“Nobody plays the piano better than Leonard Pennario,” wrote the eminent critic Andrew Porter in London’s New Statesman in 1952, when the competition would have included none less than Horowitz in his prime. That year, Pennario began recording for Capitol Records in Los Angeles, and a decade later he moved to RCA Victor, for which label he made a series of distinguished albums. To mark the tenth anniversary of Pennario’s death, Sony Classical is now pleased to reissue all of the pianist’s RCA recordings together for the first time in a single box.

Born in 1924 in Buffalo, New York, Pennario gave his first public performance there at the age of seven, later moving with his family to Los Angeles, where his teachers included the legendary Isabella Vengerova. His breakthrough came in 1936, when he made his orchestral debut deputizing for an indisposed soloist with the Dallas Symphony. On that memorable occasion, the twelve-year-old performed the Grieg Piano Concerto, a work he had never heard, let alone played, until a few days earlier.

Dazzling concertos would, of course, feature prominently in Pennario’s discography, and his first RCA Victor releases in 1964 included Rachmaninoff’s Rhapsody on a Theme of Paganini and the Franck Symphonic Variations with Arthur Fiedler and the Boston Pops (High Fidelity: “immense dexterity and bravura”) and the two Liszt concertos with René Leibowitz conducting the London Symphony (Gramophone: “magisterial accounts of both works … it is a constant delight to listen to his effortless brilliance and power … vivid ‘hi-fi’ recording”).

Among the acclaimed solo recital albums in this set are a collection of popular short pieces by Beethoven, Schubert, Dvorák, Tchaikovsky, Rubinstein, Grieg, Falla, Debussy, Gershwin and Rachmaninoff which Pennario plays “with admirable care and impeccable taste” (High Fidelity) as well as both books of Debussy Préludes: “This is a most beautifully played set” (Gramophone).

Although Pennario became best known as a formidable virtuoso, he was also renowned for his performances of chamber music, and RCA documents his participation in the famous series given by Jascha Heifetz and Gregor Piatigorsky. Their performance of the Mendelssohn C minor Piano Trio was praised by High Fidelity for its “conception of restraint and grandeur … consistently maintained throughout all four movements”, and in the coupling of cello sonatas by Mendelssohn and Strauss, wroteGramophone, “Pennario plays admirably, matching Piatigorsky’s forceful musical characterization.”

REVIEW:

A notable characteristic of Pennario’s playing is his extraordinary articulation at extreme speed. As examples of transcendent technique and breathtaking clarity, the two Rachmaninov transcriptions on Disc 2 are hard to beat.

One could hardly complain about the quality of music-making here, yet without exception the piano could have been more forwardly placed. Was he too self-effacing for stardom? Too modest for his own good? Moot points, but Leonard Pennario demands to be heard, reassessed and, on this evidence alone, admitted to the piano Hall of Fame.

– Gramophone

SET CONTENTS:

DISC 1: 
Rachmaninoff: Rhapsody on a Theme of Paganini, Op. 43
Franck: The Symphonic Variations for Piano and Orchestra, M. 46
Litolff: Concerto symphonique No. 4, Op. 102: Scherzo
Piano: Leonard Pennario  
Conductor: Arthur Fiedler 
Orchestra: Boston Pops Orchestra 

DISC 2: 
Liszt: Piano Concerto No. 1 in E-Flat Major, S. 124
Liszt: Piano Concerto No. 2 in A Major, S. 125
Piano: Leonard Pennario  
Conductor: René Leibowitz 
Orchestra: Royal Philharmonic Orchestra  

DISC 3: 
J. Strauss Jr.- Pennario: Kaiser-Walzer, Op. 437
Mendelssohn-Rachmaninoff: A Midsummer Night’s Dream, Op. 61: No 1 Scherzo
Saint-Saëns-Liszt: Danse macabre, Op. 40
Shostakovich: The Age Of Gold Ballet, Op. 22b: Polka
Prokofiev: The Love for Three Oranges, Op. 33: March
Ravel: La Valse, M. 72
Kreisler-Rachmaninoff: Liebesleid
Gounod-Liszt: Faust: Waltz

DISC 4: 
Dvořák: 8 Humoresques, Op. 101, No. 7 in G-Flat
Tchaikovsky: 2 Pieces, Op. 10, No. 2: Humoresque
Rachmaninoff: 7 Morceaux de salon, Op. 10, No. 5: Humoresque in G
Rachmaninoff: Morceaux de fantaisie, Op. 3, No. 4: Polichinelle in F-Sharp Minor
Debussy: Children' Corner, L. 113, No. 6: Golliwog's Cake-walk
Gershwin: 3 Preludes, IGG 25
Schubert: Moments musicaux, D. 780, No. 3 in F Minor
Beethoven: Für Elise, WoO 59
Tchaikovsky: The Seasons, Op. 37a, No. 11: On the Troika in E
Grieg: Lyric Pieces, Op. 43, No. 6 "To Spring"
Grieg: Lyric Pieces, Op. 43, No. 1 "Butterfly"
Falla: Piezas Españolas, IMF 10, No. 4: Andaluza
Rubinstein: 6 Soirées à Saint-Petersbourg, Op. 44, No. 1: Romance in E-Flat
Tchaikovsky: 6 Pieces, Op. 19, No. 2: Scherzo humoristique in D

DISC 5: 
Rachmaninoff: Piano Concerto No. 1, Op. 1
Rachmaninoff: Piano Concerto No. 4, Op. 40
Piano: Leonard Pennario  
Conductor: André Previn 
Orchestra: Royal Philharmonic Orchestra

DISC 6: 
Debussy: Préludes, Livre 1, L. 117

DISC 7: 
Debussy: Préludes, Livre 2, L. 123

DISC 8: 
Schumann: Piano Concerto in A Minor, Op. 54
R. Strauss: Burleske in D Minor
Piano: Leonard Pennario  
Conductor: Seiji Ozawa 
Orchestra: London Symphony Orchestra 

DISC 9: 
Mendelssohn: Cello Sonata No. 2, Op. 58
R. Strauss: Cello Sonata, Op. 6
Cello: Gregor Piatigorsky  
Piano: Leonard Pennario 

DISC 10: 
Mendelssohn: Piano Trio No. 2 in C Minor, Op. 66
Arensky: Piano Trio No. 1 in D Minor, Op. 32
Turina: Piano Trio No. 1, Op. 35
Cello: Gregor Piatigorsky  
Violin: Jascha Heifetz 
Piano: Leonard Pennario 

DISC 11: 
Beethoven: Piano Trio No. 2 in E-Flat Major, Op. 70
Brahms: Piano Trio No. 2 in C Major, Op. 87
Cello: Gregor Piatigorsky  
Violin: Jascha Heifetz 
Piano: Leonard Pennario 

DISC 12: 
Dvořák: Piano Trio No. 3 in F Minor, Op. 65
Franck: Piano Quintet in F Minor, M. 7, FWV 7
Cello: Gregor Piatigorsky  
Violin: Jascha Heifetz 
Piano: Leonard Pennario 

During his lifetime, Johann Pachelbel (1653–1706) was best known as an organ composer. He wrote more than two hundred pieces for the instrument, both liturgical and secular, and explored most of the genres that existed at the time. He is considered to be the apex of the 17th century’s south German organ school and generally one of the most important composers of the middle Baroque. His sphere of activity included central and southern Germany (modern Bavaria, Thuringia and Stuttgart), as well as important formative years in Vienna in his early 20s, during which he absorbed the Habsburg Empire’s dominant Italian and south German influences. The southern organ-builders’ emphasis on manual divisions is also apparent in much of Pachelbel’s liturgical organ music, which is relatively simple and written for manuals only. With this 13-disc set covering Pachelbel’s pivotal contributions to the chorale prelude, fugue and variation forms, internationally acclaimed organist Simone Stella adds another milestone to his already prolific discography of baroque keyboard music surveys on Brilliant Classics.

REVIEW:

The organ used here has much greater possibilities in variety of tonal colors, and Stella uses it to fine effect in the many fugues and chorale variations – and, it must be said, the music is in need of it. Pachelbel’s technique for toccatas is also consistent; based on pedal notes, the keyboard figurations of parallel 3rds, 6ths and 10ths predominate. Although not difficult to improvise, Pachelbel is always surprising in his modulatory shifts and textural changes.

-- Choir & Organ

Irish by birth, John Field gained an international reputation as one of the finest pianists of his time, with delicacy and nuance in his playing that is expressed in his innovative and poetically lyrical ‘Nocturnes.’ Field’s earlier ‘Sonatas’ are more classical in feel, but their sense of flow and dramatic narrative exhibit qualities that are developed and given added virtuoso panache in his fine ‘Piano Concertos,’ works admired by Liszt, Chopin, and Schumann. “Benjamin Frith has done a stellar job in bringing these concertos into the sunlight, brilliantly supported by the Northern Sinfonia under David Haslam.” (Pianist Magazine) “Played with effortless fluency…” (Gramophone) “Benjamin Frith plays with the freshness of discovery and wit.” (Audiophile Audition)

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

Field: Piano Music Vol 1 - Nocturnes and Sonatas

These "night" pieces are primarily characterized by a dominant, gracefully flowing melody, with most of the harmonic activity in the pianist's left hand. Although other pianists have recorded at least some of Field's Nocturnes--most notably John O'Conor (Telarc) and Miceál O'Rourke (Chandos)--Benjamin Frith's own uniquely inflected, poetic readings have a satisfying aura of intimacy cast in the warm colors of his well-tempered, expertly recorded piano.

– ClassicsToday.com

Field: Piano Concertos No 1 & 3

Both works are played with the effortless fluency we know from his Mendelssohn series - plus all the immediacy and freshness of new discovery.

– Gramophone

Also available on Blu-ray

The St. Thomas Boys Choir, whose history dates back to the year 1212, is the oldest cultural establishment in the city of Leipzig. Outliving all political, municipal, religious, and educational controversy for 800 years, musica sacra has shaped the choir's past. Through the influence of the many St. Thomas Cantors, including the most famous- Johann Sebastian Bach (Thomas Cantor 1723-1750)- the city of Leipzig and the St. Thomas Church became the center of Protestant church music. The St. Thomas Church is home to the Boys Choir. A choir rich in tradition, they are committed to continuing this musical legacy. This release contains the award-winning two-hour documentary “Die Thomaner – A Year in the Life of the St. Thomas Boys Choir Leipzig” by Paul Smaczny and Günter Atteln as well as the breathtaking recordings of two of Johann Sebastian Bach’s major choral works: the St. Matthew Passion and the Mass in B minor.

Sony Classical is pleased to announce the first release of Alexander Brailowsky’s complete RCA Victor recordings, many of them never before available in the digital medium.

Born in 1896 in Kiev, Brailowsky studied at the conservatory in his native city, then part of the Russian empire. In 1911, he went to Vienna to become a pupil of the legendary Theodor Leschetizky, who taught many of the 20th century’s outstanding pianists. During World War I Brailowsky also studied with Busoni in Switzerland, and in 1919 made his debut in Paris. Five years later came his first appearance in New York where he settled, then making regular coast-to-coast tours of North America while continuing to visit Europe.

There was one composer with whom Alexander Brailowsky was associated throughout his career – and has remained associated through recordings since his death in 1976: Frederic Chopin. Brailowsky was the first pianist to present Chopin’s entire 169 solo works as a cycle, performing this feat before capacity audiences in New York, Brussels, Zurich, Mexico City, Buenos Aires, Montevideo, and Paris. At the end of his 1938 Chopin series in New York, one reviewer noted that “there are few enough pianists who have the prodigious memory, the physical strength, the comprehensive technique required for such an undertaking; there are far fewer who have – plus all these – the requisite musicianship. Mr. Brailowsky is one of these latter few.”

Not surprisingly, Sony Classical’s new comprehensive reissue of Brailowsky’s RCA albums largely comprises music by Chopin. Both piano concertos are included – No. 1 with William Steinberg conducting the RCA Victor Symphony Orchestra in 1949 and No. 2 with Charles Munch and the Boston Symphony Orchestra from 1954. High Fidelity later wrote of these two performances: “Brailowsky’s energetically contoured, sharply etched clarity represents an emerging modernity of outlook that points to present-day Chopin players.” The set also features Brailowsky’s two traversals of the Waltzes, as well as his complete recordings of the Etudes, Preludes, and Nocturnes, plus Sonatas Nos. 2 and 3, the Ecossaises, and Berceuse. Of Brailowsky’s Nocturnes recording, Gramophone’s reviewer wrote: “He could sing beautifully at the keyboard. His nocturnes as a whole have a touching humanity and simplicity … The mono RCA sound is quite velvety.”

Almost forty years after his first recording on Chandos, this unique limited-edition release gathers some of the best and most-awarded recordings on the label by one of the most prolific conductors of all time: Neeme Järvi. It highlights a 200+ discography that explores an astonishingly wide repertoire, with selections from the legendary complete series of Prokofiev’s symphonies and Tchaikovsky’s ballets to the groundbreaking discoveries of composers such as Atterberg or Suchon. It features nearly a dozen of the numerous orchestras with which he has collaborated, including the RSNO, Chicago Symphony, Orchestre de la Suisse Romande, and Royal Concertgebouw Orchestra, all here celebrated at their best. Offered at a very special price and retaining the original covers, this product also includes very special notes by James Jolly, Editor in Chief of Gramophone, as well as exclusive photos and interviews with figures central to Järvi’s extraordinary musical life.

Past praise of previously released material included in this set:

Prokofiev: Symphony No 6, Waltzes Suite / Järvi, SNO

As in all of his Prokofiev symphony recordings–this was the first, by the way–Järvi really digs into the music. The engineering is as big and bold as the performances. This recording deserves classic status.

– ClassicsToday

Smetana: Má Vlast / Järvi, Detroit Symphony

Järvi and the Detroit Symphony Orchestra deliver an expansive reading of the complete work, and their feeling for the music's vivid imagery and richly Romantic expression is spot on.

– All Music Guide

Great artists are usually individuals solely dedicated to their artistic fulfillment throughout the course of their life; some of them even seem to live in another world. Daniel Barenboim, born in Buenos Aires in 1942, is the supreme example in our time of an exception to this rule. As pianist, conductor and opera director he is a cosmopolitan in music, but at the same time he is a humanist who sees himself as a politically aware contemporary citizen active above all in the search for solutions to religious and national problems. His parents were music teachers, moving first to Israel, then to Europe. Daniel Barenboim gave his first concert when he was seven, and was giving piano recitals in Vienna and Salzburg at the age of ten; he sought advice as a pianist from Edwin Fischer, and as a conductor from Igor Markevitch; his London concert debut of 1955 was conducted by Josef Krips. Six years later he was standing on the conductor’s rostrum himself. As successor to Georg Solti in 1975, he assumed the position- which he held till 1989- of Director of the Orchestre de Paris and in 1981, he celebrated the first of his many Bayreuth triumphs with his Tristan premiere. He took the Berlin Philharmonic on their first tour of Israel in 1990 and since 1992 he has been General Music Director of Berlin’s Staatsoper unter den Linden and its orchestra, the Staatskapelle. The recordings on the present album were made in 1959, at the beginning of a great career.

Jeroen van Veen has won international success with albums of Satie, Part, Glass and Riley. These are only some of the most significant composers whose work he has recorded for Brilliant Classics in building a library on record of minimalist piano music. Simplicity, repetition and appealing melody are the qualities shared by all the composers who subscribe to this aesthetic, and they underlie van Veen’s own compositions. Although subtitled Volume 2, this is the third album to focus exclusively on the pianist as composer. Books 1 and 2 of his Minimal Piano Preludes were reissued in 2016, and won high praise from MusicWeb International. Further preludes feature in a release of his piano music, and this sequel takes us up to Minimal Prelude No.60, a ‘tango for organ’. “All my music is about time and space,” says van Veen. “The duration of music is an essential part of the concept in my music. The concept of music, specifically my minimal oriented music, only can exist in time. The slow progression, building of the material, the motifs and the search for new sounds is audible in this [album].” All the works featured here were composed between 2010 and 2018. Continuum is a concertante work for piano and flute octet. Incanto is another album-length piece, entirely composed in an unusual 11/8 time signature. Ripalmania is written for six pianos, a scoring which creates an entrancing effect. In Velvet Piano van Veen explores the timbral possibilities of pianos prepared with objects after the style of John Cage, though without the American composer’s aim of disconcerting the listener. The final portion of the release is a celebration of minimalist jazz, in which the border between composition and improvisation almost vanishes.

Ostensibly Richard Wagner's opera Die Meistersinger von Nürnberg tells a humorous tale about artistically inclined craftsmen. Goldsmith Veit Pogner promises his daughter Eva's hand in marriage to the winner of a song contest, to which three men are potentially eligible. But upon closer inspection, what is at first glance a harmless farce in a middle-class setting emerges as a profound social analysis. Wagner uses his protagonists to show how a community deals with tradition and those who break with it and just how much innovation and deviation from the norm it can tolerate - as well as to examine what value society places, and should place, on art.