The pieces on this album originate largely from the Christmette by Michael Praetorius. In addition, nativity hymns by a range of different composers from the same era have been compiled. In Lutheran style the compositions on this album include solo pieces, choir arrangements, double choral motets, instrumental pieces and of course the church organ repertoire. The listener can also hear pieces, which were not necessarily meant for Christmas, but fit the program very well. The function of some of the pieces is liturgical, like “Gloria,” “Our Father,” or the mighty Entrance-Prelude. Two other pieces are meditative moments about the name of Jesus. Many of the songs are well-known. However, the arrangements for soloists and/or choir from Praetorius and his contemporaries are rarely performed. The Early Music ensemble Margaretha Consort was founded in 2009. The ensemble is based in the Netherlands, but the singers and instrumentalists are from all over Europe.Over the years a very skilled team has been created, where knowledge, musicality, and congeniality go hand in hand.

With its roots in ancient Greece and Rome, the oboe has evolved from the rustic medieval shawm and the French Baroque hautbois to become the modern instrument we know today. Italian composers provided the first works befitting of its expressive nature, and ever since, great writers such as J.S. Bach, Handel and Mozart have been inspired by the instrument’s unique, emotive qualities, using it as a medium for some of their most beautiful and delicate melodies. With an equal ability to shine in a chamber setting or to rise above an orchestra, and its distinctive timbre, expressive character and versatility, the oboe continues to be an inspirational and joyful instrument.

The ancient origins of the modern cello came from India and the Far East, arriving in Europe through Arab trade routes. By the time of the instrument’s advanced construction in the mid-18th century, the greater volume of sound and versatility that could be achieved contributed to its development both as a solo and an ensemble instrument. People often cite the cello as their favorite string instrument on account of its similarity to the human voice, the warmth of tone, the dramatic quality of the upper register and the instrument’s directness of communication. All of these unique qualities are represented by the works in this essential collection.

Despite her tragically early death at the age of 25, Vítězslava Kaprálová left a portfolio of more than 50 works of the highest craftsmanship and inspiration. this selection of her orchestral music, recorded at the Kaprálová Festival in Michigan, includes the work that won her international esteem in 1938, the Military Sinfonietta. abounding in youthful energy and brilliant colors, the Piano Concerto marries virtuosity with lyricism, while the orchestral songs are both atmospheric and striking.

REVIEWS:

Handsomely recorded, Kenneth Kiesler conducts the University of Michigan Symphony Orchestra in convincing, invigorating and satisfying accounts which, I’m sure, will win these compelling scores many friends. A deep love and commitment to this composer conveys itself throughout. The booklet contains Czech texts and English translations of the two vocal items. I urge you to explore.

-- MusicWeb International

Despite her tragically early death at the age of 25, Kaprálová left a portfolio of more than 50 works of the highest craftsmanship and inspiration. this selection of her orchestral music, recorded at the Kaprálová Festival in Michigan, includes the work that won her international esteem in 1938, the Military Sinfonietta, abounding in youthful energy and brilliant colors and the 23-minute piano concerto of 1935 which marries virtuosity with lyricism, while the orchestral songs are both atmospheric and striking.

-- Records International

This is a poignant memento of lost talent—but one well worth hearing for what we have as well as for what never came to be. These recordings have their roots in a Kaprálová Festival at the University of Michigan in September 2015, but the recording dates suggest that most, if not all, of the performances were recorded later in the academic year. And while the University of Michigan Symphony Orchestra would never be mistaken for a major orchestra, the enthusiasm is palpable. Nicholas Phan…sings with an infectious ardor, and Amy I-Lin Cheng knocks off the Piano Concerto with aplomb. Through it all, conductor Kenneth Kiesler shows commitment to the cause.

-- Fanfare

As a leading virtuoso who premiered Beethoven’s final violin sonata with the Archduke Rudolph, Rode was at the center of European musical life, his compositions sitting at the apex of the French violin school. The final volume in this acclaimed series presents one of his most inspired pieces, the Violin Concerto No. 11 in D major, lyrically expressive and full of good-humored zest. Violin Concerto No. 12 in E major is notable for the ingenious ways in which, through trills, staccato, spiccato and cadenzas, Rode heightens the music’s bravura. Violinist Friedemann Eichhorn studied with Valery Gradow at the University of Music in Mannheim, with Alberto Lysy at the International Menuhim Music Academy in Gstaad, Switzerland, and with Margaret Pardee at The Juilliard School in New York. He performs with many renowned orchestras across the globe, and his previous recordings for Naxos were highly acclaimed.

Born in the Cuban capital of Havana, Alí Arango has won numerous awards including the prestigious Alhambra International Guitar Competition in 2014. Arango’s programme follows a tradition of eminent Spanish and Latin American performers who are also distinguished composers, musicians who live and breathe the idiom and style of their national instrument. These include Arango’s teachers and fellow Cubans Joaquín Clerch and Leo Brouwer, the latter acclaimed as one of today’s most innovative composers. This selection ranges from the spectacular Guajiras de Lucía by Paco de Lucía to Arango’s own lullaby to his daughter Lúa.

Most of the pieces on this album have been designated ‘WoO’ (Works without Opus Number) or bear the numbering from the Hess catalogue of unpublished or unfinished pieces. These include the piano transcription of the topically programmatic Battle Symphony (Wellington’s Victory or The Battle of Vitoria) and the genial variations on Rule Britannia and God Save the King. The Marches, Menuets and Ecossaises derive from a variety of sources, while there is a strangely tragic aspect to the Waltz in C minor.

The German-Canadian Amadeus Guitar Duo and South German Duo Gruber & Maklar have known each other for many years from encounters at guitar and music festivals. Their love of varied programming prompted them to devise a concert featuring works for one, two and four guitars. Guitar Gala Night brings together the most beautiful works for guitar solo, duo and quartet in the European and Latin guitar repertoire in a spirited evening of virtuosic, lyrical and expressive music. This attractive program joins an eminently collectable series of themed albums from the Amadeus Guitar Duo, which recently celebrated its 25th anniversary. Performing over 80 concerts annually both as a duo and now including repertoire with orchestra, as well as broadcasting both for radio and television, this is a duo with an extensive fan base that eagerly acquires each new release, ensuring a high volume of sales and an enduring popularity. Gruber & Maklar has performed throughout Europe and across the globe. Guitar Review wrote in 2000 that “their technique is spectacular, their musical understanding cannot be overstated, their ensemble with each other is outstanding and… they deserve to be recognized as one of the finest guitar duos in the world.”

This is one of those discs you’d be tempted to overlook: seven works by seven different composers, most of them unknown (except for Villa-Lobos and Guarnieri), scored or arranged for violin and piano, and played (very well) by performers who aren’t exactly household names. I dismissed it initially, but that was a mistake. My close friend was curious and gave it a listen. He was hooked. “Play track three,” he insisted, and so I did (sound clip). I was hooked too. It just goes to show that you can’t judge a CD by its cover. You’ve got to listen. If only there were more hours in the day!

So, that delicious third track is the last of César Guerra-Peixe’s Three Pieces for Violin and Piano, and very fetching they are. The major works, though, are Guarnieri’s powerful Violin Sonata No. 4; a splendid transcription for violin and piano by these players of Léa Freire’s soulful Three Songs; Villa-Lobos’ curiously touching “The Martyrdom of Insects,” with a finale that gives The Flight of the Bumblebee a run for its money; and Ernani Aguiar’s inventive Meloritmias No. 4 for solo violin. The other pieces, Edmundo Villani-Côrtes’ “Clear Waters,” and Radamés Guattali’s “Night Flower,” would make terrific encores to any chamber music recital.

All that remains to be said is that violinist Francesca Anderegg and pianist Erika Ribeiro play all of this music with the same care and loving attention to detail that obviously went into choosing the program. You can audition the whole thing through at a sitting or take it in bits. Either way, you surely will enjoy this hour of vibrant, songful, alternately spiky and spicy music that’s consistently captivating and worth your attention. Fine sonics too. Thank you, Shawn.

– ClassicsToday (David Hurwitz)