Fantasymphony II - A Concert of Fire and Magic, a must-have for all fantasy fans, available on Blu-ray, CD and digital (also in Dolby Atmos). The hit concert Fantasymphony is back. Rejoice in epic music from the greatest fantasy movies, series and games. The Danish National Symphony Orchestra opens the gates to the magic worlds. From The Lord of The Rings, Game of Thrones, The Hobbit, The Witcher, Skyrim, League of Legends, and many more. Fantasymphony II features spectacular music and lighting effects. Conductor Christian Schumann is a recognized specialist for film music - "A shining star of the new German conductor generation" - Neue Zuricher Zeitung
Debussy & Strauss is the first album to be released on the Melbourne Symphony Orchestra's own record label, in partnership with LSO Live. For this debut recording, the MSO and conductor Jaime Martin are joined by outstanding Australian soprano Siobhan Stagg, the MSO's 2023 Artist in Residence. Together, they present two song cycles from opposite ends of life, exploring loves with vastly different essences. Debussy and Strauss inhabit such different musical worlds that it comes almost as a surprise to see them side by side and recognize they were members of the same generation. The fact that Debussy was more overtly modern in his work while Strauss was much longer lived-still writing halfway into the 20th century-reminds us that music history is a tangle of human lives and not a neat progression of movements and styles. Debussy's Ariettes oubliees (Forgotten Songs) is a 24-year-old's depiction of first love, the kind of thing that feels unbearably important at the time, but inevitably stumbles toward breakup and fades into the past. Strauss' Vier letzte Lieder (Four Last Songs) is an 84-year-old's last word on a nearly 55-year marriage that ended only in death.
Ignacy Jan Paderewski: Piano Concerto in A minor, Op. 17, Po
DUX
CD
$19.99May 16, 2025
Paderewski Orchestra plays Paderewski - youth and energy on a new DUX album The album features recordings of two compositions by Ignacy Jan Paderewski, both willingly played by pianists and both Polish to the core - the Concerto in A minor and the Polish Fantasy. The album features recordings of two compositions by Ignacy Jan Paderewski, both willingly played by pianists - the Concerto in A minor and the Polish Fantasy. They were created in the youthful period of the composer's oeuvre, but they are still characterized by a mature compositional technique, rich melodies and bold instrumentation. Both the Fantasy and the Concerto ooze the spirit of Polish music, which can be seen in the structure of motifs, harmony and vital rhythms of mazur and krakowiak. The pompous orchestral fragments intertwine with the lyrical ones. Particularly noteworthy are the beautiful piano solos accompanied by the solo violin and cello in the second movement of the concerto. Both compositions are distinguished by a clear virtuoso feature; however, it is subordinated to the musical contents. The young performers perfectly feel the character of Paderewski's music; in their interpretation, it is full of passion, pride, nostalgia, but also wit, expressing the unchanging qualities of the Polish soul.
This album features a stunning collection of works, including compositions from the past few decades that highlight the extraordinary talents of the Flaubinette Trio. One standout piece is by Roman Czura, written exclusively for the trio, with a title that directly references their name. It's the only work on the album that incorporates contemporary techniques, blending aleatoric elements with striking motifs, all expertly structured in a classical three-part form. The rest of the repertoire is equally captivating, with an uplifting character and harmonies that dance around an expanded tonality, avoiding harsh dissonances. Influences from dance music, burlesque, and impressionism subtly emerge throughout, creating a unique, engaging sound. Each composition is an opportunity to experience the rich timbre and dynamic range of the wind instruments, showcasing their expressive capabilities in every note. The varied textures, intricate melodies, and sophisticated dialogues between instruments offer a platform for virtuoso performances by the Flaubinette Trio and pianist Magdalena Dus, who joins them in the final track. Passionate about chamber music, the Flaubinette Trio has earned numerous international accolades and maintains an exceptional level of musical synergy. Their longstanding collaboration is palpable, delivering an unforgettable listening experience that celebrates both technical mastery and musical intimacy.
Gustav Mahler's Sixth Symphony is perhaps the darkest work he ever wrote-it's nickname is "The Tragic." And there is something almost destructive about the final movement. "But strangely enough," says Simon Rattle, "it is also a very classical symphony. Yes, it is extreme, but for long stretches it is less wild than other works of his-although of course it does convey a harrowing message. But it's like a lot of great works: there are always different ways of reading them. I've been conducting the Sixth for forty years now, and over time I've come to realise that it also contains hope." Mahler composed his Sixth Symphony during the summers of 1903 and 1904 at his "composer's cottage" in Maiernigg, near Klagenfurt. At the Vienna performance in 1907 (the third under his baton), he called it the "Tragic Symphony"-a nickname that soon became the stuff of legend. In particular, the darkness and devastating hopelessness of the finale-written at a time when he was at the high point of his life, both professionally and personally-are puzzling. Even his wife Alma could not quite explain the contradiction. As always, it was in and through music that Mahler came to terms with his experiences, exploring themes such as farewell, the meaning of existence, death, redemption, the afterlife, and love. More than other Mahler works, the Sixth Symphony is committed to "classical" symphonic form: it is in four movements and has no vocal parts. Despite all the liberties it takes, the opening movement follows sonata form. The Andante draws on the rondo form, as do the Scherzo and the Finale. Very unusually, even the Scherzo has march-like features and seems like a parodistic paraphrase of the opening, with a change of perspective. The march, which sets the tone from the very first note of the first movement, plays a major role.
The album "Present Reflections" offers an anthology of Amy Beach's piano works, showcasing her remarkable compositional talent and stylistic range-from expressive virtuosity to deep interpretative intimacy. This distinctive quality is due not only to her extraordinary gift but also to several factors: the profound cultural shifts she experienced between the late 19th and early 20th centuries-bridging late Romanticism, the emergence of the avant-garde, and the advent of jazz-and her unmistakable emotional expressiveness. Despite the strict, self-imposed discipline of her compositional process (she was entirely self-taught), her style remains deeply personal and authentic in every work. Looking back in time, beginning with her later compositions, one can observe a radical evolution in her writing. These works are not only a significant contribution to American piano literature but also a testament to the transformation of an era-one that slips away from the present to become almost immediately part of the past. In this way, Present Reflections becomes a mirror of today's world, reflecting the epochal changes of which we are all a part. Mrs. Beach's incredible talent, which enabled her to emerge as one of the greatest composers of her time, tells the story of both women and men-transcending the limitations imposed by society and leaving behind a musical legacy that deserves not only rediscovery but celebration. Katia Spluga
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.
With this "colourful" selection of pieces, we intend to give an impression of the diverse repertoire collected in the Turin Tablature. The motets and liturgical works were most likely intended for performance in church, whereas dances and madrigals were intended more for secular settings: at festivals, celebrations, and for domestic music-making. Toccatas and ricercars could be played in both ecclesiastical and secular settings. [In light of the wide variety of purposes of this repetoire, we utilized a wide variety of instruments.] Thus, in addition to the Marx-Gunzer organ, three other stringed keyboard instruments were used: a clavicytherium in southern German design from the 17th century, a virginal after Michael Praetorius (1619), and a harpsichord of a seventeenthcentury Italian design.
Taken from a rapturously received and critically acclaimed performance at The Bridgewater Hall (with The Times' 5* review describing a 'splendid night' and hailing the magnificent sound of the 'blazing Halle) this recording will prove essential for those wishing to hear the work in the intended four movement form. The recording is accompanied by a booklet containing a personal introduction from Kahchun Wong and a note from Dr. John A. Phillips, surveying the material Bruckner left for the Finale and detailing the work done on reconstructing it for performance.
Following their recordings of Bruckner's Symphonies Nos. 7 (ALPHA932, Diapason d'Or) and 8 (ALPHA987, awarded 'best symphonic recording of the year' at the International Classical Music Awards), Paavo Jarvi and the Tonhalle-Orchester Zurich here conclude their tribute to the Austrian composer in this bicentenary year with a recording of his 9th symphony. The orchestra's history has been closely linked to Bruckner since it gave the first Swiss performance of one of his symphonies under Richard Strauss in 1903. "The great classical and romantic tradition of the Tonhalle-Orchester Zurich make it ideally suited to Bruckner, the central composer for modern symphony orchestras," says Paavo Jarvi. Bruckner composed this musical farewell (he wrote the words "a farewell to life" in the score) in his final years; legend has it that he was still working on the symphony on the day he died.
This album marks the beginning of an innovative journey for the Halle under it's newly appointed Principal Conductor and Artistic Advisor, Kahchun Wong. Internationally acclaimed for his dynamic stage presence and his thoughtful exploration of Eastern and Western artistic legacies, Singaporean-born Kahchun Wong assumes his new role with the Halle in September 2024, following his electrifying debut with the orchestra last season. This recording of the complete The Prince of the Pagodas ballet, the first in over a decade, reflects Wong's interest in Balinese Gamelan and the deep connection he made during his composition studies to the work of Britten. Music which he says, 'resonates deeply inside me'.
Among the first releases on the Hallé recording label, established in 2003, were Elgar’s Symphonies Nos. 1 and 2. This recording revisits those works nearly 20 years later and marks the culmination of Sir Mark Elder’s tenure as Music Director. The First Symphony was premiered in the Free Trade Hall, Manchester, in 1908 by the Hallé and its Music Director, Hans Richter, to whom the symphony is dedicated. It is a work of astonishing musical and structural mastery which was greeted with worldwide acclaim, receiving one hundred performances in its first year. The musical material demonstrates Elgar’s skill at melody and transformation and presents a wide emotional range.
By contrast, the Second Symphony, with its deeply personal ‘pilgrimage of a soul,’ initially received a more muted reception. However, it came into its own after the end of the First World War when the tone of remembrance and tribute possibly reflected the national mood, in what is now considered to be one of Elgar’s finest works.
The idea for this recording was born during the Covid pandemic in 2020, when many of us were isolated and unable to communicate with each other in person. It was difficult for musicians during this time, especially because they couldn't make music with others or give live concerts. This situation made us think about how composers, musicians and artists dealt with situations where there was no freedom and how they dealt with chaos, obstacles or persecution. In selecting the works for this album, we looked at different historical periods (which sometimes included pandemics) to understand the impact that oppression and lack of freedom had on the creative process. In the course of our extensive research, we finally became aware of the "positive" aspect of this topic: we were not so much interested in what people could not do due to restrictive situations and adverse circumstances, but above all in what they were able to achieve despite these circumstances. During our research, we came across impressive artistic personalities who have left behind music of great value.
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.
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.
