokes the poetry of childhood with a refined expressiveness that makes it as popular and unforgettable as Grieg's music for Peer Gynt.
Debut album by a young talented Russian guitarist. Well constructed programme based on Leo Brouwer and Agustin Barrios. An engaging listening from start to end, thanks to the Kurenchakova's prowess and eloquence and to the warmly resonant recording. "Lux Amoris Aeterni" ("The Radiance of Eternal Love") is an album about divine love in the language of music, expressed through the gentle timbre of the classical guitar.
With the energy of a jet engine, violinist Oscar Bohorquez and pianist Frank Braley dive into a whirlwind exploration of unknown and thrilling American repertoire. Duos by Paul Schoenfield, William Bolcom, Aaron Copland, Mike Mower, and Brazilian composer Mozart Camargo Guarnieri - blessed with a name as remarkable as his music - bring the rhythmic vitality of the Americas into your living room. From jungle and desert-infused melodies to the spirit of tango, samba, rumba, square dance, and New York jazz clubs, this album offers a wonderfully vibrant and captivating musical experience.
The Stenzl brothers, Hans-Peter and Volker, invite you on a special kind of European journey with their new GENUIN album. In celebration of the anniversaries of Erik Satie, Maurice Ravel, Moritz Moszkowski, and Dmitri Shostakovich, they have recorded suites and individual pieces by these great composers, who often humorously look beyond their own cultural horizons. With sophistication, elegance, care, and emotion, they weave dances, melodies, and stories from all corners of the world into their music. As a distinguished German duo performing internationally for more than 30 years, they present these little treasures with a keen eye for both the larger musical narratives and intricate details - genuinely cosmopolitan!
This LP features Christmas music for the piano in a timeless journey through the decades and centuries. These songs have been through a remarkable evolution over the course of several centuries, with the changes they have undergone reflecting the shifting musical styles and cultural influences that prevailed in various times. The development in popularity of the piano as a household instrument in the 19th century contributed to the spread of traditional Christmas carols and tunes. Christmas songs were made more approachable to a wider audience because of the attractive piano arrangements that composers such as Felix Mendelssohn and Franz Liszt devised for them. Then, throughout the 20th century, Christmas songs were composed in a wide variety of musical styles. Jazz, blues, and popular music were all significant influences on composers during this period. Composers such as Irving Berlin created Christmas songs centred around the piano that went on to become instant classics. An example that epitomizes this era is Irving Berlin's 'White Christmas'. The growth of Christmas carols arranged for piano is a monument to the everlasting spirit of the Christmas holiday as well as the development of musical styles throughout the course of history. For this LP, Jeroen van Veen has collected both well-known and lesser-known Christmas songs from all over the world and arranged many of them for his own piano performance. The programme is freely, alternating slow with up-tempo and virtuosic with intimate songs. Some of the tracks are medleys combining two or more songs. Highlights include the 'Christmas Fantasy' by Alexander Rosenblatt, a virtuoso piece that combines several tunes, and the Fred Oldenburg version of 'Silent Night', written in answer to a challenge from some of the jazz teachers at the Enschede conservatory to use the strangest chords to harmonise the well-known song. Dutch pianist, pioneer and champion of Minimalism Jeroen van Veen plays the piano in his inimitable way: focused, serene and hypnotizing. Praise for Jeroen van Veen on Brilliant Classics: 'Van Veen is quite brilliant in the quirky fourth [Philip Glass Etude] and his reading of the exquisite, valedictory 20th is excellent.' Gramophone. 'Jeroen van Veen's recording can stand alongside the best from any source, and this [Arvo Part] set is worthy of high praise in every regard.' MusicWeb International. 'Van Veen is a supremely eloquent performer of his own music. His touch is remarkably varied, carrying none of the hammered urgency of, for example, Michael Nyman's performances of Nyman.' Fanfare.
He went on to head major orchestras in Dallas and Atlanta and to guest conduct leading ensembles all over the world. But before that, Louis Lane honed his craft while working in the shadow of one of the great masters: in 1947, legendary maestro George Szell chose the young, inexperienced Texan to assist him in Cleveland - "I think you will do" was the gruff maestro's verdict, exceptional praise indeed from that notorious perfectionist.
Between 1959 and 1972 - with the full Cleveland Orchestra, the somewhat smaller Cleveland Pops and the chamber-sized Cleveland Sinfonietta - Louis Lane made a series of critically acclaimed recordings for Columbia. They display the "exceptional breadth and impeccable taste" for which this gifted but perennially undervalued conductor was lauded in a tribute by the orchestra's executive director. Sony Classical is pleased to present them now - many for the first time on CD - in a new 14-disc set.
Reviewers were effusive in their praise when these albums were originally released on LP. Here is a sampling: Pop Concert U.S.A. (1959) - music by Copland, Gershwin, Bernstein and other American composers: "If only all the pops (or, for that matter, all the classics) were as good as this!. The orchestra plays splendidly" (Gramophone). On the Town with the Cleveland Pops (1960) - selections from On the Town, My Fair Lady, Oklahoma, The King and I and other Broadway musicals: "Scintillating. Under Lane's enthusiastic direction, the Clevelanders play these familiar musical comedy excerpts with such precision and virtuosity that they emerge with glistening freshness" (High Fidelity). Music from the Films (1961) - Henry V, Louisiana Story, Bridge on the River Kwai, Gigi, Exodus and other motion pictures: "This concert of music from the movies is so superior to most issues of it's kind that it calls for special commendation. Lane has coaxed some beautiful playing from the Cleveland orchestra, and the engineers have provided him with rich and glorious sound" (High Fidelity).
Concerto Copenhagen, the renowned baroque ensemble, is set to release their third album on Berlin Classics, featuring a fresh exploration of Haydn symphonies. The album highlights Haydn's Symphonies No. 47 "Palindrome," No. 44 "Trauer," and No. 43 "Merkur." Known for their innovative interpretations, Concerto Copenhagen brings a new spirit to these classical masterpieces. Haydn, who composed 140 symphonies throughout his life, played a pivotal role in shaping the classical music form and style, influencing giants like Mozart and Beethoven. This album promises to offer a captivating journey through Haydn's enduring legacy.
Having dedicated his first two albums for Arcana to Johann Sebastian Bach (Little Books, A480) and Georg Friedrich Handel (Winged Hands, A499), Francesco Corti turns to Domenico Scarlatti, the third great keyboardist of the 1685 generation. For this recording, he selected a group of sonatas copied in the years 1752 and 1753, strictly organised in pairs. Concentrating on works from the same period, it showcases the composer's extraordinary ability to stretch the boundaries of the sonata form and to extensively elaborate his thematic material. Instrumental virtuosity and an experimental approach to the harpsichord sound go hand in hand with an astonishing formal freedom, combined with a playful sense of structure and expectation. Corti has chosen to perform these sonatas on a Humeau harpsichord, a copy of Italian models (courtesy of Bertrand Cuiller), and record them at the Royaumont Abbey.
