After recordings of Beethoven’s complete symphonies; two Ravel albums; one Rautavaara album; and the award-winning album ‘Americascapes’; Robert Treviño now turns his focus on the symphonic poems by Ottorino Respighi (1879–1936).Together with the Orchestra Nazionale Sinfonica della RAI; Robert Treviño presents the composer’s famous Roman Trilogy; an exciting orchestral masterpiece culminating in the triumphant Pines of Rome.

Respighi's fascination with the Eternal City is nowhere better expressed than in the three symphonic poems that make up the so-called Roman Trilogy. He had rarely taken on works of such proportions and his most recent large-scale orchestral work, the Sinfonia Drammatica, dating from 1914, still reveals the lasting influence of Brahms and Franck. But just one year later, he finally shook off the shackles of late 19th-century Romanticism, and offered a first glimpse of the remarkable use of color that would soon become a hallmark of his orchestral writing.

REVIEW:

Respighi’s three tone poems, collectively known as the “Roman Trilogy,” have been popular since their premieres, and there is no shortage of recordings. However, here is one that is worth consideration from a rising conductor and a major orchestra that is not recorded as often as it ought to be. This is absolutely infectious fun, and the performances are fully in the spirit of these evergreen favorites. Here is a release that will make one remember what it was they loved about this music in the first place.

-- AllMusic,com (James Manheim)

Alpesh Chauhan’s début recording for Chandos – Tchaikovsky: Orchestral Works, Vol. 1 (CHSA 5300) – met with widespread critical acclaim and awards, including recording of the week for both The Times and Presto Music, and the BBC Music magazine’s Orchestral Choice. This second volume – with the same forces – offers equally crisp and attentive playing from the BBC Scottish Symphony Orchestra, in another album that mixes well-known and less-heard Tchaikovsky. Three purely orchestral works form the core of the programme: Fatum (an early concert piece inspired by and dedicated to Balakirev), Hamlet (the last of his Shakespeare-inspired pieces), and Capriccio italien. These are interspersed with works conceived for the theatre: the Introduction to his opera The Queen of Spades and excerpts from The Oprichnik (an early opera) and The Snow Maiden (incidental music for a play by Ostrovsky). The album was recorded in Glasgow City Halls in SURROUND-SOUND and is available as a hybrid SACD.

Dvořák’s Legends and Slavonic Rhapsodies, recorded by Principal Guest Conductor of the Czech Philharmonic, Tomáš Netopil, marks the Orchestra’s fourth recording featuring Czech composers in 2024’s Year of Czech Music. Dvořák wrote his Slavonic Rhapsodies just before the Slavonic Dances that catapulted him to world fame, and they share their colorful orchestration and appealing folk dance melodies, even if the Rhapsodies have more expansive, ambitious forms. The Legends are at least as ingenious, with a smaller orchestra giving the pieces a more intimate, introspective quality. These lesser-known gems are now presented in a glorious idiomatic interpretation by the Czech Philharmonic, arguably the world’s best orchestra for this repertoire.

The Czech Philharmonic is one of the world’s orchestral gems, recognised for its rich tradition with the Czech masters as well as European repertoire. Together with their chief conductor and artistic director Semyon Bychkov, they have so far recorded for PENTATONE Mahler’s First, Second, Fourth, and Fifth Symphonies (2022-2023), part of the complete Mahler cycle to be released by the label, as well as Smetana's Má vlast and Dvořák's Seventh, Eighth, and Ninth Symphonies (2024). The Orchestra is also featured on the albums Folk Songs (2023) and Czech Songs (2024) recorded by Magdalena Kožená and Sir Simon Rattle. Principal Guest Conductor Tomáš Netopil makes his Pentatone debut.

Following Sony Classical’s 16-CD release of Artur Rodziński’s New York Philharmonic recordings, here is the label’s eagerly awaited 13-disc collection of his complete recordings with the Cleveland Orchestra, which Rodziński headed from 1933 to 1943. The fiery, volatile Polish conductor (1892–1958) – whose lean, propulsive style emulated that of his idol Toscanini – earned a reputation as a builder of great orchestras: he led and developed the Los Angeles Philharmonic before taking up his position in Cleveland. In 1935, he brought nationwide attention to the midwestern orchestra when he conducted it in the US première of Shostakovich’s opera Lady Macbeth of the Mtsensk District. During his tenure in Cleveland, Rodziński moulded its orchestra into a brilliant ensemble which his successor, George Szell, would then elevate to international pre-eminence. Meanwhile, Rodziński was also active in Europe, becoming the first naturalized American to conduct the Vienna Philharmonic at the Salzburg Festival. There Toscanini admired his work and in 1938 picked him to train his new NBC Symphony Orchestra. In Cleveland between 1939 and 1942, Rodziński conducted a number of important recordings for Columbia Masterworks, all of them contained in this new set.

With dedicatee Louis Krasner as soloist, he made the first studio recording of the Berg Violin Concerto. His other acclaimed 78-sets include the Berlioz Symphonie fantastique, Rimsky-Korsakov’s Scheherazade (“among the finest statements ever given this incorrigibly popular score” – High Fidelity), Strauss’s Ein Heldenleben, the Fifth Symphony of Tchaikovsky (“Remarkable here is the tension of the second movement and the heroic close to the first” – Gramophone) as well as those of Sibelius and Shostakovich, Tchaikovsky’s Romeo and Juliet (“Unsullied excitement” – Gramophone), Debussy’s La Mer and the orchestral “scenario” from Jerome Kern’s Show Boat – plus a previously unreleased recording of Mendelssohn’s Violin Concerto with Nathan Milstein. Until now, most of these albums have only been released on 78s and reissued on LP. Thus Sony Classical’s meticulously transferred and mastered 13-disc collection of Rodziński’s Cleveland recordings fills a large gap in this still widely admired conductor’s CD discography.

For this their fourth album of music for string orchestra, John Wilson and Sinfonia of London present a programme of works by three composers from the Franco-Belgian school of string pedagogy, who were all themselves virtuosic string players. George Enescu studied in Paris and Vienna, spent much of his life in France, and was internationally lauded as a concert violinist and conductor in both Europe and America. Much of his music remained unknown after his death – a situation improved thanks to some high-profile champions of his work, not least his most famous pupil Yehudi Menuhin. When Enescu supplied a preface for a new edition of his Octet, in 1950, he sanctioned its performance by a full string orchestra, the form in which we hear it on this recording. Completed in 1924, Ysaÿe’s Harmonies du soir is scored for string quartet and string orchestra, enabling Ysaÿe to exploit the contrast between intimate and full string sound, a technique inspired by Vaughan Williams in his Fantasia on a Theme of Thomas Tallis. Affectionately known as the ‘First Lady of Polish Music’, Grazyna Bacewicz was an outstanding virtuoso violinist, a formidable pianist, and ground-breaking composer. A great deal of her output was written for strings, including the Concerto for String Orchestra, written in 1948. Often described as neoclassical, the work takes some inspiration from the baroque concerto grosso, but is distinctly modern in its harmonic language and was particularly admired by Lutoslawski.

This is the first of two volumes of George Walker’s complete piano works, both featuring performances by Alexandre Dossin. The three sonatas heard here offer compelling contrasts. Sonata No. 1 (rev. 1991) is his longest and utilises folk tunes, No. 2 is darker and unified by tonal relationships, while No. 3 (rev. 1996) displays contrapuntal mastery and translucent elements. The album opens with the serene and majestic Prelude and Caprice, while both Spatials and Spektra are atonal. Bauble is heard in a world premiere recording.

REVIEW:

Judging by the compositions on this album, his piano music is communicative, colorful, expressive and, above all, characteristic. As a student of Rudolf Serkin, he was himself an outstanding pianist with an impressive career in Europe and the United States. This may have been conducive to his talent as a composer. 

Pianist Alexandre Dossin shows himself to be an accomplished interpreter, making Walker’s tonal language his own with his flexible and sensitive playing.

-- Pizzicato

What would it mean to 'compose like a woman'? The present collection answers the question, in a literal sense, while undoing the premise on which the question was asked in the first place. In social and historical terms, it means enjoying privileges of upbringing, education, and/or wealth that were historically denied to the vast majority of women. It means, on the part of the women represented here, a single-minded determination in pursuit of their vocation, helping them to overcome prejudice and sexism in a cultural, social and political milieu that has consistently denied women the opportunity to find and express their own voice in music. Only with movements of emancipation in the last century, and much more rapidly in the last 50 years, has this situation begun to be addressed and corrected. What composing like a woman does not mean - as the music in this collection makes clear - is a definable set of qualities or characteristics to the music itself which would distinguish the work of female composers from the music composed by men.

This remarkable set gathers many individual recordings of music by women composers, which Brilliant Classics has quietly yet actively championed in their catalogue for decades, uniting it with exciting new outings, so that a comprehensive historical picture of the highly varied struggles and successes of women composers through the ages to our present time are chronicled and celebrated.

Other information:

- Recordings date from 1994-2024

- Booklet in English contains liner notes by Peter Quantrill

- The revival of interest in female classical composers reflects a growing recognition of their overlooked contributions to music history.

For centuries, women composers were marginalized, their works overshadowed by their male counterparts. However, recent efforts by musicians, scholars, and institutions have brought these composers into the spotlight, highlighting the richness and diversity of their compositions.

- This renewed focus stems from a broader movement toward inclusivity in the arts, challenging traditional narratives that have historically excluded women. The rise of feminist musicology has also played a key role, offering fresh perspectives on these composers' lives and works.

- This comprehensive box set offers a wide spectrum of works by female composers, from the Medieval mystic Hildegard Von Bingen (1098-1179), through the Renaissance Isabella Leonarda (baptized 1620-1704), Francesca Caccini (1587-1640) und Barbara Strozzi (baptized 1619-1677), traversing the Baroque and Classical eras, and arriving in the contemporary field, with composers such as Galina Ustvolskaya (1919-2006) and Grazyna Bacewicz (1909-1969).

- A long due homage to the art and voice of female composers, spanning nearly a thousand years!