The guitar output of a landmark figure in Argentinean classical music, fusing national melodies and dances with European forms in a fusion of perennial appeal. Carlos Guastavino (1912-2000) became internationally renowned, after the Second World War, for song-cycles and works for his own instrument, the piano, which refracted his Argentinean identity, and the culture of his home nation, through European classical idioms. Without plugging himself in to the current of modernism which coursed through the work of American contemporaries, from Copland and Carter in the US to Chavez and Revueltas in Mexico, and down to Brazilian composers such as Claudio Santoro, Guastavino nonetheless belonged to their age, and spoke of his time through his music. Composed between 1967 and 1973, his three sonatas for the guitar embody sonata form in both the progress of their individual movements and their larger, three-movement structures. The First Sonata is dedicated to his brother, Jose Amadeo, who played the guitar as an amateur, and inspired Carlos to write for the instrument. Jose Amadeo died by his own hand while Carlos was at work on the sonata, and it's central movement is an elegy to his memory. The Second, more Romantic in tone, deploys native rhythms such as the Zampa as well as jazzy harmonies. The Third returns to the Zampa but in a more intricately worked style. Here, the central movement is a smoky Milonga, evoking a mood more familiar from the tangos of Astor Piazzolla. Leonardo Palacios sets the sonatas in their context with transcriptions of five short pieces originally conceived for piano: Apegado a mi, Vidala del Secadal, Santa Fe para llorar, the seventh of Guastavino's Cantos Populares and finally the Bailecito (Little Dance) which established his fame worldwide. As a Uruguayan guitarist with decades of experience as a performer and teacher, Palacios brings both technical refinement and idiomatic sensitivity to Guastavino's music: he also contributes the booklet note to this album, giving the listener an invaluable sense of the composer's place in his world.
Kaija Saariaho: Touches - Complete Works for Piano & Harpsic
Ondine
CD
$18.99Jun 06, 2025
Pianist Tuija Hakkila enjoyed a close friendship with composer Kaija Saariaho (1952-2023) that lasted for over 40 years until the composer's death in 2023. Tuija Hakkila played a pivotal role in Saariaho's creations for the solo piano and harpsichord. Although Kaija Saariaho wrote several compositions featuring the piano, the composer felt that writing music for solo piano was particularly challenging due to the restrictions of the instrument. Although few in number, Saariaho's piano works are 21st century gems continuing the path set by Debussy's late works and Messiaen.
Rosa Passos is considered one of the most important and loved Brazilian singers. Many music fans view her as the queen of modern bossa nova and samba, and she's equally loved in South America, Japan, USA and Europe. Whether she's playing with Kenny Barron or Yo Yo Ma she easily sells out Carnegie Hall in New York. She also enjoys touring with her quartet at jazz festivals and jazz clubs around Europe. Rosa Passos is part of the golden generation of Brazilian musicians that includes Joao Bosco, Joyce Moreno, Gilberto Gil, Gal Costa, Maria Bethania, Milton Nascimento, Ivan Lins and many other great artists. Rosa Passos is especially loved for her elegance and soft touch. Her musicality is an inspiration to singers all over the world. Her music speaks to everyone, you don't need to know about jazz or music to understand and enjoy - there is something universal to her vocal and approach that instantly makes the listener go along on the journey Rosa sets out for. It's always beautiful and if you close your eyes you can feel the Brasilian soul and see the beaches for your inner eyes. On July 7th, 2001 Rosa Passos played two sets at the famous Copenhagen Jazzhouse, one of the best jazz clubs in Europe for more than 25 years. The concerts took place as part of a bigger summer tour of Europe, with Rosa Passos playing all the important jazz festivals. In 2001 she was still unknown to the audience in Copenhagen, but Steen Rasmussen, a Danish pianist who was there, remembers: "Her playing was flawless and sophisticated - and it swung like crazy. It was already the best music I'd ever heard. Then she began to sing - and I was almost in a trance. That voice, that phrasing, that swing, that empathy, that way she accompanied herself - and that low volume. I could tell everyone present felt the same. Rosa Passos had changed all our lives forever" The experience speaks to the impact Rosa Passos has on people when they have the honor of experiencing her talent first-hand. She's intimate and powerful at the same time, and the tunes she plays, a mixture of her own compositions and Bossa Nova-classics, support her means of expression in the best way possible. This recording from Jazzhouse presents her and her band at her best. The sound is crisp, and the presence allows for the pure expression to shine through, and makes you wish that you had been there to experience this very special night in Copenhagen. "Imagine you are rocking a baby to sleep. For me, that's Bossa Nova" - Rosa Passos
Silvestrov: Echoes of Harmony - Piano Music, Vol. 3
Brilliant Classics
CD
$14.99Oct 11, 2024
21st-century piano music by the most distinguished Ukrainian composer of our time, recorded by a Polish pianist who has already won acclaim for his interpretations of Silvestrov's music. With the album 'Melodies of Silence', Tomasz Kamieniak demonstrated his affinity with the music of Valentyn Silvestrov, as international critics have recognised. 'The spectrum of piano literature is referenced,' according to Gramophone, 'thus making Silvestrov's endeavour as inclusive as it is extensive. Kamieniak is an enlightening guide, and one looks forward to future instalments in a project like no other.' This second instalment continues to document the fertile creativity which Silvestrov has found in the last quarter-century, especially in the field of music for the piano and for choirs. Begun seemingly as a distraction from large-scale works, this concentration on the piano has resulted in some 30 hours of music, organised into several dozen cycles of short pieces, most of them hardly more than a couple of minutes in length. Silvestrov then organised these into 'meta-cycles', each of them lasting in excess of an hour, intended to be performed as an unbroken continuity. 'Echoes of Harmony' can thus be viewed as a natural extension of 'Melodies of Silence'. The movements pay tribute to established genres: serenades, pastorals, waltzes and bagatelles. Characteristically for Silvestrov, the music continually seems to evoke a lost, Schubertian past, while also reflecting on the impossibility of recovering it. This approach creates a sense of fleeting time, where the music seems to stretch infinitely, suspended in space. There's no clear endpoint in these miniatures, allowing the music to linger, dissolve, and pause. Silvestrov is himself an accomplished pianist, who draws a deep range of sonority from the piano, and his pieces encourage interpreters to find a centre of stillness both in the music and in themselves, without recourse to the kind of chill-out aesthetic of many contemporary piano composers. Kamieniak enjoys a personal friendship with the composer, and his booklet introduction reflects both on the nature of these pieces and on their shared history. 'Does the composer leave room for interpretational latitude?' he asks 'Will micro-rubatos, micro-accelerations, micro-dynamics resonate with every listener? Questions abound, and among the more pertinent ones is whether a composer as rigorously attuned to his vision as Silvestrov will ever find satisfaction in interpretations by artists other than himself.' At any rate, Kameniak has become one of the composer's most insightful interpreters. - Valentin Silvestrov was born in 1937 in Kiev, Ukraine. He followed composition lessons with Boris Lyatoshynsky. In 2022 he fled from Ukraine following the Russian invasion in February. He lives in Berlin. - Silvestrov's musical style might be labeled Post-Modern. Using traditional tonal and modal techniques, Silvestrov creates dramatic and emotional textures, qualities which he suggests are otherwise sacrificed in much of contemporary music. "I do not write new music. My music is a response to and an echo of what already exists," Silvestrov has said. - The album Echoes of Harmony, featuring a collection of piano miniatures spanning from 2005 to 2021, form a cohesive, large-scale musical narrative. Silvestrov's fondness for bagatelles shines through in these works, representing his favoured genre in recent years. Under the broad umbrella of this genre, one encounters miniatures, including Serenades, Waltzes, Elegies, Pastorals, Tangos, Minuets, Preludes, Postludes, Mazurkas, Lullabies, Musical Moments, Barcaroles, and more. Music of touching simplicity and charm, offering consolation and peace. - This album is the successor of pianist Tomasz Kamieniak's highly successful CD "Melodies of Silence" by Valentin Silvestrov.
This new album by the award-winning Latvian Radio Choir conducted by Sigvards Klava - recently hailed by the New York Times as 'astonishing', 'superlative' by the BBC Music Magazine, and 'perhaps the finest chorus singing today' by NPR - is focused on the sacred choral works by one of the greatest composers of the Romantic era, Felix Mendelssohn (1809-1847). This recording of the Psalms also includes the world premiere recording of Ehre sei dem Vater published by Carus Verlag in 1997.
Hovhaness: Concerto No. 2; Works for Violin and Piano
Naxos
CD
$19.99Jul 25, 2025
The music of Alan Hovhaness, one of America's most prolific composers, enchants with his signature synthesis of East and West. Influenced by his Armenian heritage and a fascination with nature and spirituality Hovhaness sought to create music "for all people, music which is beautiful and healing." This collection of works featuring the violin includes several premiere recordings. Concerto No. 2, one of a series of ten concertos for various instruments, requires the soloist and ensemble to play using distinctive effects including tone clusters, melisma, and playing without strict measure. Evocations of Armenian liturgy contrasted with dizzying Scottish jigs can be heard in the Violin Sonata.
Naples and Venice were two of the most important centers for music in Italy in the 17th and 18th centuries. On this new recording of baroque recorder concertos from Italy, the Bremen Baroque Orchestra and Clara Guldberg Ravn once again demonstrate their great joy of playing and the highest quality of baroque performance practice. In addition to well-known works by Antonio Vivaldi and the recorder evergreen by Giuseppe Sammartini, the young Danish recorder player has also ventured into rather unknown baroque works by the Neapolitan Nicola Fiorenza and the Swede Johan Helmich Roman.
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.
Martinaitytė: Aletheia and other Choral Works / Kļava, Latvian Radio Choir
Ondine
CD
$18.99Nov 01, 2024
Ondine’s third album devoted to the music of Lithuanian-American composer Žibuoklė Martinaitytė (b. 1973) focuses on her music for unaccompanied chorus. On this album, four of her works are performed by the award-winning Latvian Radio Choir, conducted by Sigvards Kļava.
REVIEW:
The four a cappella choral works by Zibuokle Martinaityte on this haunting album unfold in a world beyond language. There are no texts, just free-floating vowels and tremulous ululations. And yet the emotional impact of this bewitchingly beautiful music is direct and at times devastating.
This recording presents the entire output to date for guitar of Toshio Hosokawa, one of Japan's most prolific composers for the instrument. His affinity for the guitar stems from his familiarity with popular songs accompanied by the guitar and from his knowledge of the koto, a traditional Japanese instrument from which he has adopted certain playing techniques. Although the works gathered here call for a variety of forces - guitar solo, guitar and voice, guitar and instrumental ensemble - they all present a fundamental aspect of Toshio Hosokawa's output: the music seems to be born like a calligraphic line 'at the limit of time and space'. Here, the guitar is no longer just an instrument familiar to both classical and popular music: in Hosokawa's works it is a medium that transmits the primordial motion of the soul, which has woven poems and songs since ancient times. Familiar with Hosokawa's world, guitarist Jacob Kellermann, together with Christian Karlsen (with whom he has already recorded works by Toru Takemitsu on BIS-2655), the Tallinn Chamber Orchestra and soprano Ilse Eerens, presents a soundscape on the edge of dreams, both seductive and subtle, modern and timeless.
THE CITY AND THE SEA project is a bridge connecting artists from two corners of the world - a valued American choirmaster and composer, originator of the idea of a virtual choir, Eric Whitacre, and a young Cracow composer - Klaudia Rabiega. The presented works were mostly composed to texts by well-known Anglo-Saxon poets. The compositions fit into the genre of vocal and instrumental chamber music in which the choir is equivalent to the other instruments with the piano keeping the whole together. Klaudia Rabiega knows how to compose choral music; she is perfectly at ease in the polyphonic vocal texture, and her musical language evolves in search of a balance between modern and creative style and simple language accessible to listeners. The project, which includes world premiere recordings, was implemented by excellent musicians associated with the Cracow music scene, and the whole was supervised by the charismatic conductor Andrzej Korzeniowski.
Mompou: Misterios - Transcriptions for Guitar, Vol. 1 / Ramelli
Brilliant Classics
CD
$12.99Mar 15, 2024
This album is dedicated to the compositions of Federico Mompou, a composer and pianist of profound sensitivity. He exhibited an early inclination for the piano but, inspired by a Gabriel Fauré concert, he shifted his focus to composition, making his way to Paris to further his study. Mompou’s compositional approach was channelled through the piano, which he considered a fundamental tool for connecting with music’s essence, so he composed primarily on and for the instrument. There are some exceptions, however: notably his guitar compositions Suite Compostelana (1962) and Cançon i Dansa No.13 (1972).
In the guitar’s melancholic and evocative timbre, Mompou discovered an ideal medium to express his contemplative and gentle poetic world. The guitar becomes the canvas where sound and silence intertwine, evoking emotionscapable of transporting the listener to archaic places suspended in time.
In 2018, Brilliant Classics released Ramelli’s recording of Mompou’s original guitar compositions. This new album furthers his exploration of the composer’s works, taking his piano compositions and reimagining them for the guitar. The collaboration between the guitarist and James Beneteau, who presented Ramelli with these exquisite transcriptions of Mompou’s pieces, has been profound.
Throughout the transcription journey, Ramelli and Beneteau followed Mompou’s scores as a map, transmuting each piece through the lens of contact with the geography of the guitar’s unique resonance. Decisions about transcription, instrumentaltechnique, tempo, and dynamics are all intertwined with this listening to the instrument itself. Playing Mompou’s music transcribed for guitar is a journey aimed at heightened listening and sensitivity, exploring the spaces between notes through tactile contact with the instrument. This recording captures this creative process and marks the beginning of this ongoing artistic journey.
September 8, 1960 Oscar Pettiford, American bassist/cellist/composer with unparalleled recognition died abruptly at age 38 due to a virus disease in Copenhagen where he had made his permanent residence.
He was one of American jazz players Denmark welcomed in in the 60s and 70s. A few weeks after Pettiford’s passing a circle of Danish jazz fans organized a memorial concert presented here to raise fund for his children with a star-studded program that included Stan Getz, Alice Babs, among others.
Rautavaara & Aho: Joy & Asymmetry / Schweckendiek, Helsinki Chamber Choir
BIS
SACD
$21.99Aug 30, 2024
Einojuhani Rautavaara and Kalevi Aho, teacher and pupil, are both key figures in the Finnish music of their respective generations. Rautavaara's musical language evolved from neoclassicism through dodecaphony and the stylistic freedom of the 1960s before he eventually allowed himself to choose his expressive idiom according to the individual requirements of his works. Towards the end of his career, his works took on a very consistent, soft-toned character. For his part, Aho also began his career using a freely applied neoclassical style before gradually progressing to a more varied, at times modernist expressive and incisive approach. The works featured on this disc offer a glimpse into the choral output of these two composers who, in addition to demonstrating their stylistic versatility, also reveal their literary curiosity. While Aho draws on contemporary Finnish literature, Rautavaara has recourse to poets of various origins and periods. They are entrusted to the expert voices of the Helsinki Chamber Choir and it's conductor, Nils Schweckendiek, who recently won an American Grammy for their disc devoted to the choral works of the late Kaija Sariaaho.
We know little about Pierre de Manchicourt's biography and recordings of his music are rare. "Beauty Farm" takes up the cudgels for this Franco-Flemish master of the Renaissance, who is probably only known to insiders. The album "Manchicourt - Masses" sheds a representative light on the sacred music of the composer, who worked as Kapellmeister to Philip II in Madrid in the last years of his life. Four masses - including the first recording of the "Missa De Domina" - show that Manchicourt was one of the grand masters of vocal polyphony.
Aufschnaiter, Fischer, Reuter & Richter: Baroque Music in Prague / Klikar
Animal Music
CD
$32.99May 19, 2023
Recently discovered and to date unreleased recordings represent the last major project of Musica Antiqua Praha, which was during the fifteen years of its existence (1982–1997) the most eminent Czech early music ensemble focused above all on the performance of early and middle Baroque music. The album comprises compositions that were part of the archives of the Prague Order of the Knights of the Cross with the Red Star, recorded by Musica Antiqua in 1996 in a world premiere. The Order’s heritage includes more than three centuries of musical tradition, documented by a rarely preserved music archive. The album features music by four composers from the 17th and 18th century. Pavel Klikar, the founder and artistic director of Musica Antiqua Praha, is the major figure inextricably associated with the ensemble, whose inspirational leadership helped to create an important seedbed which brought forth a whole generation of early music performers. From among these recruited the founders and members of the new ensembles that originated in the Czech Republic during the 1990s, as well as number of foremost Czech vocalists, among them Anna Hlavenková, Irena Troupová, Magdalena Kožená and Michael Pospíšil. From the late 1980s, Musica Antiqua Praha was recognized as one of the top European ensembles specializing in historically-informed interpretation. It was recognized for its exceptionally broad repertoire and conceptual programmes, specific performance style and astonishing spiritual intensity. The ensemble was a regular guest at many prestigious festivals abroad (the UK, Belgium, Germany, France and Spain), where it met with great acclaim from audiences and critics alike. Musica Antiqua Praha released five albums during the 1990s. The release of this album thus symbolically reconfirms the lasting influence of this exceptional music ensemble that laid the basis of authentic interpretation of early music in modern Czechia.
Around the World in 17 Christmas Songs Everything glows and sparkles, festive aromas fill the air, and in the distance, you can hear carol singing- Christmas is a feast for all the senses. Though decorations and culinary preferences around the globe may differ, there is one thing that always fits right in at Yuletide: the radiant sound of brass music. We were invited to present the annual Berliner Philharmoniker Christmas Family Concert in 2023 and decided to take the audience on a musical journey to the countries the Berlin Philharmonic Brass ensemble members come from. Each of us chose a favourite song from his or her home country, which meant we all discovered music we may never have had a chance to hear otherwise. To arrange the pieces, we turned to a good friend who has been arranging for us for many years-Joshua Davis, principal trombone of the West Australian Symphony Orchestra. He knows us well and, exclusively for us, he has made each Christmas song an individual showpiece-some traditional, some more jazzy, and others new and surprising. The buzz generated by this Family Concert was such that we were inundated with requests to record the pieces. To our delight, Berliner Philharmoniker Recordings agreed to produce an album with us, and we are happy and proud to present to you Frohe Weihnachten! For this release, we have augmented our original song selection with further beautiful discoveries from countries like Greece, Ukraine, and Poland. Now that this very special Christmas
It took almost 100 years for Charles Koechlin's First Symphony to get a proper recording and over a year for Ariane Matiakh to prepare the material. After her highly praised recording of Koechlin's Seven Stars Symphony (C5449), this is a much-appreciated further foray into the largely unexplored symphonic world of this fascinating composer, a French Chameleon of sorts, who felt comfortable anywhere between Bachian counterpoint and the heights of French impressionism. The earlier Au loin, Poeme symphonique and 3 Melodies (orchestrated posthumously) round out the scintillating picture.
