Featuring more than a hundred pieces, this album showcases the charming dances Schubert composed for the many fashionable salons in Vienna between 1815 and 1823. It joins other Naxos albums dedicated to Schubert’s piano dances and miniatures by Yang Liu (8.573941) and Daniel Lebhardt (8.574145, 8.574277). French pianist Didier Castell-Jacomin is a Steinway Artist.

This album focuses on Enescu’s early chamber music composed during the turn of the 20th century, much of which has only recently been discovered. The Fine Arts Quartet, one of the world’s leading quartets, is joined by the Witkowski Piano Duo and double bassist Alexander Bickard in works that include an arrangement of Enescu’s popular Romanian Rhapsody No. 1 for piano and string quintet.

REVIEW:

The Fine Arts Quartet is at the core of this program. Its members as well as the two pianists on the program bring great spirit to these youthful works, and the label’s recorded sound is fine. The program notes are informative as well. This is a very attractive disc.

— Fanfare

Joseph Boulogne, Chevalier de Saint-Georges was a brilliant swordsman, athlete, violin virtuoso and gifted composer, with a claim to being the most talented figure in an age of remarkable individuals. He was an early and important exponent of the hybrid symphonie concertante – a genre that draws on both the symphony and concerto traditions. This novel format was the ideal platform for expressive inventiveness, providing new textural possibilities through the addition of a second solo violin or viola. The Symphony in G major, which has all of the effervescence typical of Haydn, is an excellent example of the cosmopolitan French symphonic style.

Michael Halász’s first engagement as a conductor was at the Staatstheater am Gärtnerplatz, Munich, where, between 1972 and 1975, he directed all operetta productions. In 1975 he moved to Frankfurt to work as principal Kapellmeister with Christoph von Dohnányi, and here he conducted the most important works of the operatic repertoire. Many engagements as a guest conductor followed and in 1977 Dohnányi took him to the Staatsoper Hamburg as principal Kapellmeister. From 1978 to 1991 he was GMD (general music director) of the Hagen Opera House and in 1991 he took up the post of resident conductor at the Wiener Staatsoper for 20 years.

REVIEWS:

In content and style the concertante owe much to Haydn, each score in two movements that are never short of attractive thematic material, the soloist’s role musically dancing around a slender orchestral backdrop. Here they include the exciting young Russian-born violinist, Yury Revich, with a famous 1709 Stradivarius, and the deputy leader of the Czech Chamber Orchestra, Libor Jezek, Pavla Honsova the solo viola. Now 83, the conductor, Michael Halasz, obtains very neat playing from the Czech Chamber Philharmonic, his tempos never rushed but always buoyant. In three short movements, the disc is completed by one of the two symphonies written by Saint-Georges, again owing much to Haydn. High-class sound quality, and I greatly commend it to you.

– David's Review Corner (D. Denton)

Today Joseph Bologne is remembered as the first classical composer of African ancestry and also as a noted conductor, violinist, and as a pioneering exponent of the symphonie concertante, a genre that combined the structural characteristics of both the Classical symphony and the 18th concerto grosso, and one that he successfully explored and imprinted with originality.

Michael Halasz leads the Czech Chamber Philharmonic Orchestra Pardubice and soloists Pavla Honsová, Yury Revich, and Libor Ježek with a stylish command of Bologne’s charming music.

– Rafael's Music Notes (R. de Acha)

Peter Graham is one of the leading brass band composers of his generation, and the first outside the US to win the American Bandmasters Association’s prestigious Ostwald Award for composition. Black Dyke Band celebrates his 60th birthday with this recording, the theme of which derives from Graham’s time in New York and from some of the ‘giants’ of American culture. On the Shoulders of Giants pays tribute to great brass virtuosi such as Miles Davis and John Philip Sousa; New York Movie is a ‘musical narrative’ on seven of Edward Hopper’s iconic, haunting paintings; and Metropolis 1927 takes its inspiration from the dystopian beauty of Fritz Lang’s classic science fiction film. The Black Dyke Band is legendary in brass band circles, and has already recorded the music of Philip Wilby, which American Record Guide called “dazzling.”

Although biographical details of his life remain sketchy, Luys Milán’s Libro de música de vihuela de mano intitulado El Maestro is certainly the oldest surviving printed collection of vihuela music. Tuned like the contemporary Renaissance lute, the Spanish vihuela is a guitar-shaped instrument and for it Milán wrote a series of compelling works including fantasias and pavans that maturely fused improvisatory and polyphonic elements. This recording presents all the solo vihuela pieces from the first book of El Maestro in the order in which they appear.

Claudio Santoro was one of Brazil’s most eminent and influential composers. Over a 50-year period, he wrote a cycle of 14 symphonies that is widely acclaimed as the most significant cycle of its kind ever written in Brazil. The two selected works in this inaugural volume of the first complete recording of his symphonies focus on the 1950s, a period when Santoro sought a more direct and communicative idiom using Brazilian elements. His use of folk-based material is nonetheless highly creative, sometimes indeed abstract, as in key moments of Symphony No. 5. The Symphony No. 7 is one of his most complex and intense works, a celebration of his country’s new capital Brasília in music of striking modernity.

REVIEWS:

Claudio Santoro (1919-89) composed fourteen symphonies over the course of about fifty years, making him one of the most noteworthy twentieth-century Brazilian composers in large forms. On evidence here, they are uneven in quality, with the problems occurring when you might expect – in the larger, more complex outer movements. I’m thinking especially of the Fifth Symphony, whose opening Andante mosso–Allegro moderato consists of a series of crescendos leading, essentially, nowhere. The thematic material isn’t too memorable either. The situation improves in the central scherzo and slow movement (a set of variations), but the same “sound and fury signifying nothing” returns in the finale. Santoro’s style incorporates obvious Brazilian elements without ever turning blatantly “folksy.” Clearly the idiom is his own.

This is even more evident in the Seventh Symphony, subtitled “Brasilia,” and designed for the dedication of the country’s new capital city. A more ambitious and successful work than the Fifth, this time with the scherzo played third rather than second, the music evolves from the relative harmonic simplicity of its opening to a more challenging language in the finale–from rural to urban, you might say. Whether this was Santoro’s intention I have no idea, but I like the result. There’s a good bit of stomping and pounding in this symphony–indeed in both works–with some enthusiastic use of the bass drum, but it all seems to be part and parcel of the music’s boldness and energy, and its confrontational gestural language never sounds merely gratuitous.

Certainly the Goiás Philharmonic under Neil Thomson has every reason to be proud of its achievement here. This is not easy music to play. Santoro’s writing for the violins, in particular, sounds positively wicked, with lots of passage-work at high speed, often reaching upwards into the nether regions of the instrument. The scherzos too offer plenty of rhythmic kinks to keep everyone alert, and the crispness of the orchestra’s response can only provoke admiration.

-- ClassicsToday.com (David Hurwitz)

Neil Thomson conducts strongly committed readings of these fine works, and Goiás Philharmonic Orchestra play with confidence. The recording is very fine and the notes are exemplary. This first instalment of the Naxos cycle of Santoro’s symphonies augurs well indeed.

-- MusicWeb International

The journey is navigated with aplomb by Neil Thomson and the Goias Philarmonic Orchestra. Deftly woven counterpoint is contrasted with off-beat rhythms and expansive melodies that showcase each section of the orchestra to effect.

-- BBC Music Magazine