This substantial set dedicated to the vocal music of Claudio Monteverdi (1567–1643) features the great cycle undertaken (to date) by Krijn Koetsveld and the singers of Le Nuove Musiche: all nine books of madrigals, the music in Monteverdi collections such as the Selva Morale e Spirituale (1641), the posthumous Messa a quattro voci ed salmi (1650), and the individual works by Monteverdi compiled in the collections of others, the so-called Fragments. To this is joined the cycle of operas directed by Sergio Vartolo and sung by casts of Italian early music specialists, including the first recording of the five-act version of Il ritorno d’Ulisse in patria.

These thoroughly researched, historically informed interpretations demonstrate Monteverdi’s pioneering and transformative role in the emergence and development of staged, dramatic vocal music. Also featured are the grand Vespers – sacred music in the Gregorian plainchant tradition but on an operatic scale – in a fantastic recording with fine Italian soloists and authentic period instruments including the early brass of La Pifarescha. Federico Bardazzi and Ensemble Felice make scrupulous interpretative decisions about the order of movements, interpolating the choral motets within the prescribed sequence of psalms to great effect. Finally, there are Monteverdi’s youthful three-part canzonettas, written when the composer was 17. They are rather simpler than the madrigals, both to sing and to appreciate, but their musical worth is amply demonstrated by the largely female voices of Armoniosoincanto joined by a mixed period-instrument ensemble of flutes, violas, theorbo and harpsichord. They impart just the right light-hearted mood and dramatic impact to the playful, folkloric secular strophic poetry.

CONTENTS:

• Monteverdi: Il primo libro de madrigali, 1587
• Monteverdi: Il secondo libro de madrigali, 1590
• Monteverdi: Il terzo libro de madrigali, 1592
• Monteverdi: Il quarto libro de madrigali, 1603
• Monteverdi: Il quinto libro de madrigali, 1605
• Monteverdi: Il sesto libro de madrigali, 1614
• Monteverdi: Il settimo libro de madrigali, 1619 'Concerto'
• Monteverdi: Il ottavo libro de madrigali, 1638 'Madrigali guerrieri et amorosi'
• Monteverdi: Il nono libro de madrigali, 1651
• Monteverdi: O ciechi il tanto affaticar, SV 252
• Monteverdi: Voi ch'ascoltate
• Monteverdi: È questa vita un lampo
• Monteverdi: Spuntava il dì, SV 255
• Monteverdi: Chi vol che m’innamori
• Monteverdi: Confitebor tibi III alla francese, SV267
• Monteverdi: Gloria a 7, SV 258
• Monteverdi: Crucifixus, SV 259
• Monteverdi: Pianto della Madonna 'Iam moriar, mi fili' (sopra il Lamento dell'Arianna), SV 288
• Monteverdi: Et resurrexit, a quattro
• Monteverdi: Et iterum
• Monteverdi: Laudate Dominum in sancta Eius
• Monteverdi: Salve Regina, SV 285
• Monteverdi: Laudate Dominum
• Monteverdi: Beatus vir (from Selva Morale e Spirituali)
• Monteverdi: Sanctorum meritis (Primo)
• Monteverdi: Dixit [Dominus] Primo
• Monteverdi: Ab aeternum, SV 262
• Monteverdi: Confitebor tibi Domine, SV266
• Monteverdi: Memento Domine David
• Monteverdi: Laudate pueri Primo
• Monteverdi: Salve Regina, SV 284
• Monteverdi: Laudate Dominum omnes gentes II
• Monteverdi: Magnificat Primo
• Monteverdi: Gloria (1641)
• Monteverdi: Dixit Dominus secondo a8 SV 192
• Monteverdi: Deus tuorum militum sors et corona
• Monteverdi: Confitebor tibi, Domine
• Monteverdi: Iste confessor
• Monteverdi: Beatus vir (second setting)
• Monteverdi: Ut queant laxis, hymnus sancti Joannis
• Monteverdi: Laudate pueri (Secondo)
• Monteverdi: Deus tuorum militum sors et corona
• Monteverdi: Credidi propter quod locutus sum, SV 275
• Monteverdi: Jubilet a voce sola in dialogo
• Monteverdi: Magnificat (Secondo)
• Monteverdi: Salve Regina
• Monteverdi: Laudate Dominum
• Monteverdi: Canzonette
• Monteverdi: Vespro della beata Vergine (1610)
• Monteverdi: Cantate Domino
• Monteverdi: O beatae viae
• Monteverdi: Currite populi
• Monteverdi: Ego flos campi
• Monteverdi: Venite, venite
• Monteverdi: Christe, adoramus te
• Monteverdi: O quam pulchra es
• Monteverdi: Salve Regina
• Monteverdi: Fuge, anima mea
• Monteverdi: Sancta Maria
• Monteverdi: Domine, ne il furore
• Monteverdi: Ego dormio
• Monteverdi: Ecce sacrum paratum
• Monteverdi: Salve Regina
• Monteverdi: O bone Jesu, o piissime Jesu
• Monteverdi: En gratulemur hodie, SV 302
• Monteverdi: Laudate Dominum omnes gentes
• Monteverdi: Adoramus te, Christe
• Monteverdi: Messa a 4 voci da Cappella (1650)
• Monteverdi: Dixit [Dominus] Primo
• Monteverdi: Confitebor tibi, Domine
• Monteverdi: Nisi Dominus a 6, SV201
• Monteverdi: Laudate pueri
• Monteverdi: Laetatus sum
• Monteverdi: Lauda Jerusalem a 3, SV202
• Monteverdi: Beatus vir (from Selva Morale e Spirituali)
• Monteverdi: Magnificat Primo
• Monteverdi: Missa 'In illo tempore' (1610)
• Monteverdi: Dixit Dominus II
• Monteverdi: Confitebor tibi Domine II, SV194
• Monteverdi: Nisi Dominus a 6, SV201
• Monteverdi: Laudate Dominum, SV197a
• Monteverdi: Laetatus sum
• Monteverdi: Laetaniae della Beata Vergine a 6 voci
• Monteverdi: Lauda Jerusalem a 5, SV203
• Monteverdi: L'Orfeo
• Monteverdi: Il ritorno d'Ulisse in patria
• Monteverdi: L'incoronazione di Poppea

Christopher Glynn continues his Schubert in English series by joining baritone Roderick Williams and soprano Rowan Pierce for songs of loneliness and companionship, nature and the seasons, faith and doubt, wandering and homecoming, caution and consolation - all in new English versions by Jeremy Sams.

The first of its kind, this duet album is a musical journey that draws back the curtain which has obscured gay love-stories for centuries. In the 17th century, Venice offered a liberal safe haven of sorts to the gay community of greater Europe. There are accounts of outed artists escaping to Venice to live and work amongst its more permissive culture. Almost 400 years later, we reconnect with this uncommonly tolerant place and time to share a history that is yet untold. The album includes vivid and charming duets from Monteverdi’s 7th book of madrigals as well as his touching musical love letters (lettere amorose). Additionally, there are four modern-day premieres of works by the little-known composers Boretti, Melani, and Castrovillari; including a moving duet for the lovers Hercules and Theseus as they exit the underworld hand-in-hand. Solo arias by Cavalli and Stradella depict the yearning of hidden love, and the recording culminates with one of the most beautiful duets of all time, ‘Pur ti miro’ from Monteverdi’s L’incoronazione di Poppea. This album is a recognition and celebration of gay love that spans the centuries.

This new album continues Ondine’s award-winning series of orchestral works by Witold Lutosławski (1913–1994) together with the Finnish Radio Symphony Orchestra. The series has gathered several accolades, including a Grammy nomination, a BBC Music Magazine Awards nomination, and several recording of the month awards and best recordings of the year nominations. This album includes the composer’s early hit, his folklorish masterpiece Concerto for Orchestra, which is among his most performed compositions.

The album also includes Partita for Violin and Orchestra (with Christian Tetzlaff as soloist), a virtuosic 5-movement work which in its orchestral version is not short of a Violin Concerto. The rarity in the album is Lutosławski’s Novelette from 1979, which, although fragmentary, is already pointing toward the ideas of his 3rd Symphony.

REVIEW:

This illuminating program constitutes an ideal introduction as well as a must for the composer’s admirers. In the early Concerto for Orchestra, the orchestra plays with surging vitality, but also great delicacy. In the later works on the program, the playing is again incisive rather than heavy. This is a recording to cherish.

— American Record Guide

Composing has always formed an integral part of the artistic life of pianist-conductor Olli Mustonen. Mustonen studied composition under the direction of Einojuhani Rautavaara since the age of 8. His first compositions mainly consisted of chamber works, but in the early 2010s, Mustonen has emerged as a symphonist. This album contains two of his most latest symphonies. Mustonen’s dramatic symphonies are firmly rooted and continuing the tradition of the great classical composers and seek inspiration from multiple sources. The theme of Mustonen’s 2nd Symphony, ‘Johannes Angelos’ (2013), is Byzantium and the ancient city of Constantinople with its mysticism. Mustonen’s 3rd Symphony (2020) is based on the Songs 47-49 in the Finnish national epic Kalevala. This work has been inspired by the cosmic and shamanistic elements in Finnish mythology. In this recording, the solo part is sung by Ian Bostridge who also premiered the work.

Paganini was the first great ‘star’ of instrumental music, the precursor of the rock stars of today, able to induce collective hysteria as well as to dictate fashion and to influence the behaviour of entire generations. He did this by transforming the violin into an orchestra of multiple voices and timbral experimentation, in other words, stretching the very limits of what a single instrument could do.

This programme is particularly interesting, both for the quality of the performances as well as the new chamber-string versions created by Francesco Fiore and Salvatore Lombardo. It also juxtaposes extremely popular Paganini works alongside compositions not very often heard in the concert hall but which help flesh out our understanding of the artistry of a composer too often misjudged as merely an acrobat of the violin. In four of Paganini’s best-known compositions – the ‘Campanella’ (Bell) movement from the Violin Concerto No.2, the Moses Fantasy, the Witches’ Dance and the Cantabile – the solo violin is here accompanied by a string quintet. In the first three, the string quintet stands in for the orchestra with a consequent lightening of accompaniment. In the Cantabile, the original of which was for violin and piano (Paganini’s only piece to be accompanied by keyboard rather than guitar), the ‘heavier’ quintet accompaniment still manages to retain a discreet sense of enjoyable sophistication.

The next two works, Nos. 6 and 3 of the 6 Sonatas Op.3 for violin and guitar, are presented here in transcriptions for two or three violins. These two sonatas, written in the salon style typical of the age, delight the listener with the conversational nature of the violin writing. Finally come three compositions in their original versions, providing an excursion into a lesser-known, but still very interesting, area of Paganini’s chamber output. The three Duetti concertanti for violin and cello were written for the enjoyment of amateur players, each comprising two movements

Pavans and galliards by the Elizabethan master of melancholy, complemented by a new recording of Benjamin Britten’s magnificent Nocturnal inspired by both Dowland’s music and by the playing of Julian Bream. After the success of ‘The Golden Age of the Guitar in Europe’ (2CD, 96157), Brilliant Classics releases a second album by the French guitarist Pascal Boëls, a unique collection of music by 17th and 20th-century English masters. In a booklet introduction, the guitarist explains how he sees Dowland as ‘a universal genius, eternal wanderer who – already! – knew how to rub shoulders with all facets of the human soul.’ Pascal Boëls plays a personal selection of Dowland’s piece originally written for solo lute, pieces which embody a spirit of introversion such as the ‘Forlorn Hope’ Fancy and the ‘Lachrymae’ Pavan which became famous across Europe, much imitated and adapted by other composers of the day.

Lightening the mood are also the kind of courtly dances and romances which delighted the composer’s aristocratic patrons such as the Earl of Essex and King Christian of Denmark. The English guitarist Julian Bream played Dowland’s pieces on the guitar from an early stage of his career, and made a best-selling album of them for RCA. It was this antique palette of gentle, musing expression that inspired Benjamin Britten to write a Nocturnal for guitar which builds as a sequence of eight variations towards (rather than away from) the Dowland song on which they are based. The resulting work, according to Bream, was the greatest solo work ever written for guitar, exploring a slippage between wakeful and dream states with a subtle ambiguity between major and minor harmonies and a language that bridges the divide between the 17th and 20th centuries.

Volume 4 in a critically acclaimed survey of Bonporti’s music reaches Op.6, perhaps the most overlooked treasure in the output of the ‘gentleman from Trento’. This was the nickname bestowed on himself by Francesco Antonio Bonporti (1672 - 1749), who was born in the northern Italian city, and made his career as a musician in the surrounding region before dying in Padova.

The Opus 6 collection of trio sonatas was published in 1705, and dedicated to the Roman prince Carlo Colonna, who had played a pivotal role in the career of the young Handel as his patron. Perhaps it has been comparatively neglected because of its relatively archaic form: by 1705, a collection of trio sonatas amounted to a tribute to the past, a kind of rite of passage through which every young composer of distinction should pass, before moving on to the more overtly impressive and demanding genres of concerto and solo sonata. Inevitably, the model for any composer of Bonporti’s era was the Op.1 collection of trio sonatas by Arcangelo Corelli. Bonporti’s Op.6 proves itself a worthy successor.

All ten sonatas are arranged in a three-movement form, mostly opening with a Prelude and then a pair of Baroque dances: courantes, gigues, gavottes and sarabandes, though now so stylised as to be distant from their original purpose. This somewhat minimalist form of trio sonata does not employ the theatrical devices heard in some Italian chamber music of the time; there is even a sense of melancholy restraint about Bonporti’s language in Op.6, as though he was straining towards an expressive freedom which emerges in later opus numbers. This tension is held in balance, however, and poured into a harmonic language of delicately placed suspensions which reach a highpoint in the chromatic opening prelude to the Seventh Sonata.

Reviewing Bonporti’s Op.2 Sonatas on Brilliant Classics with Labirinti Armonici (95718), Raymond Tuttle in Fanfare concluded, ‘These performances are excellent, ideally balancing energy and gracefulness… I can think of nothing bad to say about these sonatas and these performances. This disc has raised my curiosity about Bonporti, and I think that is recommendation enough.’

This album 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.

Guido Santorsóla (1904–1994) began his musical studies at the age of five, taught by his father, a sculptor, trumpeter and double bassist who moved from Southern Italy to São Paulo, Brazil in 1909, with the rest of the family joining him the following year. He enrolled at the São Paulo Conservatory of Music, then travelled to Naples to hone his violin technique and later London, where he studied at the Trinity College of Music under Alfred Mistowsky. His eventual return to Brazil coincided with a visit from Pietro Mascagni.

At a concert in the great composer’s honour Santorsóla, accompanied at the piano by Mascagni himself, performed his own compositions for violin and piano for the first time. Santórsola’s final compositional period began at the age of 58, in 1962. He devised a very personal 12-tone technique free from conventional rules, and not to be confused with Schoenberg’s. His language is rooted in the golden age of Florentine counterpoint through to Bach. The novel instrument used on this recording – the gran violino a 5 corde (great five-string violin) – originated from an idea by violinist Mauro Tortorelli, who commissioned the luthiers Vincenzo and Marco Corrado – based in Montegiordano, in southern Italy – to build a special instrument covering both the violin and viola registers by adding the viola’s low C string to the usual four of the violin. This ingenious solution allows the performer to switch between violin and viola repertoire on the same instrument.

The Sonata for violin and piano, composed in São Paulo in 1928, undoubtedly belongs to Santórsola’s early compositional period. Divided into three movements – Con sofferenza, Andante espressivo, Deciso – it is based on classical sonata form but with typically post-romantic expressive, passionate themes, enriched with original South America-inspired harmonies. Saudade, a nostalgic piece for violin and piano dedicated to Santórsola’s mother, was composed in 1931. The violin has a binary rhythm in 2/2, while the piano plays groups of five notes in 10/8, the two overlapping to create a sort of atmosphere of unresolved suspense, evoking a feeling of pleasant melancholy in the listener.

Choro No.2 for violin and piano, composed in Montevideo, Uruguay in 1952, is a bright and highly rhythmic piece in Brazilian style that belongs to Santórsola’s middle compositional period. The Danza brasileira and Canção triste, both composed in 1934, written in an ABA lieder form and scored for violin or viola and piano, also belong to the composer’s middle period. Valsa chorosa for piano, written in Montevideo in 1971, and therefore dating from Santórsola’s final compositional period, clearly recalls his first period in the nostalgic way it is written.

The Amsterdam-based recorder quintet has done it again: an original concept, featuring several first recordings, and superb performances which confirm them among the top-tier of today’s early-music chamber ensembles. The present album arises from a concert devised in 2018 for a festival in Bruges celebrating notable female figures from history.

Seldom Sene chose to focus on Margaret of Austria (1480–1530), who was governor of the Habsburg Netherlands for almost 20 years. Margaret had grown up with the benefits of a first-class education afforded to very few of her female peers: she was adept in all the humanities, and her library of books was reckoned one of the most extensive and learned at the time, a fit place to welcome distinguished guests such as Albrecht Dürer. From around 1515, one of the volumes in Margaret’s library was her newly commissioned personal songbook: a collection of 55 chansons and motets, richly decorated with high-quality miniatures and initials.

Many of the song texts speak of loss, sorrow and loneliness, perhaps reflecting her status at the time as a noble widow, following the death of her second husband, Philibert II of Savoy, in 1504. Margaret herself seems to have written several of them, and may also have been involved in their musical setting. Marian devotion is another theme of the songbook reflected in this selection made and transcribed and recorded by Seldom Sene. Sacred hymns are balanced out by secular laments, but also lighter and more cheerful numbers such as ‘Brunette m’amiette‘ and ‘La jonne dame’. Many of the composers are now lost to us and effectively anonymous, but the names that survive are worthy of Margaret’s elevated status, including Josquin and Pierre de la Rue.

‘Like Margaret,’ concludes María Martínez Ayerza in her booklet note, ‘like her courtiers and visitors, we see and hear the music and texts in this songbook and we are moved, stirred. These artworks make us change, as we relate the texts, even the titles, and the rather abstract beauty of the music to ourselves.’ Ayerza and her colleagues in Seldom Sene bring this music and Margaret’s world back to life with intense sympathy. The album is sure to receive the glowing reviews accorded to the group’s discography on Brilliant Classics. ‘Commitment, technical versatility, unanimity of ensemble and near-immaculate tuning on display.’ (Gramophone) ‘An excellent release from an ensemble I hope we’ll hear a lot more from in the future.’ (Fanfare)

German composer Hans Werner Henze’s (1926–2012) admiration for the great masters of the Baroque and musical Classicism manifested in compositions born from a desire to transcribe, rework and transform 17th- and 18th-century masterpieces into new orchestral textures. The project Travestimenti (Disguises), managed by conductor Marco Angius and the Orchestra di Padova e del Veneto, from which this CD was created, makes reference to Henze’s ‘reinventions’ of masterpieces by Mozart, C.P.E. Bach and Vitali, clothed in new, modern fashion.

For the Drei Mozart’sche Orgelsonaten, Henze takes up three of Mozart’s one-movement Kirchensonaten (church sonatas or trio sonatas). Sonatas 17 and 15 are in an Allegro tempo, whereas the Sonata K.67 is marked Andantino, so Henze, in his transcription, places the latter between the two livelier tempos, thus reconstructing the tripartite structure of a classical three-movement sonata. Scored for an ensemble of 14 players that includes the less common, softer variants oboe d’amore and viola d’amore, it aims to underline the darker instrumental timbres, favouring the sombre sonorities of the alto flute in G, the bass flute in C, the bass clarinet and the bassoon. During the last year of his life, in 1787, Carl Philipp Emanuel Bach composed a Fantasia libera per tastiera sola (Free Fantasia for keyboard alone) which he expanded into the Clavier-Fantasie mit Begleitung einer Violine (Fantasy for harpsichord with violin accompaniment), one of his most personal and expressive works.

Henze transcribed it for solo flute, harp and strings, aiming to project the extremely interesting and expressive harmonic material of the composition into a larger instrumental apparatus, thus making its future-oriented harmonic structures more manifest and moulded. He proposed two options for division of the: string quartet + string quintet or string quartet + tutti (the latter version is recorded here).

Although it was probably composed in the early 18th century, Vitali’s Ciaccona ‘Il Vitalino’ – whose musical form is inspired by dance and consists of variations on a ground bass – was only rediscovered in 1867, published by the German virtuoso violinist Ferdinand David. Henze’s Il Vitalino raddoppiato – called “raddoppiato” (“doubled”) because of his extension of the composition by means of interpolated variations of each original section in the style of 18th-century doubles – retains Vitali’s bass almost throughout the entire composition. It alternates Vitali’s variations on his chaconne theme with Henze’s variations of Vitali’s variations, in an ever-changing dialogue between the 18th-century past and Henze’s present.

Tenebrae bring their trademark passion and precision to this live performance of music by J. S. Bach and Sir James MacMillan, to be recorded live at Snape Maltings in May 2023. Renowned for their technical difficulty,

Bach’s motets are pillars of the choral repertoire, requiring minute attention to detail as well as a full emotional range. Here, Tenebrae performs the three most well-known of the set, culminating in the joyful Singet dem Herrn. Like Bach, Sir James MacMillan has written much of his music for the church, and his settings of the Tenebrae responsories paint a vivid picture of the events of Holy Week. This album also features the premiere recording of I saw Eternity the other night, which MacMillan composed for Tenebrae in 2021 to celebrate the 75th anniversary of the London Bach Society.

Speaking on Bach and MacMillan, Nigel Short says“I am sure James will be as revered in 400 years’ time as Bach is today. On so many different levels, the contrast between the music of these two great composers could not be more dramatic. What both composers have in abundance, though, is an utter devotion to their religious faiths. This total conviction displays itself in their music, leaving the listener in no doubt as to their commitment to creating music imbued with every ounce of passion and precision. I hope listeners will enjoy and feel the sense of excitement and energy we as performers always feed off in concert, and that this performance in the beautiful venue of Snape Maltings will stand the test of time and be heard by music-lovers for centuries to come.”

This album by violinist Christian Tetzlaff and cellist Tanja Tetzlaff, together with the Deutsches Symphonie-Orchester Berlin conducted by Paavo Järvi, is dedicated in the memory of their longtime artistic partner, pianist Lars Vogt (1970–2022). At the heart of this album is Brahms, one of Lars Vogt’s favorite composers, and his late orchestral masterpiece, the Double Concerto. Brahms himself had admired one of Viotti’s violin concertos so much that he included material from the violin concerto into his work. With Christian Tetzlaff’s recording of the violin concerto, this album finally brings these two works together. Also included is Dvorák’s beautiful Silent Woods for cello and orchestra, a work by another composer that was very close to Lars Vogt’s heart.

This is Oliver Davis’ first album dedicated to the piano, and specifically two pianists, Dutch piano duo Beth & Flo. The album features this dynamic duo playing four hands piano and also on two pianos with full orchestra. The song cycle ‘Siren Songs’ features sopranos Grace Davidson, Julia Doyle and Grace’s son chorister Joshua Davidson. The theme of the album is water, in its many forms with songs depicting a river journey, Sea Dances for four hands and strings, Sea Waltzes in addition to the Water Variations. The opening piece, The Water Garden, will be one of three singles being released prior to the album’s launch. This album is the culmination of two years work to create a mesmerising piano and strings landscape.

Wonderland is full of magic and myth. Containing exclusively works commissioned by The King’s Singers across their 55 years, the album celebrates their trademark musical storytelling, with no shortage of comedy. György Ligeti’s six Nonsense Madrigals, each setting playful children’s poetry or extracts from Lewis Carroll’s Alice’s Adventures in Wonderland, provide a musical spine to the album, commemorating 100 years since the composer’s birth in 1923. From just over 50 years ago, the fairytale The Musicians of Bremen (1972) – set to music by the Australian composer and Master of the Queen’s Music Malcolm Williamson – sits alongside Time Piece (1972) by Paul Patterson, which tells an eccentric alternative creation story. These myth-based works have recent companions such as Judith Bingham’s extended work Tricksters (2019), which unearths what could happen if miscreants from different world mythologies could come together for the first time, and Ola Gjeilo’s A Dream within a Dream which questions the very nature of perception and reality. The album also features the legendary Japanese film and game composer Joe Hisaishi’s first ever choral work, I was there (2022), focussing on the cultural memory of tragic events such as 9/11 and the 2011 Japan Earthquake. Themes of hope and positivity, centred on the natural world, emerge in Makiko Kinoshita’s Ashita no uta (Song for tomorrow) (2020) and Francesca Amewudah-Rivers’ Alive (2022).

Three of these marvellous quartets for flute and string trio were composed in 1777/78 during Mozart’s first extended tour without his father. The three quartets K. 285; 285a; 285b are undoubtedly among the most outstanding works in the genre. They share a lightsome; carefree quality with the typical shades of melancholy in the slow movements. The sparkling Quartet in D K.285 is a virtuoso outing for all four instruments. Although the flute has the upper part in the lightning-fast opening concertante movement and the spirited concluding Rondeau; the string trio are also given strikingly brilliant; soloistic parts; creating a dense web of spirited; dazzling sallies and engagements. The central movement is a Romance with a melting flute melody against string pizzicatos – a sort of serenade with guitar accompaniment for his then love (future sister-in-law) Aloysia Weber; Constanze’s sister. The elegant second Quartet in G K.285a is indebted to Johann Sebastian Bach’s youngest son; Johann Christian; who wrote quartets that were very similar in concept and idiom. At the age of eight Mozart had taken lessons with J.C. Bach while in London; and as late as 1778 he wrote: ‘I love him… with all my heart and feel deep respect for him’. Following the ‘London’ Bach’s example; the quartet comprises a substantial opening Andante in sonata form and a lively minuet. The third Quartet in C K.285b is also in two movements. An effervescent movement in sonata form is followed by an elegant set of variations providing a solo variation for each of the four instruments. There follows a dreamy slow variation; before the music snaps back out of its metaphysical mood and into the here-and-now with a clownish minuet-cum-scherzo. The Quartet in G K.370; though originally an oboe quartet in F; was first published in 1801 by the Bureau de Musique; Leipzig; in the G major arrangement for flute and strings. Transposing an oboe piece up a full tone was then common practice in flute adaptations; but in this instance; we are dealing with a genuine arrangement involving substantial modifications. The Quartet in A K.298 is very different. It is of the Quatuor d’airs dialogués type; a popular Parisian form where each movement quotes an aria by a fellow composer or a tune that is widely known. The theme of the first movement is Franz Anton Hoffmeister’s song ‘An die Natur’. The central section of the ensuing minuet quotes the old French song ‘Il a des bottes; des bottes Bastien’. Finally; in the last movement; the theme is taken from Giovanni Paisiello’s opera Gli schiavi per amore. He used the aria ‘Chi mi mostra dolce amore’ (Who will show me sweet love) as the theme for the final movement. This piece completes our cycle of five Mozart chamber works; taking us from Mannheim to Vienna via Munich. Their five different conceptions and characters represent the quartet for flute; violin; viola and cello in its noblest form and set the benchmark for all subsequent quartets composed for these forces.

Luigi Picchi learned the rudiments of music from his father Faustino; a self-taught organist; and later studied with the Pavia-based teachers Giovanni Baroni and Franco Vittadini in preparation for admission to the Giuseppe Verdi Conservatory in Milan in 1909. The first phase of his musical activity saw him engaged in the concert and operatic life of the province as well as composing: instrumental and vocal works; a Requiem Mass (1922) and musical accompaniments for the Passione di Cristo (1925) to a text by Don Ennio Bernasconi. In Como; Picchi’s true vocation; for sacred music; was able to be realized: as a boy he had had the opportunity to play for liturgical services on the Sairano organ and; as a young student at the Conservatory; he had continued this activity in villages in the surroundings of Milan. He also composed pieces for organ which were featured in L’Organista italiano (1922–26) and I Maestri dell’Organo (1931); journals issued by the Carrara music publishing house of Bergamo; whose founder Vittorio Carrara was astute enough to sense and appreciate Picchi’s talents: his artistic substance as well as the playability of his music and its suitability for the liturgy. In 1932 Carrara entrusted him with the editorship of a new journal; L’Organista liturgico; which he held until 1943. Alongside his music for organ Picchi also composed vocal works for use by the cathedral choir as well as amateur choral groups and public assemblies; including various motets as well as masses (Cristo risusciti; 1932; Italica; 1940; Christus vincit; 1941) and also educational music (theatrical sketches; school songs) and theoretical works (Scuola moderna di Teoria e Solfeggio; 1941–44). His wish to set the text of the mass in an appropriate manner together with his faithfulness to Cecilian ideals led Picchi to the innovations of his Missa Misericors Deus (1949); published by Ricordi together with the masses in honour of San Nicolao della Flüe (1947) and San Pio X (1954) and his collections of Christmas Carols (1947) and Easter Songs (1950–54). In 1954 Picchi established a new journal on organ music; Laus Decora; operating from Como; it was issued over the course of a decade with associated publications from the Schola music publishing house and introduced readers to a wide range of vocal compositions by Picchi; including various songs and motets; the masses Rex pacificus (1945); In onore di Maria Vergine Assunta (1950) and Auxilium Christianorum (1960) as well as various school songs and educational works (Nuovo Corso di Solfeggio; 1954; Metodo teorico-pratico per lo studio dell’Armonio e del Pianoforte; 1956). The resumption of his collaboration with the Carrara publishing house coincided with the implementation of the liturgical reforms as stipulated by the Second Vatican Council; of which Picchi had already been a precursor in his interpretative consistency as well as his involvement of the assembly of the faithful; namely in his songs for Il popolo alla messa; 1953; written in collaboration with Don Luigi Agustoni and Don Silvano Albisetti. His greatest success in this field was the Messa Vaticano II (1965) followed by the Messa dei Defunti (1966) and the Messa Apostolica (1968). Picchi’s organ output included compositions written for later editions of Laus Decora (1966–67) as well as for the journal I Fiori dell’Organo (1968–70).

This refreshed Chopin Edition from Brilliant Classics retains many of the definitive recordings from its predecessor of 2015, but boasting some exciting updates. The Concertos and piano concertante music are consolidated in a bright new cycle from Czechia, recorded last autumn by Siberian superstar Ekaterina Litvintseva and the KFPar under Mardirossian. Schmitt-Leonardy’s sonatas are joined by No. 1 – recorded late in 2015, and therefore just missing inclusion in the previous edition – bringing the complete cycle under his fingers. Alwin Bär’s own Scherzi performances are reunited with his iconic 1998 recording of the Barcarolle, Fantasy and Berceuse. The Études are featured in a stunning complete cycle recorded in 2014 by the phenomenal Chopinist and 2023 OPUS KLASSIK double-nominee Zlata Chochieva. Finally the complete Nocturnes are given over to another noted young Chopin interpreter: the 2018 Geza Anda winner Claire Huangci, who recorded the set two years earlier, in 2016.

REVIEW:

In 2015 Brilliant Classics issued a complete Chopin edition culled from both original productions and licensed recordings from other labels, and featuring a variety of musicians. The label’s revised 2023 Chopin edition retains roughly two-thirds of the contents, while substituting about six CDs worth of alternative performances. Is it “new and improved”? Mostly yes. Here is a rundown of the contents:

Discs 1 & 2: The 2015 Chopin box featured Eva Kupiec in the two concertos (amazingly conducted by Stanislaw Skrowaczewski), with Abbey Simon in the other concerted works. Here we have less individual yet elegantly transparent performances of the entire Chopin piano/orchestra oeuvre with Ekaterina Litvintseva, supported by Vahan Mardirossian leading the Czech Chamber Philharmonic Orchestra Pardubice.

Discs 3 & 4: The well-played chamber works with violinist Duccio Ceccanti, cellist Vittorio Ceccanti, and pianist Simone Gragnani are held over from 2015. So are Anna Haase’s slightly tremulous yet heartfelt Polish songs, superbly accompanied by Lucius Rühl.

Disc 5: Zlata Chochieva’s Etudes count among my top five recommendations in these works, wisely replacing Alessandro Deljavan’s mannered and overloaded readings.

Disc 6: As before, we have Wolfram Schmitt-Leonardy’s intelligently paced and imaginatively detailed Ballades and Impromptus.

Disc 7: Folke Nauta’s broad and sonorous readings of the standard seven Polonaises are back, along with his rather underplayed Andante spianato e Grande polonaise.

Disc 8: The youthful Polonaises plus unimportant minor works like the Bourées, the Largo in E-flat, and the Fugue again turn up in Alessandra Ammaro’s splendid and mindfully virtuosic renditions.

Disc 9: The label replaces Fred Oldenburg’s good, workmanlike recording of the First sonata with a superior version from Wolfram Schmitt-Leonardy, while retaining the latter’s wonderful Second and Third sonatas. Recently I compared his recording of the Second sonata’s strange Finale next to those of Horowitz and Rubinstein, and actually found Schmitt-Leonardy’s creative inflections more engaging (sound clip).

Disc 10: In place of Ivan Moravec’s Four Scherzos (originally issued by Dorian), we have Alwin Bär’s scintillating 1998 cycle, coupled with his equally compelling Fantasy in F minor and Barcarolle, along with a rather fussy Berceuse.

Disc 11: A hodgepodge of performances. I raved in detail about Schmitt-Leonardy’s reference-worthy Op. 28 Preludes when they first came out. Paolo Giacometti shines in the C-sharp minor Prelude Op. 45, Oldenburg serves up the Three Ecossaises quite well, while Marian Mika plays two versions each of the Waltz in F minor Op. 70 No. 2 and the Funeral March Op. 72 No. 2 using alternative texts.

Discs 12 & 13: Rem Urasin’s Mazurka cycle evokes the high rhetoric and subjectivity of pianists like Jean-Marc Luisada and Andrew Rangell, minus their eccentricity. Just don’t expect lightness, humor, or snappy embellishments.

Discs 14 & 15: Claire Huangci’s rippling and graceful pianism in the Nocturnes differs from the seasoned drama of the Earl Wild cycle that appeared in the 2015 box. The Duo Pianistico di Firenze’s Rondo Op. 73 and Variations in D fill out CD 15.

Disc 16: Alessandro Deljavan works overtime trying to emulate the great Romantic pianists, yet his lurching phrasings and contrived voicings throughout the Waltzes often belabor the obvious and fail to ring true. The piano itself sounds poorly regulated, and doesn’t always hold its tuning.

Disc 17: Frank van de Laar basically picks up the slack, playing the Rondos, the Variations brilliantes Op. 12, the Bolero Op. 19, the Allegro de concert Op. 46, and the Tarantella Op. 43 with plenty of finesse and good taste, if not quite matching Vladimir Ashkenazy’s ebullience.

For its attractive price tag and overall consistency (have Rubinstein’s Waltzes and Mazurkas handy, though!) Brilliant Classics’ 2023 Chopin Edition holds its own alongside similar multi-artist complete Chopin collections on other labels featuring bigger names. It should appeal to general music lovers just getting started with Chopin’s music who wish to take a deep dive into the composer’s oeuvre.

-- ClassicsToday.com (Jed Distler)

Romantic miniatures by a forgotten Italian cellist and composer: the first album ever dedicated to the music of Domenico Laboccetta. Born to a poor family in the Sicilian town of Messina, Domenico Laboccetta (1823-1896) was entrusted to the care of an orphanage where his musical talents rapidly revealed themselves as a child. At the age of seven he made an appearance in concert at the Teatro Nuovo in Messina, and soon won a scholarship to study gratis at the conservatoire in Naples. At just 18, he became principal cellist of the Teatro San Carlo, at a time when the opera house was known across Europe for staging and advancing the works of bel canto composers such as Donizetti and Bellini. Through this experience, Laboccetta developed a superb tenor voice alongside his cello playing, and soon began taking lead roles in those bel canto masterpieces such as Bellini’s La Sonnambula. He went on to tour Europe and America in the 1850s, but eventually settled back in his adopted home of Naples, where he became professor of cello at the conservatoire in 1877, and passed on his mastery of the instrument to students for almost the next 20 years until his death.

In Laboccetta, the cellist and indefatigable researcher Matteo Malagoli has turned up another remarkable figure down the byways of cello history. His booklet essay introduces Laboccetta’s eventful life, providing invaluable context to these miniatures written for salon performances among friends and patrons in Neapolitan musical life in the later decades of the 19th century – music written above all to charm and entertain. ‘deserves the attention of listeners intrigued by history and appreciative of fine playing. It’s an album that will make a genuine contribution to any collector’s album hoard. Album leaves, romanzas and instrumental songs are scored for cello and piano or cello and harp, but there is also a ‘Notturnino’ for two cellos and piano. More substantial is a cycle of four songs for soprano, tenor, cello and piano: all beautifully evocative pieces with an affectingly folk-like simplicity of expression.

Laboccetta was also a pioneer in the genre of cello quartets, and the album closes with several such works, ingeniously scored to exploit the full register and richness of the instrument. Malagoli’s previous albums for Brilliant Classics include a disc of music by Greco and Francone (96345), welcomed in glowing terms by Fanfare magazine: ‘Early Neapolitan Cello Music… deserves the attention of listeners intrigued by history and appreciative of fine playing. It’s an album that will make a genuine contribution to any collector’s album hoard.’