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SaleHakenberger: 55 Motets from the Pelplin Tableture / Lukaszewski, Musica Fiorita, Kameralny Polish Choir
Naxos · Oct 2018CD$29.99$14.99 -
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SaleSaint-Saens: Piano Concertos 4 & 5 / Descharmes, Soustrot, Malmo Symphony
Naxos · Apr 2018CD$19.99$9.99 -
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Sale20th Century Foxtrots, Vol. 3: Central & Eastern Europe / Wallisch
Grand Piano · Oct 2021CD$19.99$9.99 -
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SaleH e (a) r - New Icelandic Music on Period Instruments / Nordic Affect
Sono Luminus · Nov 2018CD + Blu-Ray$21.99$10.99 -
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SaleBerlioz: Lélio, ou Le retour à la vie / Gielen, Vienna Radio Symphony
Orfeo · Apr 2021CD$20.99$10.49 -
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SaleThe Best of Tasmin Little - Music of Beethoven, Schubert, Brahms & More
Chandos · Jun 2020CD$21.99$10.99 -
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Shine
Elogio de la Guitarra / Krzysztof Meisinger
Krzysztof Meisinger writes of his new release: “When I was asked to write an introduction to my début album for Chandos, I wondered for a long time what it should be about. My artistic path? The key to the program selection for the album? Or maybe my subjective description of the pieces I have recorded? I decided to explain in a few words my relationship with the guitar – a difficult relationship, full of passion, but also of doubts. It all started with delight. The guitar has always been a magical instrument to me. While playing, the musician is in direct contact with the string and the sound. The players, these ‘magicians’, whose recordings fascinated me at the beginning of my musical education were Andrés Segovia and Julian Bream. Thanks to them, I understood that the guitar is the instrument of my life, and that it is to its kind that I want to devote my artistic energies.
"A little time later, I started to notice some imperfections, which made me ask different questions. Why is the guitar repertoire so small, when you compare it to that of other concert instruments? Why is the guitar not able to convey all those emotions which I want to express? It took me some time looking before I came upon the answer. And the answer was this: to turn all those ‘disadvantages’ into virtues. After all, a guitar cannot be pretentious. It is what it is, a guitar –an intimate, sublime, beautiful instrument... It is the most honest mirror of the musician. It reaches the deepest corners of the soul, and allows both the performer and the listener to touch heaven in a nasty world.”
REVIEW:
Someone will eventually write a book about how and why so many excellent guitarists emerged from Eastern Europe, a region in whose music the guitar played only a minor role. This album, the Chandos debut of Krzysztof Meisinger, is one of the best so far.
The title, Elogio de la Guitarra (or "Praise of the Guitar"), makes it sound like a spiritual essay, but in fact, this is a piece of virtuoso display. None of Meisinger's selections is even close to being a chestnut, and fans will welcome these commanding performances... Chandos backs Meisinger with excellent sound, picking up the physicality of the guitarist's performances but not loading them down with extra-musical noise. An exciting, impressive debut.
-- AllMusic.com (James Manheim)
Kastalsky: Memory Eternal / Fox, The Clarion Choir

In the face of the devastation wrought by the First World War, Alexander Kastalsky conceived a musical service of remembrance for the fallen. A pivotal figure in Russian musical life- he was a student of Tchaikovsky and acclaimed as the founder of a new, national church music- Kastalsky composed a choral-orchestral Requiem, for the concert stage. Simultaneously, he worked on the a cappella version heard on this recording to be sung in Russian Orthodox churches. Following the basic structure of the Orthodox Panihida, or memorial service, Memory Eternal, and the short sacred pieces that end the programme, reveal Kastalsky’s masterful use of choral sonority and color, his weaving of complex polyphonic textures, and his graceful use of ancient chant melodies.
"...The Clarion Choir, under the sure direction of Steven Fox, turn in a thrilling performance, recorded with clarity and not too much resonance in St. Jean Baptiste Church in New York. This recording (together with its publication from Musica Russica) represents the rehabilitation of a major work, which nobody interested in Russian music of the 20th century should miss."
--Ivan Moody, GRAMOPHONE
Hakenberger: 55 Motets from the Pelplin Tableture / Lukaszewski, Musica Fiorita, Kameralny Polish Choir
Andreas Hakenberger spent his entire professional career within the territory of the Crown of the Kingdom of Poland, remaining for 20 years as chapel-master at the Lutheran Church of St. mary’s in Gdansk. Here he wrote his most outstanding works, a sequence of important motets written in cori spezzati, or polychoral technique. The rich tonal coloring obtained through the combinations of vocal parts is enhanced by the variety of the accompanying instrumentation. With astute use of imitation and rhetorical pauses, Hakenberger’s music emerges as richly colorful, graceful and vibrant. There have been very few recordings of the music of Andreas Hakenberger. This release offers by far the most of his music yet to be issued, and contains all of the 55 motets preserved in the Pelplin Tablature.
Hits from the 50s / Wunderlich
This release is the 10th in a unique collection of popular German songs, performed by Fritz Wunderlich, this album focusing on recordings from the 1950's and 60's. It is well known that Wunderlich was an exceptional singer, yet it never fails to surprise when hearing him singing works from different genres and discovering how he developed from his early performances to later in his career. This album focuses on the recordings which began his career and the sames repertoire which he later returned to with a more mature sound and approach. Both this release and all future volumes contain recordings that Wunderlich made for the company from which SWR grew. They are only available here.
Saint-Saens: Piano Concertos 4 & 5 / Descharmes, Soustrot, Malmo Symphony
Descharmes and conductor Marc Soustrot understand the music well. The opening variations are nicely contrasted, the ensuing Andante attractive in its flow. The long finale effectively integrates the ongoing return of the main themes, with Descharmes weaving into and out of the instrumental textures smartly and sensitively. It’s an interpretation that consistently holds your attention, and rewards your patience.
The “Egyptian” Concerto isn’t quite as good. The outer movements are fine, especially the rollicking finale, but the long central movement could be more effectively shaped, its “orientalisms” indulged just that more characterfully. Still, as in the Fourth, the performance reveals a lot of meaningful detail, especially in the finale, and Descharmes isn’t afraid to take a step back and let other instrumental colors take center stage once in a while. Ultimately this complete set of the five piano concertos stands among the best out there, even if everyone will have favorite individual performances. This is an achievement of which everyone can be proud.
– ClassicsToday (David Hurwitz)
Reger: Orchestral Works / Levin, Brandenburg State Orchestra
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REVIEW:
That this is a welcome release scarcely needs to be said: too often Reger is considered a significant composer for organ, but significant within that niche: a master of fugal writing, perhaps on the heavy teutonic side. But, of course, there has always been more to him than this. This Naxos release allows wider access to his works in commendable performances by a conductor evidently deeply sympathetic to his cause.
The Variations and Fugue on a Theme by J.S.Bach, Op.81 (1904) are an arrangement by Ira Levin of Reger’s work for piano. In 1904, Reger considered it his finest work to date, and it was enthusiastically greeted on first public performance. The theme comes from the aria ‘Seine Allmacht zu ergründen, wird sich kein Mensche finden’, originally a duet for tenor and contralto, with oboe, viola d’amore and continuo, from Cantata No. 128, Auf Christi Himmelfahrt allein. Reger had insisted that the pianist treat the theme ‘sweetly and always very legato—that is to say, like an oboe solo’. Levin’s arrangement catches that very well.
It should be noted that Levin does not merely rearrange for different instruments: he reconstructs the work in a valuable reimagining – tempo is slower, preferring 6/4 time to Reger’s more general 6/8. He omits four variations (6,7,11 and 12), and uses a broad variety of instrumentation, notably in percussion, though no instruments not found elsewhere in his works. The result has revealing clarity and a taut architecture, very enjoyable in its own terms. Orchestration brings out very sharply the relationship to the organ, especially in the opening variations, and perhaps even more to Reger’s reverence for Brahms: sonorities are frequently Brahmsian. Levin is absolutely true to the spirit of Reger and his special emotional world. If the letter is Reger is an issue, some will prefer the piano version: but there is more than enough room for both.
Four Tone Poems after Arnold Böcklin, Op.128 (1913) is Reger’s best-known orchestral work, inspired by the paintings of Böcklin, the 19th Century Swiss artist. These were symbolist pictures, with some abrupt changes of mood. Reger marks these shifts with subtlety. The overall mood is serious, but with many charms, notably in Der geigende Eremit (‘The Hermit Fiddler’) with its lovely violin solo, wonderfully captured by Klaudyna Schulze-Broniewska, the leader of the Brandenburgisches Staatsorchester.
Add the slightly romantic arrangement by Reger of O Mensch, bewein’ dein’ Sünde gross, BWV 622 to the mix, and we have a CD whose appeal should move far beyond Reger enthusiasts. This is a splendid introduction for those who have thought of Reger as too heavy for their tastes, and packed with insights for those who have come to love him.
– MusicWeb International (Michael Wilkinson)
Labyrinth / David Greilsammer
“A Riveting Piano Recital” (The New York Times, 2017) David Greilsammer’s new album venture, Labyrinth, is a project that he has been developing since 2017 in a number of concerts given in New York, at the Ravinia Festival, Illinois, in Lancaster and Sheffield, and at the Flagey in Brussels. The fascinated listener can follow this trail here, while keeping hold of the thread and following the light, encountering composers both well and less well known, from every period and style, with whole works and ephemeral fragments cunningly interwoven. While reconnoitering music by Beethoven, Janácek, Satie and Bach, we also have the surprise of a first world performance of Repetition Blindness by Ofer Pelz – specially commissioned for the program – and of a piano arrangement by Jonathan Keren of Chaos by Jean-Féry Rebel (also a first performance) as well as George Crumb’s mesmeric Magic Circle of Infinity.
BEETHOVEN SUITES
Ferko - Sowerby: Organ Music / David Schrader
On a new double-album of solo organ works by Leo Sowerby (1895–1968) and another prominent Chicago composer, Frank Ferko (b. 1950), versatile keyboard virtuoso David Schrader plays four of Sowerby’s “greatest hits” for organ, including the monumental Symphony in G major, plus the rarely heard “March” from Suite for Organ, on the 68-rank Wicks Opus 2918 at St. Ita’s Catholic Church, Chicago. The world-premiere recording of Sowerby’s late Two Sketches is available on the album’s digital editions. Schrader plays a diverse program of eight Ferko compositions, all world-premiere recordings, including several based on music by 12th-century composer and Christian mystic Hildegard von Bingen. Schrader performs on three noteworthy manual-action organs at the House of Hope Presbyterian Church, St. Paul, Minnesota, including the instrument for which one of the works was specially written.
Munn: Complete Music for Solo Piano / Arta Arnicane
The man who as W. D. Munn published papers on that branch of mathematics known as semigroup theory had another side to his personality: Douglas Munn (1929–2008), professor of mathematics at the University of Stirling, was also a fine pianist and a gifted composer. His piano music has its origins in Chopin, Brahms and Bartók but is clearly also inflected by Scottish folksong – much of it has a sense of the hills and the open spaces – and is written by someone with an intimate knowledge of the instrument. The Latvian pianist Arta Arnicane knew Douglas Munn and this album is the fulfillment of an unspoken promise to record his piano music.
Abraham: Ball at the Savoy / Barrese, Chicago Folks Operetta
Hungarian composer Paul Abrahám enjoyed huge success across Europe with his ‘jazz operettas’, not least in Weimar Berlin where his works scored for an orchestra augmented by a jazz band caused a sensation. Ballim Savoy (‘Ball at the Savoy’) has a plot reminiscent of Die Fledermaus and its variety of influences, some European and some reflective of contemporary American popular song, won the kind of acclaim only equaled by Franz Lehár. The premiere, which took place in December 1932, was for some the last major cultural event of Weimar Germany.
20th Century Foxtrots, Vol. 3: Central & Eastern Europe / Wallisch
Pre-order your copy today! This release is scheduled to ship on or about Friday, October 8.
Also available: 20th Century Foxtrots, Vol. 1 and 20th Century Foxtrots, Vol. 2
Gramophones and radios brought the voice of America, its fashion, its carelessness and joie de vivre into every corner of Europe during the Roaring Twenties, and no composer could remain immune to the hot jazz influences of the Foxtrot, Shimmy and Charleston. This third volume of jazzy piano dances features composers from nine Central and Eastern European countries, from Misha Spoliansky’s hypnotizing Valse Boston ‘Morphium’ to Leonid Polovinkin’s extremely entertaining and refreshingly futuristic approach to the genre. Gottlieb Wallisch continues his ‘most surprising and consistently charming recording project’ (The New York Times on Volume 2, GP814).
The Guerra Manuscript, Vol. 5
H e (a) r - New Icelandic Music on Period Instruments / Nordic Affect
A New York Times 25 Best Classical Music Track Selection for 2018 - Loom
Titled H e (a) r, this album features 7 world premiere recordings, including a soundscape which lends its title to the album by the group’s artistic director; composer and violinist Halla Steinunn Stefánsdóttir. The work H e (a) r connects to ecology, acoustics and embodiment; drawing on encounters and what happens in the connection. Many of the instrumental works are a continuation of Nordic Affect’s longstanding collaboration with some of the exciting talent to emerge out of Iceland in recent years, many of which were featured on the 2015, release Clockworking. The title track was chosen for NPR's Songs We Love series and featured in various best-of-the-year lists, including Steve Smith’s for Night After Night, The Chicago Reader, and The New Yorker.
In addition to composing her own music, Ms. Markan Sigfúsdóttir has toured the world with indie band amiina and recorded and collaborated with a range of other bands and artists. Her compositions have been performed in Iceland, Australia, Europe and the US. A continuation of the solo work 2 Circles, found on the Clockworking album, is Point of Departure by composer, cello player, and singer Hildur Guðnadóttir. Hildur has been manifesting herself at the forefront of experimental pop and contemporary music. Her output has encompassed four solo albums, and numerous works for theatre, dance performances and films. H e (a) r also features Reflections and Impressions by Anna Thorvaldsdottir, a recipient of Lincoln Center’s 2018 Emerging Artist Award and 2018 Martin E. Segal Award. Anna Thorvaldsdottir frequently works with large sonic structures that tend to reveal the presence of a vast variety of sustained sound materials, reflecting her sense of imaginative listening to landscapes and nature. A new collaboration is presented through Warm life at the foot of the iceberg by the Estonian Mirjam Tally. Sound is central to the Estonian MirjamTally’s creations. Her music is a flow of playful contrasts where a sense of humour and poetic use of sound are blended to mix. Her music has been performed in over 20 countries and earned her various accolades, including the 2018 Swedish Manifest prize.
REVIEWS:
“Loom” begins with a thin thread of sound that is patiently roughed up and smoothed out in ways that seem both generous and brittle, with the light seeming to enter right where the texture appears most broken.
-- New York Times
The music is exceedingly beautiful and engaging. Not everything is new-lyric and that is good, just like a meal is best if it is not about one taste in unrelenting sameness. The space for the extended technique sort of Modernity is used creatively and wisely and it frames and brackets the tonal washes properly and bracingly.
-- Gapplegate Modern Classical Music Review
Berlioz: Lélio, ou Le retour à la vie / Gielen, Vienna Radio Symphony
Hector Berlioz‘ Lélio, ou Le retour à la vie was a sequel to his Symphonie fantastique, the second part of the Episode of the life of an artist, which had premiered in 1830 at the Paris Conservatory. The piece that is made up of six sections was written and composed during his travels to and in Italy; for this he made use in part of material that he had already prefabricated for the prestigious Rome Prize. Berlioz and the Irish Shakespearean actress Harriet Smithson, whose rejection he had tried to compensate in the Symphonie fantastique, got married in 1833. (It should be noted that marriage by no means turned out to be the fulfillment of all dreams.) In his memoirs about Lélio’s premiere performance in December 1832 at the Paris Conservatory, Berlioz noted the following phrases about his future wife: “... the passionate character of the work, its ardent melodies, its exclamations of love, its outbursts of anger [...] must have made an unexpected and deep impression on her sensitive nature and poetic imagination. [...] When in the monodrama the actor Bocage, who recited the role of Lélio (that is, myself), pronounced the following words: ‘Oh, if I could only find her, the Juliet, the Ophelia for whom my heart is searching!’ […] she thought to herself: ‘My God! ... Juliet, Ophelia ... there’s no doubt, he means me ... And he still loves me as before …’” Michael Gielen conducts the Vienna Radio Symphony Orchestra and the Wiener Singakademie with Herbert Lippert and Geert Smits as highly acclaimed soloists and Joachim Bissmeier as narrator in an absorbing live capture that took place on 7 Dec 2000 at the Vienna Concert Hall.
Handel: The Complete "Amen, Alleluia" Arias
Over a period of some twenty years, from the late 1720s, Handel composed a series of virtuoso arias using only the words ''Allelujah'' and ''Amen'' as his texts. They were probably for use in private worship, and take their place in the tradition of ''Divine Song'' established by Purcell and other compoesrs. Here they receive their first recordings, set in a context of contemporary sacred song and instrumental music, with the accompaniment provided by the beguiling soun dof two theorbos and chamber organ. They are heard here in the extraordinarily dramatic timbres of a male-soprano voice - perhaps as close as modern listeners can come to the vocal acrobatics of the castrati who so amazed their own audiences. Robert Crowe has worked for over 25 years as a male soprano, was a 1995 National Winner of the Metropolitan Opera Competition and has sung over 70 leading roles in operas and dramatic oratorios in the United States and across Europe.
Arriola: Orchestral Music
The Best of Tasmin Little - Music of Beethoven, Schubert, Brahms & More
Following the announcement by Tasmin Little of her intended retirement from the concert platform, we wanted to create an album that would stand as both a tribute to, and celebration of, her outstanding career as a performer. What better way to do so than ask her to select her own, personal favorites from her recorded career? An exclusive Chandos artist since 2010, Tasmin has made a series of recordings that have proved a cornerstone of the Chandos schedules for a decade, and feature a range of composers and styles of quite breath-taking variety. The first album concentrates on concerti, and features both Walton’s and Britten’s concertos with Edward Gardner, along with the slow movement of her award-winning Elgar recording with Sir Andrew Davis. The second features works from Vivaldi though to Shostakovich via Brahms, and includes (among many other gems) her recording of Vaughan Williams’s iconic The Lark Ascending. It also celebrates Tasmin’s recital partnerships with three outstanding pianists: Piers Lane, Martin Roscoe, and John Lenehan. As she writes in her booklet note: ‘I am very happy that this final, double-album set should reflect so many aspects of me as a musician; and I remain full of gratitude for the tremendous opportunities I have been given to play and record with the greatest musicians of today. I hope you all enjoy this final release.’
Breiner: Slovak Dances, Naughty and Sad / Slovak Philharmonic
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REVIEW:
The basis of Breiner’s suite is native folksong and one might easily suppose, therefore, that its themes might be catchy and easily remembered. Slovak listeners, certainly, will be humming happily along as they recognise such traditional ditties as My father is but one big headache, My mother told me not to sit in the dark, I must have been crazy and Oh, mother dear, it itches (Slovakian peasant life was clearly no bed of roses).
Anyone born west of Bratislava or east of Humenné is, however, unlikely to be familiar with the original melodies and, bereft of that anchor, may well find that the dances come and go without making that much of a memorable impression. Moreover, I’d imagine that the composer’s distinctly contemporary musical palette risks disconcerting or even alienating a few tradionally-minded listeners who prefer their music delivered in an orchestration more characteristic of the late 19th century.
In spite of any such potential issues, the suite certainly offers plenty of pleasurable moments. Many of them occur, as already suggested, during the dances featuring the “domestic ethno-traditional” solo instrumentalists whose contributions deliver frequent titillation to ears unfamiliar with the sound of fujaras or jew’s harps. Thus, no. 3, the jaunty You enchanting girl, you…, is marked by effective and attractive contributions from the violinist, the accordionist and Ms Friedl’s whistles, as too is no. 9 My little whistle – ititi, ititi. Meanwhile, no. 11 I must have been crazy exhibits an engaging and sinuously oriental atmosphere that perhaps reflects the influence of intermittent Mongol and Ottoman invasions of Slovakia over the centuries. The final dance You little gate with bars is the shortest of the whole set but brings the suite to a close with an appropriate burst of vitality.
– MusicWeb International