Divine Art presents the enchanting compositions of Australian maestro John Carmichael in this extraordinary collection. Carmichael's distinctive neo-Romantic style, an exquisite fusion of originality with echoes of Rachmaninov, offers a lush musical journey that will resonate with a broad audience, particularly those less inclined towards avant-garde new music.

This album boasts a diverse selection of duos, solos, and a Piano Concerto characterised by exuberant pianism harmoniously paired with a string orchestra, culminating in a Caribbean-flavoured final movement. Carmichael's compositions extend to a Piano Trio, Towards the Light, spotlighting the viola in works designed to elevate this often-overlooked instrument. The collection is further enriched by a Divertimento for flute, oboe, clarinet, and piano, giving the listener a varied repertoire where melodic elements take centre stage. Collaborating with Carmichael are some of highly talented artists, including acclaimed pianist Antony Gray, whose recent Divine Art recordings of Saint-Saëns piano music have earned glowing praise, making them the label's top sellers of 2022. Join us in this celebration of the potential in new orchestral and chamber music, where Carmichael's melodic brilliance and the artistry of our distinguished performers converge to create a truly remarkable album.

John Carmichael was born 1930 in Melbourne, Australia. He studied piano and composition at the University Conservatorium there, followed by two years piano studies with Marcel Ciampi at the Conservatoire National in Paris. Further composition studies followed with Arthur Benjamin and Anthony Milner in London while Carmichael joined the first group of musicians working for the newly established Council for Music Therapy, for whom he introduced music therapy programs at Stoke Mandeville Hospital and Netherden Mental Hospital, Surrey. In 1960 he became musical director of the Spanish Dance group Eduardo Y Navarra touring extensively with them both abroad and in Britain; foreign languages are one of his passions – the latest challenge being Chinese.

The American composer Christian Wolff (b. 1934) is the last living representative of the New York School (Rauschenberg, Rothko, etc.). Wolff was not even an adult when he studied with Grete Sultan and John Cage. Wolff’s music was much more politically motivated than that of Feldman and Cage, which is evident on this new WERGO album by Trio Accanto. The album features first recordings made in close collaboration with Wolff in the studios of Deutschlandfunk Cologne/Germany. Wolff's great “Trio IX – Accanto” (2017) is a testament to his long-standing friendship with the musicians. Peculiarly serene and unobtrusively narrative, the piece features many reminiscences and hidden quotations from music by J. S. Bach to union songs. There are also tributes to Wolff's own “Exercises”, whose more recent numbers can be heard on the album as well. These “Exercises” sound lucid and atmospheric, yet complex. Each player has to decide for himself/herself on the course of the musical thoughts and spontaneously put them together in the group as an exercise. Collective agreement for individual positions as a musical and social task. This music by Wolff “still sings a longer modernism”, writes Seth Brodsky. “You can hear the historical horizon in it, not as some grandiose prophecy, but like an outline full of white space. The music is interested in the grace of presentness, of being-here, but it doesn’t lack desire.”

Once again, Ensemble Aventure presents a jewel of new music that has so far been little known in Europe within its series of works by Latin American composers on WERGO: "Flores blancas", chamber and ensemble music by the Argentine composer Mariano Etkin. Listeners are captivated by the raw power of “La naturaleza de las cosas”, the title of which is an apt characterization of Mariano Etkin’s compositional language, which is a celebration of the sensuous nature of sounds and of the human senses as a source of knowledge without illusions, realized with a small number of “sound objects” that appear and fade away with a sense of both beauty and pain. Each of the eight works (from 1992 to 2016, Etkin’s late compositional period) on this recording focuses in its own way on the physicality of sounds and the foundations of human existence.

In his last years, Etkin’s musical language became more densely lyrical, introspective, and focused on fundamental elements of human existence such as dreams (“Sueños olvidados”) or blood (“Le sangre del cuerpo”) and, above all, tears (“Estudios para lágrimas”). Mariano Etkin creates authentic crystals of intensity – an unflinchingly existential music that looks into the eye of darkness, but nevertheless spreads its wings. It sings, throbs, and shivers with excitement before dissolving in pain and beauty.

Uri Caine and Stefan Winter met for the first time in New York 30 years ago. A musical adventure begins, there is no goal, but a path. Two outstanding jazz albums are created on JMT, then Caine breaks through the boundaries between jazz, classical and new music like no other artist on Winter & Winter. New, exciting, groundbreaking things are emerging. Caine embodies sound, composition and improvisation merge, Bach and Monk meet as in a completely new duo drama and conduct a dialogue. Caine: “When Stefan Winter asked me to choose music from the past to put on an album, I hesitated. The selection of works is as difficult as if someone asked you which of your children is your favorite child." Caine made a completely surprising choice: worth hearing, enlightening, remarkable!

Five of the best brass players in the world united in a chamber music ensemble: The Reinhold Friedrich Brass Quintett was founded in 2022 and presents here its first CD, UNITY.

For this brass quintet's lifelong dream, world-renowned trumpeter Reinhold Friedrich has brought together the best players in their respective fields, musicians who not only get along extremely well with one another in a musical sense but also on a personal level. In their playing, one can feel their mutual appreciation and their joy in making music together, and, coupled with their unique technical and musical skills, as well as their chamber music experience, this enables the musicians to merge into a single unit.

The players that form this top-class quintet come together from a variety of European countries: Jeroen Berwaerts hails from Belgium and as a former principal trumpeter of the NDR Symphony Orchestra is a much-sought-after soloist who now teaches at the Hanover University of Music, Drama and Media. The Dane, Lasse Mauritzen, who was knighted to the Order of Dannebrog by Queen Margarethe II, is first principal horn of the Copenhagen-based Danish Radio Symphony Orchestra (DRSO). Although Ian Bousfield is British, he now lives in Switzerland and is accustomed to performing around the world as a former principal trombonist with the Vienna Philharmonic Orchestra, as well as being a soloist and a conductor. Fundamental to the quintet is the Norwegian Thomas Røisland, who now lives in Sweden and is principal tuba in the DRSO, as well as playing in other renowned European orchestras.These five musicians are united by their desire to set new standards in brass chamber music for their audiences and to present premiere recordings and commission arrangements of classics that have not yet been recorded at a world-class level.

Dr. David Charles Johnson (27 October 1942 in Edinburgh – 30 March 2009 in Edinburgh) was a Scottish composer and a scholar of 18th-century Scottish music. Johnson was 'an internationally recognized scholar' whose work significantly contributed to rediscovering and redefining 18th-century Scottish music within its historical context. His research focused on the music and social life of lowland Scotland during the 18th century, exploring influences, tastes, and key musical figures of the era.

Johnson’s 12 Preludes and Fugues are among the few significant pieces he composed for the piano, alongside a five-minute Sonata. Written in the early to mid-1990s and published in 1995, these compositions are notable for their unique blend of sound, reminiscent of 20th-century composers like Hindemith or Prokofiev, while incorporating elements such as quotations from Bach and references to Hugh MacDiarmid's work. They also feature direct quotations of popular tunes like 'Johnny Cope' and 'The Animals Went Marching Two by Two', infused with a distinct Scottish flavor. The thematic backbone of the suite is borrowed from Aberdonian composer Shaun Dillon, using the Scots-Gaelic word bheatha, ‘life’, represented musically by the notes B-flat, B, E, A. Johnson masterfully employs this motif to form a tone row, guiding the keys across the 12 works in the suite, making his Preludes and Fugues a unique and distinguished addition to Scottish piano music.

Christopher Guild is making waves on the international music scene for his exceptional work with British, particularly Scottish, piano music. He has recorded numerous albums for esteemed labels such as Toccata Classics, Piano Classics, and Champs Hill Records, featuring works by renowned composers like Ronald Stevenson, Francis George Scott, and Bernard van Dieren. His upcoming recording for Divine Art marks another milestone in his career, further solidifying his reputation as a prominent interpreter of British piano repertoire.

Tvær hliðar/Two Sides presents two contrasting sides of our music-making. On the first album we perform our core repertoire of Italian and Swedish Baroque music, but Barokkbandið Brák also seeks to expand the repertoire for historical instruments by commissioning new works by up and coming Icelandic composers, and the second album showcases new Icelandic music written specially for the ensemble. All of these works share the same sound world as all the music is performed on historical instruments from the baroque era.

REVIEW:

This is a gripping if curiously conceived album, divided unequally between an entertaining music from the High Baroque, and four new works by young Icelandic composers all commissioned by Barokkbandi Brák.

There are no doubts about Barokkbandi Brák’s virtuosity or musicality: the lively opening Allegro of Vivaldi’s Sinfonia bounds along with flawless intonation and ensemble. In Agrell’s vibrant Sinfonia in A and Sammartini’s energetic Concerto grosso, musical flow is always beautifully maintained, moving consistently at pace without seeming hurried. Barokkbandi Brák’s partnership with Elfa Rún Kristinsdóttir in the Agrell Concerto is immaculate, with a real sense of joy – but then Kristinsdóttir is not only one of theirs but was one of the founders of the group in 2015. The same applies to the crisp performance of Vivaldi’s triple concerto for two violins and cello, featuring the group’s co-founder Laufey Jensdóttir and cellist Steinunn Arnbjörg Stefánsdóttir.

The group’s chamber credentials are highlighted in the trio sonatas by Corelli and Stradella, and – in a very different vein – Thrainn Hjalmarsson’s string quartet Recitar cantando/Speaking in Song, a study in ethereal textures. Bergrún Snæbjörnsdóttir composed her septet Quorum Sensing to evoke the biological mechanism that can ‘regulate gene expression’ and ‘co-ordinate group behavior’. Starting in not dissimilar expressive territory to Recitar cantando, it develops, slowly, in a more focused manner. Finnur Karlsson describes Fold as ‘a kind of contemplation about different aspects of Baroque music’. Kristinn Kristinsson’s diptych BRK also explicitly references the Baroque at its opening, though the music immediately circles away from (and back to, several times) the idiom in the first span’s sedate progress. Sono Luminus’s sound is crystal clear throughout.

-- Gramophone

Note: this double-disc release contains both a CD and a Blu-ray Audio disc. The latter will only play on devices with Blu-ray read capability.

Hugi Guðmundsson writes: “The title piece, Equilibrium IV: Windbells, was the seed this whole album grew from. It was premièred under rather unusual circumstances at the 2005 World Expo in Japan in a venue that more closely resembled a stadium than a concert stage for classical music. I was an integral part of the performance due to the interactive electronics in the piece. We had practiced that I would maintain eye contact with the musicians during performances, just a few meters from the stage. However, the mixer I was operating at the concert was housed in something that resembled an air traffic control tower some 100 meters away from the stage. Or at least it felt that way. From my perspective, the musicians were like tiny ants in one corner of the enormous stage and they could not see me at all. Despite these outlandish circumstances, we somehow managed to perform the piece.

"It has since become one of my most performed chamber pieces and has received several awards and recognitions. It has never been recorded in a studio up until now. So, after a recent performance with Reykjavík Chamber Orchestra, where it received very warm reviews, we decided it was time to do something about it. That snowballed into what is now this album…”

REVIEWS:

Icelandic composer Hugi Guðmundsson has crafted an idiom combining neo-tonality and modernist inflections, with deliberate rhythms often based on slowly evolving ostinatos. Aspects of rhythmic construction loom large here on this portrait CD for Sono Luminus, as well as Guðmundsson’s incorporation of electronics into chamber works. Guðmundsson’s inclusion on the label is most welcome. He has a distinctive creative voice, and Windbells is a thoroughly persuasive recording.

-- Sequenza21.com

Performances throughout are distinct and characterful, but the bold musicianship of flautist Áshildur Haraldsdóttir deserves special mention; her playing is assertive and daring in its breathy ferocity, while equally capable of singing with the sweetest clarity.

-- BBC Music Magazine