Daniel Barenboim began his career as "child prodigy" with great technical qualities. The young pianist had studied first with Claudio Arrau, then with Edwin Fischer. He recorded this, his first LP, featuring three famous Beethoven sonatas, in 1958, when just sixteen. It can be seen as a sort of challenge: show to the public that a young pianist could compete with the most famous soloists of the time. We can easily tell that the young Barenboim met that challenge; his talent, interpretations and performance technique underlining the beginning of a long artistic and human story still being told.

One has no problem naming famous String Quartet ensembles; however, String Trios simply cannot make the same boast! Even on the repertoire of the side, composers have produced many more significant quartets than they have string trios. Thus, it was something of a minor miracle when three musicians such as violinist Arthur Grumiaux, Georges Janzer (Végh Quartet violist) and Janzer's wife, the cellist Eve Czako, finally met to perform works of Mozart and Beethoven. The resulting June 8, 1966 Schwetzingen Castle recital is a most memorable concert that will welcome repeated listening.

This Varied Piano Recital Release from the Bella Musica Label of Keyboard Works Stretching Across Three Centuries and Spotlighting Six Composers Highlights the Playing of the Doyen of German Pianists, Prof. Manfred Reuthe. A Berliner of Impeccable Degree, He Has Taught for Over 40 Years in Addition to Giving Concerts and Recitals All Over the World, Yet His Playing Remains Fresh and Vigorous Still. His Recital Programs Often Feature the Virtuosic Works of the 19th C. Romantic Piano Tradition, Including Those By the Austro-German Romantics and the French Impressionists.

Pianist Giacomo Di Tollo's New CD, Released on Andromeda, Is a Paean to Both Italian Opera of the 19th C. And to the Glorious Romantic Tradition of Piano Transcription and Virtuosity That Grew Up Simultaneously with the Technological Advancements in Piano Construction Across the Century. Mr. Di Tollo's Choice of Repertoire, Obscure Works or Otherwise, Intrigues and Delights in It's Insistence on Broadening and Deepening Our Contemporary Knowledge and Listening Enjoyment of a Nearly Lost Yet Proud and Insightful Art Form.

These keyboard pieces are just so agreeably written, the notes falling so easily under the fingers, the lines flowing so naturally, the melodies and harmonies so, well, Handelian, who wouldn’t love to play them–or hear them? And because of this it doesn’t seem to matter which competent pianist (and the piano is really the way to go here) does the honors–however, Philip Edward Fisher is an especially accomplished interpreter and more than able advocate for pieces that inexplicably don’t get the respect they deserve.

For some reason it’s been five years since the release of Fisher’s Volume 1 traversal of the first four of the eight suites known as “the eight great”, which colleague Jed Distler described as “an absorbing listen” and “provocative” and “inspired”. The same descriptors hold true here, driven by Fisher’s straightforward, discreetly ornamented, and clearly articulated interpretations of some of Handel’s most ingratiating and memorable keyboard inventions–including the famous E major suite No. 5 that concludes with a remarkable variations movement known today (but never titled by Handel) as “The Harmonious Blacksmith” (do yourself a favor and listen to the Swingle Singers’ faithful and very exciting version).

My long-time favorite recording of Handel keyboard suites–a selection that includes several of the “eight great” pieces–features Keith Jarrett (ECM) in somewhat more sharply articulated interpretations in a dryer, more close-up acoustic. I’m still a fan of those–Jarrett is a cool, capable master of the clear, simple, unadorned expression that defines one approach to these pieces, but Fisher employs just that slight bit of lyricism–more legato in this movement, a tiny bit of rubato there, a dynamic swell or fade in this or that phrase–that transforms these works from clever inventions to more deeply involving, affective performance pieces.

Fisher gives us big drama in movements such as the Prélude and Largo of the F-sharp minor Suite, makes it impossible not to join the dance in the concluding Gigue of the F minor, and makes us want to linger even longer over the gentle, mellifluous, caressing melodies and ingratiating harmonies of the Allemandes from the E major and F minor Suites. It all adds up to an hour of easy, happy listening–whether your interest is foreground or background. And the sound, from Symphony Hall in Birmingham, UK, gives Fisher’s Steinway plenty of space while allowing the listener to hear every detail. Strongly recommended.

-- David Vernier, ClassicsToday.com

This release marks the first appearance of the chief conductor of the German radio philharmonic orchestra, Karel Mark Chichon, on the SWR music label, and for his debut, the young London-born conductor has done nothing less than a complete recording of the symphonies of Anton Dvorak. but that's not all! in addition to the symphonies are other orchestral works of the Czech master, as is the case here with the early, Slavic-patriotic themed rhapsody, op. 14. future releases will include all the overtures and interludes from Dvorak's operas - works of exquisite beauty, but rarely appearing on recordings.

“***** The music of [The Kreutzer Sonata] is… an emotional maelstrom… a whole kaleidoscope of feelings that the Doric brings to bear in a vivid, trenchant and intuitively heartfelt performance… [A] disc of outstanding musical insight and dynamic presence.” – Daily Telegraph (UK)

This new recording by the Doric String Quartet pays homage to the Czech chamber music of the 1920s, featuring string quartets by Janácek and Martinu. Exclusive on Chandos, The Doric String Quartet is now established as one of the finest young ensembles in the world.

The chamber music output of Janácek is relatively small but often programmatic. As acknowledged by the composer, the two string quartets are a vehicle for his deepest feelings. The mounting tension of String Quartet No. 1, which culminates in a less anguished last movement, emphasises the heightened feelings of love, passion, and remorse with which he was concerned at the time of its writing. As he summed it up, the work depicts the ‘miserable woman, suffering, beaten, beaten to death’ from Tolstoy’s Kreutzer Sonata. Titled Intimate Letters, the Second Quartet – the last work Janácek completed – fulfils an autobiographical function, being a no less ardent and personal composition.

The Third String Quartet by Martinc reflects the influences of his teacher Roussel as well as the night-life ragtime and jazz world of Paris in which it was written, in 1929. By far the shortest of his seven mature quartets, it yet gives a greater degree of independence to each of the four instruments, allowing for some striking harmonic clashes and colourful scoring.

One thing choirs who’ve sung Francis Poulenc’s choral works know is that he wasn’t concerned about making it easy for singers. Yet, unlike some other composers of the last (and current) century, neither was he creating difficult music just because he could. Instead, there is no similar choral repertoire by any other composer that more satisfyingly rewards the effort it takes–including a commitment of a certain level of vocal/technical skill and artistic savvy–to perform it accurately and stylishly–the rewards to the singer realized in the sheer sensual pleasure and excitement of being “inside” Poulenc’s incredible sound-world; and for the listener, you could say the same, just that the perspective is different.

There is no choir, nor will you find a recording, that does such full justice to these great a cappella works, each chanson, motet, or Mass movement a miniature yet significant and unique masterpiece. It’s difficult to choose specific performance highlights–there are so many moments perfectly demonstrative of some or other virtuosic technical feat or lovely, breathtaking, or otherwise moving expressive musical effect, that the list would amount to citations of nearly every part of every piece. However, for sheer virtuosity, you won’t be disappointed if you begin with the Mass–the Sanctus and Benedictus are perfect examples of how these singers manage ensemble balances even in the widest-spaced textures or thorniest harmonic passages.

Although these characteristics are consistent throughout all the performances, in Tenebrae factae sunt and Tristis est anima mea (from the Quatre motets pour le temps de pénitence) we experience the choir’s extraordinary command of ensemble balance, dynamic control, nuances of phrasing, rhythmic precision, spot-on intonation, ideal resonance in harmonies–everything combines to create the resplendent choral sound that defines these works.

Where there is word-painting–and there are numerous instances–we “get it”; where all-important soft singing is required, the choir delivers while always maintaining intonation and ensemble balance; where the texts are in French (the Sept Chansons), we hear beautifully enunciated, expertly sung French; the bell-like sounds at the end of Par une nuit nouvelle are exquisitely executed, as are the vibrant jazz harmonies of Tous les droits, the scurrying opening lines of Marie, and those treacherous wide-open voicings at the beginning and end of Luire (sung perfectly tuned, producing a hair-raising resonance). Not to take anything away from the rest of the choir, it’s important to give special mention to those sublime sopranos, who have so many passages and individual notes that are high and very exposed, and who sing them with extraordinary confidence, clarity, and accuracy, while always mindful of the lower voices.

Most popular among Poulenc’s choral works are surely the Christmas motets, especially the oft recorded O magnum–and here the Elora singers deliver it with a completely natural, easy flow from phrase to phrase; repeated statements (iacentem) are given emphasis without dynamic exaggeration; overall, there is a gentleness of expression coupled with an exceptional sense of devotion to the music. And devotion to the music is the key to the success of this entire program, whether conveying the joy, the sadness, or more reflective, prayerful moods and moments. Noel Edison and his singers have made perhaps their finest recording to date, a reference for choirs who follow and for listeners who want an important and enduring addition to their choral music library.

The production and sound, overseen by Bonnie Silver and Norbert Kraft in the choir’s home venue–St John’s Church, Elora, Ontario–capitalizes on the church’s excellent choral acoustics (which somehow, in different ways, are excellent no matter whether the church is empty or full of people). Thoughtful, informative notes by Dominic Wells cap this essential release.

-- David Vernier, ClassicsToday.com

Philip Glass has made an immense and stylistically wide-ranging contribution to piano repertoire. The Orphée Suite, a transcription of excerpts from the first opera in Glass’ Cocteau Trilogy, is one of his most distinctive piano pieces, blending virtuosity and melodic richness. In contrast, the hypnotic How Now is structurally influenced by Indian ragas and gamelan music, whilst Dreaming Awake contains one of the most powerful climaxes in all Glass’ works. Performed by Nicolas Horvath, a Scriabin Competition first prizewinner, this is the first release in the complete Glass solo piano edition which will include many premières.

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Reviews:

This disc is important because it demonstrates that Glass’s music works quite nicely alongside other composers of the past and alongside quite traditional approaches to performance generally.

– American Record Guide

Somehow, the objectivity of the sound of a piano suits the music of Philip Glass perfectly. Certainly that’s how it seems in Nicolas Horvath’s expert performances.

– International Piano

The unforgettable passion and intensity that soprano Leonie Rysanek and baritone George London brought to their most famous pairing in Wagner's Der fliegende Hollander is well-represented here as well on this recording of a 1955 live performance of Tchaikovsky's Eugen Onegin, starring Ms. Rysanek as Tatyana and Mr. London as Onegin. Though already becoming less common at the time, the opera is sung in German translation rather than Russian for the Austrian audience in attendance. This historic recording has been remastered in 24bit/96kHz sound.

The LaSalle Quartet was active from 1946-88; however, it's influence goes far beyond that. Violinist Walter Levine is still a vital, much sought out authority for string players. From their founding, the Quartet was devoted to the late 19th and 20th c repertoire. The works of Schoenberg, Berg and Webern were a significant part, as were the quartets of Schoenberg's teacher, Alexander Zemlinsky. This CD of studio recordings from 1965, 1968 and 1977 draws Zemlinsky together with Haydn and Brahms - a bold program for an ensemble specializing in modern to include some "early music".

The expressive and picturesque music of François Couperin ("The Great"), one of the central figures in French baroque-era music, has had a deep impact on many later composers. One of these is British composer Graham Lynch (b. 1957) whose music covers a wide range of styles. His harpsichord music is not derived from Couperin - he does not copy it's style and ornaments - but is the nearest we have to an equivalent: highly expressive, well articulated and full of imagery. Finnish harpsichordist Assi Karttunen specializes in both baroque and contemporary music. This is her fourth published recording.

This recording of recorder sonatas by Handel and an 18th c. transcription of the Royal Fireworks Suite is the work of three Melbournians who have made important contributions to early music performance in Australia for over thirty years. Published By John Walsh c. 1750, this is the only recording of the adaptation of the Fireworks Music (originally for flute, violin or harpsichord) in this arrangement. All instruments are faithful reproductions of authentic originals, historically accurate, carefully researched and tuned to a version of period temperament, giving each key its own character.