Judith Bingham is established as one of the foremost British composers writing for the organ. The powerfully atmospheric and evocative music in this recording richly demonstrates her gift for creating compelling works which draw inspiration from a broad range of historical, literary and artistic sources. The Åkerman & Lund organ of Västerås Cathedral is the perfect vehicle for this colorful program, and both Heaven and Earth and Eternal Procession for two organs also feature the cathedral’s Fredriksborg choir organ. Tom Winpenny’s acclaimed recording of Bingham’s Jacob’s Ladder and other works for organ can be heard on Naxos 8.572687.

Nikolay Rimsky-Korsakov’s influence as composer and teacher was profound in Russia and beyond, yet his chamber music has been overshadowed by his operas and orchestral works. The unfinished Piano Trio in C minor was completed by his son-in-law Maximilian Steinberg to reveal a substantial work of considerable depth. César Cui’s charming and lyrical Farniente is an arrangement from a piano original, while Borodin’s Piano Trio in D major is reminiscent of Mendelssohn in its joyous agility and nostalgic beauty. The Brahms Trio is one of the leading Russian chamber ensembles. Since its foundation in 1990, the trio has regularly appeared at prestigious international concert venues. Legendary musicians such as Tatiana Gaidamovich, Alexander Bonduriansky (Moscow Trio), Valentin Berlinsky (Borodin Quartet) and Rudolf Barshai have had a significant influence on the formation of the performing style and career of the trio. The Brahms Trio has made an invaluable contribution to enlarging the chamber repertoire by rediscovering unknown piano trios of Russian composers of the late 19th and early 20th century.

REVIEW:

The latest release in this excellent Naxos series of Russian Piano Trios features Rimsky-Korsakov’s rarely performed Piano Trio in C Minor, César Cui’s À Argenteau No. 2. Farniente (version for piano trio), and Alexander Borodin’s Piano Trio in D Major. Nikolay Rimsky-Korsakov’s chamber music has been overshadowed by his operas and orchestral works. The unfinished Piano Trio in C minor was completed by his son-in-law Maximilian Steinberg to reveal a substantial work of considerable depth. César Cui’s charming and lyrical Farniente is an arrangement from a piano original, while Borodin’s Piano Trio in D major is reminiscent of Mendelssohn in its joyous agility and nostalgic beauty. The outstanding, award-winning Brahms Trio, founded 1988, has performed and recorded much of Russian piano trio repertoire and has made a significant contribution to enlarging the chamber repertoire by rediscovering unknown music by Russian composers of the late-19th and early-20th century.

– New-Classics.co.uk

Albert Camus once wrote ‘when I describe what the catastrophe of modern man looks like, music comes into my mind – the music of Gustav Mahler’. If asked to specify a particular work, it is quite possible that Camus would have proposed Symphony No. 6 in A minor – the symphony that Bruno Walter claimed portrayed ‘a terrifying, hopeless darkness, without a human sound’. Nevertheless, the period during which Mahler wrote his Sixth was one of the most successful and happiest of his life – prior to any marital difficulties, at the time of the birth of his second daughter Anna, his professional reputation growing. Alma Mahler, in her memoirs, suggested that the symphony was in fact predicting instances of future distress in the composer’s own life, and she and various commentators have proposed various interpretations of different elements. Most famous of these are possibly the hammer strokes in the Finale, falling, according to Alma, like ‘blows of fate’ on the ‘hero’ of the symphony. But Osmo Vänskä has a reputation for engaging with even the most iconic scores at face value, avoiding preconceived ideas and ‘time-honored’ traditions.

His and the Minnesota Orchestra’s recording of Mahler’s Sixth follows upon the 2017 release of the composer’s Fifth Symphony. Nominated to a 2018 Grammy Award, that interpretation has been described as ‘at once committed and detached, intense and transcendentally timeless’ (Norman Lebrecht) and ‘an exceptional performance that promises great things to come’ (allmusic.com).

REVIEWS:

The Finnish maestro opts for the revised order of middle movements, the searing andante preceding the scherzo, with its “old fatherly”, Ländler-like trio. The Minnesotans shine in the eerie sonorities of the finale, building to another allegro energico, but ending, movingly, in the minor tonality.

– Sunday Times (UK)

The interpretation here is intensely focused and utterly compelling, and the playing is impassioned and unnervingly vivid in the multichannel format, so listeners who loved the exceptional analog versions by Solti and Tennstedt or modern digital recordings by Abbado, Tilson Thomas, and Pappano can be sure that Vänskä's audiophile version ranks just as high in quality. The integrity of the performance and the expressive heights that are achieved carry the day and make Vänskä's recording essential for Mahler buffs.

– All Music Guide

Florent Schmitt was a strikingly original composer whose influences were as varied as his own restless and imaginative music. A number of his solo piano works are little known and offer an important insight into his compositional development. Neuf Pièces, Op. 27, which includes a Spanish-infused Gitanella movement, was composed during his first period of travel. The expressive and vivid elements of Crépuscules, Op. 56 are infused with harmonic richness and quiet melancholy, while Ritournelle, Op. 2 No. IIbis displays an airiness and wit characteristic of French music of the Roaring Twenties. Internationally renowned pianist, Biljana Urban, presents a selection of neglected gems of French piano literature including many world première recordings.

Anita Rachvelishvili’s second album Élégie showcases her in the song repertoire to which she has a special connection despite being best known as a star of the world's greatest opera houses. Riccardo Muti has called the Georgian singer “without doubt the best Verdi mezzo-soprano today on the planet”, but here she reveals another side to her art. The repertoire is notable for its variety featuring five languages (Russian, Georgian, Italian, French and Spanish) and, correspondingly, five very different repertoire traditions. "I really love this repertoire. It gives one more colours and more possibilities for expressing emotions with the voice", says Anita Rachvelishvili. Echoing her debut album of operatic arias on Sony, she introduces listeners to a great if internationally neglected Georgian composer, in this case Otar Taktakisvili, heard in The Sun of October, a setting of the distinguished Georgian poet Galaktion Tabidze. As well as Rachmaninov's setting of the Pushkin poem Oh never sing to me again and Tchaikovsky's None but the lonely heart.

This recording revives long-forgotten sonorities that once would have been very familiar: the sound of piano and organ being played together. It also presents a Sibelius premiere: the arrangement by Sigfrird Karg-Elert of the suite from ''Pelleas and Melisande''. As the popularity of domestic music-making grew through the nineteenth century, it brought first the piano and, then, often the harmonium into well-off living rooms across the western world. Composers naturally responded, with original works and arrangements: Sibelius' Andante catabile was written after a visit to relatives who had both instruments in their salon. Karg-Elert, by contrast, was one of the world's outstanding virtuosi on both harmonium and organ and composed with his concert public in mind. Annikka Konttori-Gustafsson has appeared as a soloist, chamber musician and Lied pianist in her native Finald, of course, but in concert halls across the world, performing a wealth of Finnish music and French twentieth century repertoire. Dr. Jan Lehtola is one of the most successful and progressive Finnish organists of his generation. He has given more than 150 world and regional premieres and can be heard on more than 30 commercial recordings.

An instant success, Charles Hubert Hastings Parry’s oratorio Judith premiered in Birmingham in August 1888. The work consolidated his reputation as a composer of large-scale orchestral and choral writing. With its vigorous choruses and dramatic solo roles, the work is of persistent quality. Yet somehow, the work has been largely neglected for the last century. On this release, the work is presented by the Crouch End Festival Chorus and the London Mozart Players led by William Vann. Soloists Sarah Fox, Kathryn Rudge, Toby Spence and Henry Waddington round out the recording with enthusiastic performances.

REVIEWS:

Every aspect of this performance sounds like a labour of love. Rudge’s soaring, expressive singing as Meshullemeth gives the piece its real heart, and she’s accompanied with intense sympathy by the conductor William Vann, who avoids any suggestion of bombast or sentimentality, and builds Parry’s great paragraphs so eloquently and with such assurance that you’d think he’d been conducting this music all his life.

– Gramophone

You don’t have to be Parry’s champion Prince Charles to feel a thrill as the soprano Sarah Fox rings out as Judith, the Crouch Enders exult, the tenor Toby Spence sonorously conveys the vacillating king Manasseh and Parry creates sequences of stirring clamour.

– Sunday Times (UK)

Olivier Messiaen was a towering figure in twentieth-century music, and for many years he considered Les Corps glorieux the favorite of his own works. It is recognized as the pinnacle of his pre-war organ compositions, vividly depicting the themes of resurrection through deeply expressive symbolism, life and death struggles and ecstatic joy. Ten years later the Messe de la Pentecote marked a departure in style, drawing on Messiaen’s liturgical improvisations and crystallizing his latest rhythmic and serial techniques and use of birdsong into a ground-breaking masterpiece. Organist Tom Winpenny is Assistant Master of the Music at St. Albans Cathedral, where he accompanies the daily choral services and directs the Abbey Girls Choir. Previously, he served as sub-organist at St. Paul’s Cathedral, London. He is also musical director of the London Pro Arte Choir. He has broadcast frequently on BBC Radio and featured on American Public Media’s Pipedreams. He was organ scholar at King’s College, Cambridge, graduating with a music degree, and twice accompanying the Festival of Nine Lessons and Carols, broadcast worldwide. As a soloist, he has performed in the USA, Europe, and throughout Britain. His wide-ranging discography includes music by Mozart, Liszt, John McCabe, and John Joubert.

The Finnish-American composer Alex Freeman has been described as being ‘as comfortable in the realm of the pop ballad as in that of the concert hall’ and yet his songs ‘are imbued with the craftsmanship and care one would expect of a composer of his formidable academic training, just as his concert works carry the emotional immediacy of popular music.’ Himself a choral singer, Alex Freeman has written a number of works for choir: music that aims to be sonorous and melodic, but is carefully crafted to avoid the clichés that can burden conventional tonality. Freeman’s requiem Under the arching heavens was commissioned by Nils Schweckendiek and the Helsinki Chamber Choir to commemorate the 100th anniversary of the 1918 Finnish civil war. The work incorporates poems in Finnish, Swedish and English, reflecting both the specific reason for the commission and the universality of human suffering caused by war. In the non-liturgical texts chosen by Freeman, birds are a recurring image, as is that of a mother and child. The work ends with lines by Walt Whitman from a poem written in the aftermath of the American Civil War. Also included on the album is A Wilderness of Sea, another recent choral piece which draws on works by Shakespeare, and the poet’s images of the sea, and of mankind’s relationship with it.

This new release is the latest title in The American Bandmasters Association’s Commemorative Recording Series, and focuses on the legacy of John R. Bourgeois. Colonel John R. Bourgeois, USMC (Ret), was the 25th Director of “The President’s Own” United States Marine Band. His acclaimed career spanned nine presidential administrations from Presidents Eisenhower to Clinton. A native of Louisiana, Colonel Bourgeois is a graduate of Loyola University in New Orleans. He joined the Marine Corps in 1956 and entered The President’s Own in 1958 as a French Hornist and arranger. Named Director in 1979, Colonel Bourgeois was promoted to his present rank in 1983. He retired from active duty on July 11, 1996. As director of The President’s Own, Bourgeois was Music Adviser to the White House. He selected the musical program and directed the band in its traditional place of honor at the US Capitol for four presidential inaugurations, a Marine Band tradition dating back to 1801. He regularly conducted the Marine Band and the Marine Chamber Orchestra at the White House, appearing there more frequently than any other musician in the nation.

This is the first ever album devoted to the chamber music of Helena Munktell, one of the earliest female composers in Sweden. The daughter of an industrialist, Munktell received private lessons in piano and song from an early age, but soon also training in music theory and composition. In 1877 she visited Paris, where two of her sisters lived, and during the next thirty-odd years the city would be a second home to her. Here she studied with composers such as Benjamin Godard and Vincent d’Indy, and became a member of Société Nationale de Musique (SNM), an organization promoting French music and providing opportunities for young composers to have their works performed. A selection of Munktell’s songs had been performed, in Swedish, at a Society concert in 1892 and in 1900 they were heard again, but now in the French versions released the same year by the reputed musical publisher Alphonse Leduc. The Dix Mélodies are finely crafted musical scenes displaying a wide expressive range and variety of moods. Five years later another SNM concert saw the first performance of Munktell’s Violin Sonata in E flat major, by none other than the renowned Romanian violinist George Enescu. Franck’s famous A major Sonata, which Munktell knew well, served as an important source of inspiration in regards to the cyclic form and harmonic writing. The sonata soon appeared in print, now from E. Demets, another French music publisher. The third work on this album is a small-scale piano trio, probably an early work and possibly composed for performance at one of the musical salons at the Munktell family home in Stockholm.

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

The opulent soundworld of a Dutch late-Romantic master, still too little known outside his native country. Rarefied spirituality and refined sensuousness are the hallmarks of Hendrik Andriessen's (1892-1981) idiom, which offers an ethereal synthesis of Franckian chromaticism with an individual interpretation of classical forms and church modes. Though he trained as an organist, his writing for other solo instruments is fluent and idiomatic. The concertos for violin, cello and oboe share the silken textures of his better-known orchestral music, and this album won glowing reviews when first released in 2000. The album’s headline work is Miroir de peine, a languorous song-cycle to Henri Vangeon’s poems of religious ecstasy describing the suffering of Christ from the perspective of the Virgin Mary. It has attracted the advocacy of great sopranos from Elly Ameling to Christiane Stotijn. This 1991 recording by Roberta Alexander won an enthusiastic welcome from the critics for the poise and beauty of her performance and the richness of the engineering. Andriessen esteemed Franck as ‘a musical philosopher in the truest sense of the word,’ who drew ‘intense sentiments from the intuitive side of his genius into an orderly gestalt.’ Much the same could be said of Andriessen’s own idiom throughout his career, as this half-century retrospective over his career confirms, from the solemn lushness of Magna res est amor of 1919 to the Chromatic Variations and Cello Concertino of 1970. The Violin Concerto (1968-9) is still essentially couched in a Romantic vein, but shaded with more 20th-century accents of tonal anxiety, akin to Vaughan Williams and Casella in the 1930s. Any listener for whom conservatism is not a dirty word will relish becoming acquainted with Andriessen’s powerful expressive voice in these beautifully prepared and engineered performances.

Grammy Award-winner Alex Klein, former principal oboist of the Chicago Symphony Orchestra, performs sonatas that signify the oboe’s 20th-century reemergence as a brilliant solo instrument. One of the world’s most famous oboe players, Klein says he waited to acquire a professional lifetime’s worth of experience before putting his stamp on the six sonatas heard here. With pianist Phillip Bush, Klein plays works that he says “define the modern oboe”: Camille Saint-Saëns’ jovial, late-Romantic Sonata for Oboe and Piano, Op. 166; York Bowen’s lushly beautiful Sonata for Oboe and Pianoforte, Op. 85; Henri Dutilleux’s emotionally wide-ranging Sonata for Oboe and Piano; Petr Eben’s youthful, inventive Oboe Sonata, Op.1; Francis Poulenc’s late, philosophical Sonata for Oboe and Piano, FP 185; and Eugène Bozza’s Sonata for Oboe and Piano, an ethereal, rarely heard tour de force. Klein possesses a “tone so unique and beautiful that musicians from around the globe would flock to [Chicago’s] Symphony Center to hear him play” (Chicago Magazine). He won a Grammy Award in 2002 for Best Instrumental Solo Performance (with Orchestra) for his recording of Richard Strauss’s oboe concerto with conductor Daniel Barenboim and the Chicago Symphony Orchestra.

REVIEW:

Oboe playing simply does not get any better than this. The collaborative support of pianist Phillip Bush could also not be bettered, nor could the recorded sound offered by Cedille. This recital, then, is nothing less than an essential acquisition for any fan of the oboe or superlative wind playing in general.

– Fanfare

Andris Nelsons, today simultaneously Principal Conductor of the Boston Symphony Orchestra and the Leipzig Gewandhaus Orchestra, was discovered by Orfeo for the album. Christiane Delank, the long-standing artistic director of the label had taken him on to conduct the Bavarian Radio Symphony Orchestra in the recordings of the two violin concertos by Dmitri Shostakovich with Arabella Steinbacher and realized that in him one of the great conductors of his generation was maturing, a development that took place at breath-taking pace. When he was entrusted with conducting the City of Birmingham Symphony Orchestra, she won him over for the ambitious projects of a complete recording of the symphonies by Tchaikovsky (the first three symphonies were recorded, but no longer released following Nelsons’ departure to Boston) together with symphonic poems and other orchestral works by Richard Strauss and works by Stravinsky and Shostakovich. So, Orfeo had the privilege of documenting on album the Birmingham period, the first major international stage in Andris Nelsons’ career.

Excerpts of reviews from previously released volumes included in this set:

Strauss: Also Sprach Zarathustra; Don Juan; Till Eulenspiegel / Nelsons:

Don Juan has all the sparkle and the flood of testosterone that you might expect, dissolving into a string theme that is radiant with extrovert ambition. This is a reading full of passion and drive. Nelsons refuses to linger where some others do but keeps the adrenaline rushing throughout.

– MusicWeb International

Tchaikovsky: Francesca Da Rimini, Symphony No 4 / Nelsons:

In the last movement of the symphony Nelsons is just as blistering in tempo and febrile excitement as Svetlanov, and I never thought I would hear a living conductor equal that kind of intensity. These are great performances by a great conductor.

– Fanfare

Stravinsky: The Firebird, Symphony Of Psalms / Nelsons

Nelsons' interpretation of The Firebird has much in common with Boulez's New York recording for Sony--hyper-detailed (those three harps really tell), yet never at the expense of excitement. Emphasis on clarity also flatters the Symphony of Psalms, particularly in the central fugue. His fleet tempos come close to Stravinsky's own and project the quick outer movements with plenty of punch. This is a very good performance by any standard, and the sonics are impressively natural. If the coupling suits, then don't hesitate.

– ClassicsToday