John Philip Sousa’s swift rise to fame and greatness came at a time when band concerts were the most important aspect of musical life in the US. The works on this recording range from the early Revival March of 1876 and the stirring Right Forward March from Sousa’s time as conductor of the US Marine band, to the “up-to-date” 1920s fox-trot Peaches and Cream and the 1923 Leaves from My Notebook, dedicated to the Campfire Girls of America. Music from Sousa’s operetta Chris and the Wonderful Lamp can be found alongside his medley of tunes from Gilbert and Sullivan’s The Mikado, which includes many of the hit tunes from this operetta, while The Honored Dead was performed at President Ulysses S. Grant’s funeral.

Winner of the 2020 GRAMMY award for Best Choral Performance and a nominee for Best Contemporary Classical Composition!

Richard Danielpour’s dramatic oratorio The Passion of Yeshua- a work which has evolved over the last 25 years- is an intensely personal telling of the final hours of Christ on Earth. It incorporates texts from the Hebrew Scriptures and the Christian gospels inspiring extraordinarily beautiful music that stresses the need for human compassion and forgiveness. Danielpour returns to the scale and majesty of Bach in the oratorio, creating choruses that are intense and powerful, and giving both Mary the mother of Jesus and Mary Magdalene a central place in a work of glowing spirituality. Conductor JoAnn Falletta considers The Passion of Yeshua to be “a classic for all time.”

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REVIEW:

Naxos’ world première recording of The Passion of Yeshua (2017) does full justice to Danielpour’s vision, thanks to the strong involvement and fine vocal talents of half a dozen soloists and the highly committed, knowing and knowledgeable conducting with which JoAnn Falletta shapes the performances of the UCLA Chamber Singers and the Buffalo Philharmonic Chorus and Orchestra.

– Infodad.com

Federico Moreno Torroba composed about one hundred works for the guitar, thereby reinforcing his status as one of Spain's great twentieth-century composers. Homenaje a la seguidilla pays lively tribute to that characteristically Spanish song and dance, while the Tonada concertante is in turns playful and introspective. Concierto de Castilla features a free-spirited lyricism evocative of the folklore of Castile, a vast expanse in the middle of Spain with which the composer strongly identified. "You would expect Pepe Romero to excel at the Concierto en Flamenco...The piece is gorgeous, the performance vibrant and passionate...The soloist in Dialogos is Romero's gifted pupil, Vicente Coves, who plays as well as his mentor, and whose brother leads the orchestra vividly and sympathetically." (ClassicsToday.com on Volume 1, 8573255)

Grammy Award-winning composer Michael Daugherty explores the relationships between machines, humanity and nature in three unique concertos. ‘Dreamachine’ for solo percussion and orchestra is a colorful tribute to the imagination of inventors who dreamed of new machines, both real and surreal. The flute concerto ‘Trail of Tears’ dramatizes the tragic governmental forced relocation of Native Americans in 1838 and meditates on how the human spirit discovers ways to deal with adversity. ‘Reflections on the Mississippi’ for tuba and orchestra is a musical voyage down the legendary Mississippi River from Iowa to Louisiana. The Albany Symphony, conducted by David Alan Miller, delivers mesmerizing performances by three outstanding women soloists: Grammy Award-winning percussionist Dame Evelyn Glennie, flutist extraordinaire Amy Porter, and Carol Jantsch, the remarkable principal tubist of The Philadelphia Orchestra.

REVIEW:

Not typically known as a composer of virtuoso music hitherto, Michael Daugherty here writes splendid parts for all three soloists in these concertos, but percussionist Evelyn Glennie’s in Dreamachine is simply breathtaking. And yet, there’s more to this album than Glennie. Daugherty has been expanding his characteristic “Stravinsky plus pop culture” musical language, and although all the music here is typically programmatic, you might not guess that he was the composer. The opening flute concerto, Trail of Tears, applies cinematic techniques to that tragic event with unexpected and convincing results, all the while merging those with virtuoso flute writing. And the evocative tuba concerto, "Reflections on the Mississippi" is a much-needed expansion of the concerto literature for that instrument. With fine engineering from a pair of spaces in the Troy, New York area backing capable performances from the Albany Symphony under David Alan Miller, this is an unusually strong Daugherty release.

-- AllMusic.com (James Manheim)

The latest batch of colorfully orchestrated, imaginatively conceived orchestral works by this GRAMMY Award winning composer are concertante pieces from 2010: Trail of Tears, which is a meditation on the brutal 1838 relocation of Native Americans and the flute a fittingly haunting commentator; 2013's Reflections which goes down the famous river in four movements (“Mist”, “Fury”, “Prayer” and “Steamboat”) and the big, 34-minute Dreamachine of 2014, the most stylistically heterogenous work here from the eerie and impressionistic “Electric Eel” movement which sounds like the aquarium movement from Carnival of the Animals on acid or peyote to the rock-band drum solo in the “Vulcan’s Forge” finale.

-- Records International

Bernard Herrmann was famous for his film scores, but he was also a leading figure in music for radio, to which he brought his inimitable palette of mood and sonority. Whitman, whose subject is Walt Whitman’s collection of poems Leaves of Grass, was a 1944 radio drama, a genre now much neglected but revived in this newly restored version. Psycho: A Narrative for String Orchestra is not a suite or excerpts from the film but a concert work, re-ordered and re-composed, while Souvenirs de voyage is one of the most polished and seductive of all American chamber works.

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REVIEWS:

Gil-Ordóñez and the PostClassical Ensemble have plenty of experience with Herrmann and perform the music with the proper heated quality. The result is an album that will be essential for Herrmann fans but also of great interest to general listeners.

– AllMusic Guide

With a narrator as Whitman, and a chamber sized orchestra to add impact and color, these many years after the end of the WWII (around the time of its original broadcast), it still carries a profound message. Souvenirs de voyage came towards the end of Herrmann’s life, and was proof of his range of genres that today are overlooked in favor of his film scores. It is a beautiful score, blessed with attractive melodic material and couched in subtle colors. Herrmann was to re-compose music from Psycho years later to form a concert work. It was rediscovered by conductor John Mauceri in 1999.

It would be difficult to imagine finer performances from a number of performers, Whitman, being a World Premiere Recording with the conductor, Angel Gil-Ordonez and the Washington-based PostClassical Ensemble, William Sharp the ideal narrator. Top quality sound, and It comes with an excellent booklet.

– David's Review Corner (David Denton)

Launched by its prologue Das Rheingold (8660374-75), Der Ring des Nibelungen (The Ring of the Nibelung) - one of the supreme works in the history of music - continues with Die Walküre. Part II of the tetralogy centres on the young lovers Siegmund and Sieglinde, whose relationship angers Ficka, goddess of marriage, and on the disobedience of the Valkyrie Brünnhilde who is sent to carry out Fricka’s wishes. Performed by an all-star international cast, the work features thrilling set-pieces such as Wotan’s Farewell and the Ride of the Valkyries.

A 2021 GRAMMY Nominee for Best Orchestral Performance!

Pulitzer and Erasmus Prize-winning composer John Adams occupies a unique position in the world of American music. His works stand out among contemporary classical compositions for their depth of expression, brilliance of sound, and the profoundly humanist nature of their themes. Adams describes My Father Knew Charles Ives as “an homage and encomium to a composer whose influence on me has been huge.” Harmonielehre was a deliberate move by Adams to expand his musical language beyond Minimalism, keeping its energetic pulse but embracing the rich tonal resources of the past to create a work that has accrued an aura of timelessness. Six-time GRAMMY Award-winning conductor Giancarlo Guerrerois music director of the Nashville Symphony and the NFM Wroc?aw Philharmonic in Poland, as well as principal guest conductor of the Gulbenkian Orchestra in Lisbon, Portugal. He has championed contemporary American music through numerous commissions, recordings and performances with the Nashville Symphony, presenting eleven world premieres of works by Michael Daugherty, Terry Riley, and others. As part of this commitment, he helped guide the creation of Nashville Symphony’s Composer Lab & Workshop initiative.

REVIEWS:

In point of fact, John Adams’ father did not know Charles Ives, but imagined that they had a good deal in common, and that was a springboard to a work that is unlike any other among Adams’ output. It’s not at all clear why My Father Knew Charles Ives has been so neglected. The work gets a detailed, sympathetic treatment here from Giancarlo Guerrero and the Nashville Symphony Orchestra. Guerrero and the Nashvillians have done a major service by reviving My Father Knew Charles Ives.

– AllMusicGuide.com (James Manheim)

Given the difference in ambiance and style between the two works, these brilliantly played and recorded performances might just make an ideal point of entry for those new to the composer.

– MusicWeb International

Rossini’s Neapolitan theatrical debut in 1815 won him overnight esteem as well as the favor of the Bourbon dynasty, ensuring lucrative contracts and commissions. The following year he composed Le nozze di Teti e di Peleo, an allegorical cantata on the theme of the wedding between the sea goddess Thetis and the hero Peleus. Written to celebrate a royal marriage, it is an intensely theatrical work in which Rossini drew on some of the greatest contemporary singers, specialists in the ornamented bel canto style, and created a staged spectacular with chorus and a wealth of colorful orchestration.

Tchaikovsky encouraged Georgy L’vovich Catoire to pursue a musical career, remarking that he was ‘gifted with a powerful creative talent’. Catoire’s passion for Wagner was intense and this infused his music with rich chromatic harmonies and sweeping melodies. His works for violin and piano are some of his very finest. The Violin Sonata No. 1 in B minor, Op. 15 is a substantial and compelling piece, full of grandeur and constantly evolving rhythms. Like its successor, the raptly beautiful, single-movement Violin Sonata No. 2 in D major, Op. 20, subtitled Poème, it shows the influence of French Impressionism.

Arnold Schoenberg founded the Society for Private Musical Performances in 1918 to perform contemporary music from "Mahler to the present". Mahler had been an early supporter of Schoenberg's music, and Schoenberg repaid the favor by arranging Mahler's orchestral works for chamber ensemble and including them at the society's concerts. The colorful Lieder eines fahrenden Gesellen are given a feel of great intimacy in this form, while the lighter scoring of Das Lied von der Erde has the advantage of clarifying instrumental textures, its magical effects capturing "the finite nature of earthly things".