Boris Lyatoshynsky was the foremost Ukrainian composer of the twentieth century and his five symphonies are the cornerstone of the symphonic music of his country. The Fourth Symphony of 1963 met with immediate acclaim for its imaginative orchestration, while the Fifth Symphony is memorable for its use of Ukrainian folkloric material. This is the third of three discs comprising the complete Lyatoshynsky symphonies.

Ferdinand Ries is remembered as Beethoven's one-time pupil, secretary and copyist, but the discovery of his many compositions showed him to be a forward-looking composer in his own right. The 1799 Cello Sonata in C minor is among the first of it's genre, the 15-year-old Ries already showing remarkable talent in it's 'Sturm und Drang' moods. The Trio, Op. 63 was admired in it's day for it's ingenuity of modulations' and fashionable London society lapped up the exotic themes of works such as Introduction and a Russian Dance and the virtuosic Trois Airs Russes Varies.

Choral music holds a central position in Villa-Lobos’s catalogue of works, but among these famous pieces is a series of little-known transcriptions for a cappella choir taken from the standard classical repertoire. They were intended for a teachers’ chorus and for use in schools, and through astonishing alchemy they achieve a true ‘orchestration’ of largely piano originals, adding a fresh new repertoire for vocal ensembles. This album also includes the first ever recording of Villa-Lobos’s complete set of a cappella transcriptions from Bach’s The Well-Tempered Clavier.

REVIEW:

Unbelievable Villa-Lobos Choral Transcriptions

The Bottom Line: Don’t miss this disc! These transcriptions for unaccompanied choir of keyboard music by Bach, Mendelssohn, Beethoven, Schumann, Massenet, Chopin, Rachmaninoff and Villa-Lobos himself have to be heard to be believed. They are extraordinary. Check out the sound samples in the video and add this splendid Naxos release from the São Paulo Symphony Choir under Valentina Peleggi to your collection post haste.

ClassicsToday.com

These transcriptions for unaccompanied choir of keyboard music by Bach, Mendelssohn, Beethoven, Schumann, Massenet, Chopin, Rachmaninoff and Villa-Lobos himself have to be heard to be believed. They are extraordinary.

– ClassicsToday.com (David Hurwitz)

CONTENTS:

• Mendelssohn: Songs without Words, Book 2 (6), Op. 30, No. 3
  
• Bach, J S: Prelude & Fugue Book 1 No. 8 in E♭ minor, BWV853
• Schumann: Kinderszenen, Op. 15, No. 7 ‘Träumerei’
• Bach, J S: Prelude & Fugue Book 1, No. 1 in C major, BWV846: Fugue
• Schubert: Schwanengesang, D957, No. 4: Ständchen
• Bach, J S: Prelude & Fugue Book 1 No. 21 in B♭ major, BWV866: II. Fugue
• Chopin: Waltz No. 7 in C# minor, Op. 64 No. 2
• Bach, J S: Prelude & Fugue Book 1 No. 22 in B♭ minor, BWV867: Prelude
• Rachmaninoff: Morceaux de Fantaisie, Op. 3, No. 2 in C# Minor, Prélude
• Bach, J S: Prelude & Fugue Book 2 No. 14 in F sharp major, BWV883: Prelude
• Massenet: Elégie
• Bach, J S: Prelude & Fugue Book 2 No. 5 in D major, BWV 874: Fugue
• Beethoven: Piano Sonata No. 8, Op. 13 'Pathetique': Adagio cantabile
• Villa-Lobos: Bachianas Brasileiras No. 9 for chorus or string orchestra

Jules Massenet's fairy-tale opera Cendrillon ('Cinderella') was an immediate success at it's premiere in 1899 at the Opéra-Comique in Paris. Massenet, then at the height of his powers, creates a magical sound-world full of wit, enchantment and perfumed elegance to match librettist Henri Cain's coming-of-age adaptation of this classic fairy tale. The colorful fantasy world created by the acclaimed stage director Barbrara Mundel and set designer Olga Motta features the British-Swiss soprano, Kim-Lillian Strebel, in her critically acclaimed title role. Kim-Lillian Strebel has received critical acclaim following a number of high profile debuts. She has acquired an extensive repertoire to include several high-profile roles. She recently made her US concert debut with the Atlanta Symphony Orchestra.

The wind ensemble repertory has a rich history and a vibrant contemporary presence. Donald Grantham, for example, evokes gospel music of the 1920s and '30s in Starry Crown, which draws on the earthy vitality of call-and-response sermons. Steven Bryant's Ecstatic Waters reaches forward to present a pulsating narrative of exuberance, contradiction and subtle dialogue. Gordon Jacob wrote two series of settings of Old Wine in New Bottles in which he took old English settings and clothed them in his zesty and witty colors. To end, we have the songful lyricism of Carter Penn's Hold This Boy and Listen. Stephen L. Gage has served as instrumental music coordinator, professor of conducting, and director of bands at Youngstown State University's Dana School of Music since 1993.

Polish by birth, Alexandre Tansman settled in France, a major influence on his composition. He was a close associate of Stravinsky, particularly during his war-time exile in America. Tansman favored the clarinet, in particular, among wind instruments.

The expressive range and versatility of the wind ensemble is exemplified in this program from one of the world's leading ensembles of it's kind, which presents classics of the genre alongside new works. Wayne Oquin's Tower Ascending pulsates with urban power whilst Richard Lorenz explores a web of Latin American music. Michael Tilson Thomas distils old and new perspectives and James Mobberely offers affecting Words of Love. We also hear Copland's indelible Fanfare for the Common Man, Vaughan Williams's intricate Toccata Marziale and Stravinsky's brilliantly virtuosic Concerto.