Sony Classical is pleased to announce another ten releases in its increasingly comprehensive series of Classical Masters. These new budget-priced releases contain classic recordings, many of them newly remastered, by some of the most celebrated musicians of the 20th century. “Claudio Abbado and the Berlin Philharmonic once again defy the inexorable progress of period performance in exhilarating accounts of Mozart using modern instruments,” opined Gramophone. The new reissue of these recordings from the early 1990s includes several favorite symphonies, the Sinfonia Concertante for violin and viola, the Masonic Funeral Music, a serenade and divertimento as well as the C minor Mass, of which “Abbado’s performance is wide-ranging, delivering most satisfyingly on every aspect of this hugely varied score. He has an impressively unified team at his disposal, with a superb quartet of singers: in fact Bonney and Auger are as well matched as you could reasonably expect to find in the impossibly demanding Domine Deus duet” (Music-Web International).

Sony Classical is pleased to announce another ten releases in its increasingly comprehensive series of Classical Masters. These new budget-priced releases contain classic recordings, many of them newly remastered, by some of the most celebrated musicians of the 20th century. Once again, the series offers cornerstones of the symphonic repertoire, including two complete cycles. In the late 1980s, Günter Wand, one of the most respected interpreters of the Austro-German repertoire, recorded all the Beethoven symphonies with his Hamburg Radio (NDR) Symphony Orchestra. It is still a benchmark. Reviewing the complete cycle a few years ago, ClassicsToday.com wrote: “This is one of the most consistent of all modern Beethoven editions, capped by a Ninth that stands among the select performances of that work on disc … One of the things that makes these performances so special is Wand’s ability to create a truly athletic feeling of movement at any tempo, and in order to do that he has to pay attention not just to tiny details, but also to larger phrases and musical paragraphs … The Fifth Symphony has all of the grit and grandeur that Beethoven intended … the funeral march in the “Eroica” is one of the most noble on disc … the “Pastoral” captures the music’s earthiness and rusticity with memorable fidelity … Exceptionally well recorded, this Beethoven cycle belongs in every serious collection.”

“The Paganini violin concertos are above all else an exhibition of artistic effects. But when they are played, as Ingolf Turban does, with all piquant bravado and wit and taste, then they are musical fun … He played the concertos with a very taut and steely tone which was able to elicit a smile, even considering the indescribable wizardry of technique. One could not miss hearing how Paganini understood Rossini´s artistry with song He had fused some of this artistry into the parts for violin, as was brought out by Ingolf Turban through his ever elegant, glitteringly clear, and supremely singing production of tone. And to top it all, Turban´s playing of Paganini lacked neither a drew-like fresh fantasy of sound nor an extraordinarily playful vigor. And thus one could enjoy these concertos of that satanic violinist enveloped by legend.” We naturally listen to music today differently from the public of Paganini´s time. But we must be aware of the circumstances of that time, and have an ear for relationships. The need is all the more for a rational stance that is equally joyful and anxious. Smiling is only one aspect of Paganini. When our senses fade while facing the bravura, so do our hearing and sight dim before the tremendous plunges that this music conceals within itself, from heaven to earth and then out again to the infinite. The only comparison can be with Chopin at the piano. He performed such plunges, from so soft as to be barely audible to abrupt change of touch. There is eloquent testimony that bears this out. Ingolf Turban, in his attempt to revive the characteristics of happening for the Paganini concertos wants to do justice to both of these dimensions.

Sir Thomas Beecham caught ‘live’ often showed the mercurial side of his character, and no performance was the same either in the studio or in the concert hall. ‘What Beecham sought at all times was freshness, and his unpredictability was a way to achieve this’ (David Patmore). All the performances included here from the Edinburgh Festival, London’s Royal Albert Hall, Royal Festival Hall and the BBC Studios are from Beecham’s final years, from 1954 when he had fully established the Royal Philharmonic Orchestra and himself as central figures in England’s musical life, to 1959 when he conducted an extraordinarily memorable account of Brahms’s Symphony No.2. Every broadcast is captured here in exemplary sound for the time, and apart from the Liszt and Haydn Symphony No.101, none of the performances in this set have appeared on an album before, which makes it extremely important for all collectors of the conductor.

Renowned French pianist Pierre-Laurent Aimard kicks off his exclusive engagement to PENTATONE with a recording of Olivier Messiaen’s Catalogue d’Oiseaux (1956-1958). The pianist had intimate ties to the composer himself and his wife, Yvonne Loriod, for whom Messiaen wrote the Catalogue.

Praised by The Guardian as “one of the best Messiaen interpreters around,“ this is Aimard’s first recording of Messiaen’s most extensive, demanding and colorful piano composition. The luxurious release set contains an accompanying bonus film, on which Aimard shares his vast knowledge of and love for Messiaen’s work from behind the piano.

Due to its radical naturalism, the Catalogue d’Oiseaux is exceptional within the repertoire for solo piano. It is the grand hymn to nature from a man who never ceased to marvel at the stupefying beauty of landscapes or the magic of bird song. With his Catalogue, Messiaen tried – in his own words – “to render exactly the typical birdsong of a region, surrounded by its neighbors from the same habitat, as well as the form of song at different hours of the day and night,” suggesting an almost scientific approach to his subjects. The idea of ‘reproduction’ may have been central to Messiaen’s conception of the Catalogue d’Oiseaux, but in the finished work we hear a great composer at work, a master of innovative structures who finds an astonishing range of piano sonorities. In a world that is increasingly being destructed by man, Aimard views this cycle as “a musical refuge that resonates with an audience ever more concerned, expanded and affected.”

REVIEWS:

Unsurprisingly, Pierre-Laurent Aimard’s interpretations are anything but tame. His dynamic range is formidable, his voicing of chords scrupulously faithful, his clarity unimpeachable. It’s hard to imagine the textures having greater impact or precision, or the continuity and discontinuity being projected with greater concentration. Nigel Simeone’s essay for Pentatone is exceptionally informative on factual background. One can only salute this outstanding achievement.

– Gramophone (Editor's Choice, April 2018)

Pierre-Laurent Aimard’s long association with Olivier Messiaen’s music dates back to the early 1970s, when the teenaged pianist was a protégée of both the composer and his wife Yvonne Loriod. His 2000 recording of Vingt regards sur l’enfant Jésus has long held sway as a version of reference. In August 2017 Aimard set down the complete Catalogue d’Oiseaux, now released by Pentatone on three SACDS, accompanied by informative booklet notes by Nigel Simone and a valuable DVD where Aimard presents succinct overviews of each piece from the piano and offers interesting insights into Messiaen’s methodology and personality.

As the set reveals time and again, Aimard has long digested and internalized Messiaen’s colorful keyboard syntax. The pianist voices and balances extended sequences of chords with the utmost clarity and specificity. Minute variations in rhythmic asymmetry are scrupulously articulated, while Aimard never shortchanges the music’s frequent moments of silence. He also brings impressive timbral and characterful variety to low-register passagework that can sound muddy or indistinct in the wrong hands. Cases in point include Messiaen’s playful evocation of mating mallards in Le Merle de roche’s opening pages, and Le Loriot’s slow-motion chords that contrast with lively high-register dialogues depicting Garden Warblers.

Le Rousserolle Effarvatte, the cycle’s epicenter and longest movement, emerges as a dramatic and virtuoso tour-de-force, showcasing Aimard’s remarkable concentration throughout sustained contemplative passages, along with his sophisticated gradations in dynamics and touch that seemingly project the gnarly, tumultuous sequences in three-dimensional perspective. To be sure, the pianist’s fortissimos convey an edgy, even metallic patina (so do Yvonne Loriod’s, in fairness), and his occasional vocal grimaces distract. Moreover, there sometimes is more humor to the music than Aimard is willing to concede.

Aimard’s technical, stylistic, and musical authority build upon Loriod’s interpretive legacy, and set modern-day standards that will both inspire and intimidate future generations of Messiaen pianists.

– ClassicsToday (Jed Distler)

With this second volume of Tosti’s songs, Brilliant Classics takes listeners just half-way through a prodigious, career-long output, in which the key-notes are unfailingly memorable melody, lively charm and a gift for story-telling that rivals the very greatest song-writers past and present, from Schubert to Dylan. Many of his songs have never been recorded, so this set makes a unique contribution to the catalogue. There are a few French songs on Vol 2, reflecting Tosti’s great popularity in Paris, but most of the texts here are by Italian poets, mostly contemporaries such as D’Annunzio and Panzacchi. The album works chronologically through the decade 1886-1895, during which time he was singing teacher to the English royal family. Perhaps in deference to his pupils, there are songs by the likes of Longfellow and Weatherly: the release concludes with his delicately wistful setting of In the Hush of the Night. The first volume of this extraordinary project on Brilliant Classics won wide critical praise. ‘All the singers are careful over nuances,’ remarked MusicWeb International. ’Tosti’s songs have, through the years, been bawled out of recognition by leather-lunged tenors, and it is a blessing to hear so many beautiful pianissimos and diminuendos in this repertoire. The accompaniments are discreet and the recording is well-balanced and natural-sounding.’ This release will be an essential acquisition for all lovers of art-song.

These three facets in the prism of Mozart’s operatic genius shine in Glyndebourne’s typically thought-provoking productions, featuring skilled singer–actors buoyed by the Orchestra of the Age of Enlightenment’s luminous period sound. Nicholas Hytner’s beautiful, ‘shockingly traditional’ production of Così fan tutte frames artful performances teased by Ivan Fischer from an outstanding international cast of convincing young lovers. Michael Grandage’s staging of Le nozze di Figaro is Glyndebourne’s seventh in a line stretching back to the company’s 1934 début production. Marshalled by the ‘ideal pacing’ of Robin Ticciati, a youthful cast of principals has ‘no weak link’ and ‘looks gorgeous’ (The Sunday Times). David McVicar’s Die Entführung aus dem Serail offers a ‘mesmerising, sensitive ... outstanding’ portrayal of Enlightenment-era fascination with the East that is both ‘exquisitely acted and sung’ (The Guardian), and Ticciati leads the OAE through a restored, authentic rendition of the critical score with ‘lovely fizz’ and ‘poignant gravitas’. (The Independent). "Glorious orchestral playing and magnificent singing under Iván Fischer" ( Cosi fan tutte - BBC Music Magazine) "Finely conducted by Robin Ticciati, McVicar’s production of Mozart’s Turkish comedy is a vocal and visual treat." (Die Entführung - The Stage) "... this is a Figaro of rare grace, naturalness and charm." (Le Nozze di Figaro - The Daily Telegraph)

This is an extraordinary journey through the most preeminent of classical symphonies. With an ensemble of only 12-16 top-quality musicians, the Pocket Philharmonic Orchestra explores Beethoven's musical origins. All the great conductors and orchestras have shown where Beethoven led: how his ideas paved the way for later masters like Schumann, Bruckner and Mahler. What hasn't been shown yet is where Beethoven was: where his musical language came from, how he shifted standards and developed techniques in a completely new and revolutionary way. The Pocket Philharmonic has a new approach to this idea: instead of a full chamber or symphony orchestra, the ensemble performs as a chamber ensemble in a symphonic manner – symphonic chamber music, or chamber music symphonies, so to speak. "This is the most vivid performance of the Eroica you have ever heard" said the critics. “It makes the revolution in his music audible. "An outstanding listening experience."

Since 1992, the year Aka Moon was formed, a series of albums has marked the history of the legendary jazz trio, which this set of twenty albums now gives you a chance to relive. To discover or rediscover this unique music is a very special experience, an inexhaustible source of inspiration. The twentieth album in the box is a previously unreleased recording: Light Ship Trio. (Outhere)

Der Ring des Nibelungen (The Ring of the Nibelung), WWV 86, is a cycle of four German-language epic music dramas composed by Richard Wagner. The works are based loosely on characters from the Norse sagas and the Nibelungenlied. It is often referred to as the Ring Cycle, Wagner's Ring, or simply The Ring. Wagner wrote the libretto and music over the course of about twenty-six years, from 1848 to 1874. The four parts that constitute the Ring cycle are, in sequence, Das Rheingold (The Rhinegold), Die Walküre (The Valkyrie), Siegfried and finally, Götterdämmerung (Twilight of the Gods). This production, featuring the Aarhus Symphony Orchestra and the Den Jyske Operas Kor conducted by Francesco Cristofoli was recorded live on September 6, 1987.