Felix Mendelssohn's string symphonies can be broadly split into two groups: the first six all have a three-movement structure; the movements of the first three are ordered fast-slow-fast and are thus based on the pre-Classical models. The second group of string symphonies comprises more substantial compositions. This release features no. 7 in D minor, no. 9 in C major, and no. 12 in G minor. There are several ways through these three symphonies when we hear Mendelssohn's ingenuity break fresh ground. The Bolzano String Academy was established in 1987 by the South Tyrolean Music Association under the artistic direction of Georg Egger. The string orchestra consists mainly of South Tyrolean musicians who have gained a wealth of experience in prominent chamber ensembles and orchestras at national and international level and pass on their experience in joint projects with budding young artists. The String Academy usually performs without a conductor. Some of the String Academy's members also play in the Klassische Philharmonie Stuttgart, and this connection has led to collaboration with the conductor Frieder Bernius.

Impassioned and incisive performances of two of Chausson’s chamber masterworks.

Chausson did not commit himself to a musical career until he was twenty-six years old. The first fruits of that resolution were the fine songs of Op.2 and the Piano Trio Op.3. While the latter work possesses definite structural immaturities and is occasionally melodramatic, it also shows that the composer’s melodic gift and surpassing sense of thematic development were in evidence right from the beginning.

The introduction to Chausson’s Piano Trio is based on two themes that reappear throughout the work, generating other themes and insuring thematic unity. The stormy, almost morose, first movement proper demonstrates the composer’s already distinctive voice, especially in the development. The scherzo second movement has none of the drama of the first, being a rollicking and affectionate parody of the styles of some of the composer’s contemporaries. The massive slow movement starts out in a mood similar to that of the first, but becomes even more elegiac and wistful. The emotional level occasionally becomes strident, but the composer’s sincerity is unquestionable. The animé last movement starts off cheerfully, but themes from the first and third movements keep popping up, increasing the level of seriousness, and the movement ends quite austerely.

By 1889, almost a decade after the Piano Trio, Chausson had reached full artistic maturity. This is evident in the Concert, his best-known chamber work. The piece is not a concerto in the usual sense, but a sort of update of the concerto grosso, with the six instruments combining in different ways as well as playing all together. The first movement’s motto theme undergoes wonderful transformations in combination with a more lyrical second theme. The Sicilienne forms a gentle interlude between the weightier first and third movements, with the latter being something of a lament. The final movement continues the seriousness of its predecessor, but the overall feeling gr adually becomes one of tremendous vitality.

The Meadowmount Trio - their name derives from long-term residence at the music camp of that name - shows a of lot energy in their performance and Eric Larsen is especially to be commended for keeping things moving, although even he flags in the last movement. Larsen and the Meadowmount’s Stephen Shipps join the esteemed Wihan Quartet in the Concert and overall the six players form a cohesive unit, achieving quite a distinctive performance. Recording quality is fairly sumptuous by Naxos standards, although the violins are somewhat shrill. Altogether, a pair of moving and exciting performances.

-- William Kreindler, MusicWeb International

•When we hear the voice of the authentic ‘lirico spinto’ tenor Pedro Lavirgen (b. 1930) today, we may legitimately ask how much more prestigious would his career have been in our own times. Able to take on the heaviest repertoire without apparent problem, the burnished, shining color of his timbre, vocal strength accompanied by long breaths, real passion, sculptured diction and phrasing and incredible volume; these qualities complete the picture of this singer greatly admired by his public.

While there are many recordings by brass ensembles which reflect modern jazz-influenced ideas, this one is distinctively "classical". More the better, for there is no other context that would do justice to Russian nationalistic music, its folk melodies and emphasis on brass and percussive sounds. This recording by the Fine Arts Brass Ensemble knows exactly what it is setting out to do, and it accomplishes that. These are interesting arrangements, holding to the original character of the pieces, slightly lighter and more buoyant. Yet, Russian is Russian. The 'Overture to Russlan and Ludmilla' starts the disc with familiar melodic fanfare, while the Sextet for Brass by Böhme contains extremely lyrical passages, reminding one of the beautiful, plaintive qualities available from the trumpet.
The boldest work on the disc is a transcription for brass quintet of the piano work, 'Pictures at an Exhibition' by Modest Mussorgsky. The Ensemble catches the mood of each of the shorter pieces with great flair and cleverness. The playing is all virtuosic and deft, never heavy. This is a new light to shed upon traditionally heavy music, yet without loss of color, integrity, or mood.

One of the most versatile and compelling musicians of the modern day, pianist and conductor Vladimir Feltsman boasts a vast repertoire ranging from the Baroque era to contemporary compositions. Feltsman regularly performs as a guest soloist with the best symphonies in the US and abroad, and has garnered acclaim at the most prestigious music festivals across the globe. Feltsman has recorded extensively during his career, including albumsof works by Bach, Beethoven, Schubert, Chopin, Liszt, and more. This three disc set features works by virtuosic piano composer Robert Schumann. This release follows Feltsman’s well-received “Album for the Young,” also featuring works by Schumann.

Despite the fact that new recordings of classical guitar music should be banned for the next several decades (if not centuries), there will always be exceptions. This is certainly one. Paganini wrote his 40-plus “whims” for a young lady guitarist. They consist of short vignettes, often based on music by famous operatic composers: Mozart and Rossini especially. They are delightful and wonderfully played here by Denis Sungho Janssens. The pieces make no apology for being simple and charming, and you can take them in small (or large) doses, as you please. The disc makes excellent background music but sustains the attention if that’s your pleasure. Indeed, pleasure is the entire point. Excellent engineering.

-- David Hurwitz, ClassicsToday.com

The German daily newspaper Die Welt described a performance by the Boulanger Trio as “irresistible”, and Wolfgang Rihm wrote in a letter: “To be interpreted like that is surely the dream of every composer.” Founded in Hamburg in 2006, the 3 women now live in Berlin.

Winner of the 2012 Sydney International Piano Competition, the Canadian pianist Avan Yu (born 1987) devotes his Naxos CD debut to Schubert songs transcribed by Franz Liszt. He offers all but two of the 12 Winterreise transcriptions, plus 10 selections from Liszt’s piano version of the entire posthumously published Schwanengesang cycle.

Liszt’s lavish filigree may sound a little overloaded by purist standards, yet he always treats the melodies with respect and intelligent registral deployment. Many young virtuosos plow through these transcriptions with little indication that they know the original songs. Avan Yu, however, brilliantly reconciles Schubert’s melodic trajectory with Liszt’s intricate textures.

In Winterreise’s Mut, for example, Yu differentiates the accompaniment’s springing rhythms and the legato vocal line through touch and timbre, while Das Wirtshaus’ arpeggio waves maintain a discreet background, even at climaxes. In Schwanengesang I’m especially impressed by how Yu gives shape and meaning to Am Meer’s tremolos, rather than rattling them off in the manner of a silent movie pianist. Likewise, Kriegers Ahnung’s chromatic flourishes and double notes convey appropriate flair yet never overstep their supporting role.

It would have been nice if Liszt’s six remaining transcriptions from these cycles had also been included, but one shouldn’t complain in light of Yu’s highly appealing artistry. On the basis of the present release, plus a number of YouTube links that feature some excellent Debussy Etudes and a complete audio-only Liszt Sonata, I’d like to hear more of Avan Yu both on disc and in concert.

-- Jed Distler, ClassicsToday.com