Songs of Solitude was conceived by the violist Hiyoli Togawa at a time when a virus was forcing people across the world into isolation and she herself needed to find a new rhythm of life as concert after concert was being cancelled. As she relates in the booklet to the disc, playing Bach – music that combines powerful emotions with a crystal-clear structure – became part of her daily routine, along with walks along the empty streets of Berlin. During these, the importance of remaining creative became even clearer to her, along with the idea to offer people the opportunity through music to reflect upon the difficulties of living through a pandemic. Having recently collaborated with the composer Kalevi Aho, she came upon the idea of asking him and a number of other composers to write for her – pieces that would ‘reflect life and work in the time of the coronavirus and that distil isolation in music’. The result is Songs of Solitude – works for solo viola commissioned from 11 different composers and interwoven with sarabandes from Bach’s cello suites. The individual pieces range from the meditative (Toshio Hosokawa reminiscing in his version of the traditional Sakura) to the defiant (Johanna Doderer’s Shadows). Some of them even provided Hiyoli with musical company – Aho’s Am Horizont requires her to play two parts on the viola while singing a third, and the piece by John Powell is written for nine voices, recorded in multitrack. The album was recorded in Berlin during three periods, June to October 2020, as the various pieces arrived and the restrictions in place at the time permitted.

The streets of eighteenth-century Madrid; a contaminated test-bombing site in Australia and a song from El Salvador provide some of the subject matter for this album by the United Strings of Europe (USE). Formed in 2012 by students at London’s Royal Academy of Music, the ensemble brings together outstanding players from across Europe. Artistic director is the Anglo-Lebanese violinist Julian Azkoul, who leads from the violin, curates programmes and arranges music for the ensemble. For In Motion, USE’s début recording, Azkoul has arranged Boccherini’s celebrated and atmospheric evocation of the Nocturnal Music of the Streets of Madrid, in a version that updates the original’s flirt with popular music. Far removed both geographically and in mood is Maralinga, Australian composer Matthew Hindson’s powerful and haunting work featuring guest soloist Amalia Hall. The programme opens and closes with works for string quartet, composed some 180 years apart in Vienna and New Zealand respectively and heard in bespoke arrangements by Azkoul. Reflecting the ensemble’s distinctive voice and multi-national heritage and the wide-ranging interests and stylistic versatility of its members, In Motion is a roller-coaster ride of an album.

When the ORFEO label was established in Munich forty years ago, surely no one with the music scene back then would have predicted that the record company would develop into a firmly established player on the classical music market. One of the label’s main priorities in the early years was vocal music, with opera rarities top of the list and since the mid 1980s the re-use of historic tape recordings. Big names featured on the label’s own productions, while ORFEO also developed into a talent factory by discovering and nurturing young artist. This “ORFEO 40th Anniversary” 2-album sampler well reflects these two sides of the label by combining highlight tracks of historical recordings with today’s global stars.

China’s rich and diverse musical heritage has been recorded and documented in a stunning, original collection. With twenty albums in the pipeline, this is a highly specialized series with the appeal of perhaps being the closest thing to the ‘complete works’ of traditional Chinese music. Each album features a different region of the vast territory; an historical snapshot of China’s heritage. Due to the cultural privacy China mandates, these are in fact rare, musical gems. Folk songs from the Tujia and Sui peoples of Hubei and Guizhou Province. This album features ‘inserting chant’ songs and south songs of Changyang by the Tujia peoples, and various ancient songs of the Sui. All played on traditional instruments such as mouth organs, bronze drums, gongs and suona, as well as the popular dongdong kui (bamboo clarinet), that dates back thousands of years. This is volume seventeen of a twenty album series, exploring China’s rich and diverse musical heritage.

China’s rich and diverse musical heritage has been recorded and documented in a stunning, original collection. With fifteen albums in the pipeline, this is a highly specialized series with the appeal of perhaps being the closest thing to the ‘complete works’ of traditional Chinese music. Each album features a different region of the vast territory; an historical snapshot of China’s heritage. Due to the cultural privacy China mandates, these are in fact rare, musical gems. The Kazakhs pass on their pastoral lifestyle from generation to generation, their music is delicate and their dance mellow and enchanting. There is a saying that ‘music and horses are the two wings of the Kazakhs’. Kyrgyz music however draws influence from Persian-Arabia, with brighter tones and sharper playing. For the audience who are not familiar with the music from Xinjiang, it is also easy to distinguish the songs between the two minorities in this album by their accompanying instruments. The tunes of Kazakh and Kyrgyz are accompanied by dombra and komuz respectively. As representative instruments for the minorities under discussion, the two are very popular among their peoples.

While globalization advances, all countries staunchly retain two unique features: their distinctive national flag and a bonding national anthem. The anthems reflect an enormous indigenous diversity, but relatively few are generally known by citizens of other nations, making any comprehensive compendium a source of endless interest and discovery. We invite you to take a musical tour of Naxos’ definitive set of national and regional anthems, from Algeria to Kuwait. Lapland to Zanzibar, and all stops in between. You’ll be delighted by the gems that are waiting to be discovered and compiled into either personal or family favorites. And you can check out the flags in the process with our informative supporting booklets! Welcome to the Naxos set of The Complete National Anthems of the World.

China’s rich and diverse musical heritage has been recorded and documented in a stunning, original collection. With fifteen albums in the pipeline, this is a highly specialized series with the appeal of perhaps being the closest thing to the ‘complete works’ of traditional Chinese music. Each album features a different region of the vast territory; an historical snapshot of China’s heritage. Due to the cultural privacy China mandates, these are in fact rare, musical gems. The Uzbek and Tatar peoples both live in Xinjiang province and speak Turkic languages. The population of Chinese Uzbeks is around ten thousand, which is approximately three times that of the Tatars. The majority of these two peoples live in the northern and western regions of Xinjiang province. The Uzbek music displays its artistic charm with complex melodic variations and gorgeous ornaments. Their instrumental music mainly includes interludes of Shashmaqam and dutars accompany all the Uzbek musical pieces. The music of the Tatars is the gemstone in Xinjiang’s musical crown, with many of their songs being popular among different ethnic groups. In this album, the accordion accompanies all the Tatar songs. The kubyz, the brass jew’s harp, is another popular instrument among them and they also perform on an instrument similar to a long end-blown flute, the qurai.

The Italian operatic repertoire offers some of the most passionate and much-loved music in the classical canon. In this outstanding collection, Azer Zada has selected music of moving intensity, dramatic power and spiritual resolve in works by Donizetti, Mascagni, Leoncavallo, Puccini and Verdi. Favorite tenor arias such as Nessun dorma!, Una furtiva lagrima, Recondita armonia and E lucevan le stelle are included, as well as three essential intermezzi by Mascagni. In the 2019–20 season, tenor Azer Zada made his debut in Cavalleria Rusticana /Pagliacci at Ravenna Festival, under the baton of maestro Riccardo Muti. He has alsosung leading roles under conductors Zubin Mehta, Riccardo Chailly, Nello Santi and Myung-Whun Chung. The Baku-born tenor has been awarded numerous prizes in competitions such as Concorso Lirico Internazionale di Portofino and First Prize in Concorso Voci Verdiane. This is also his first solo recording.

A.G.A Trio are three musicians from Armenia, Georgia and Anatolia (Asian Turkey), who have taken their heritage of melodies passed down through the ages and reinterpreted them to create vibrant ensemble music. From caravan travelers' lamentations in times of war to lively wedding dances in times of peace; this budding new group’s performances have captivated audiences in Europe. Born in Istanbul, Turkey, Deniz Kartal graduated with a bachelor’s degree in Turkish folk dance in 2005. He has since used his skillset to explore many different genres, including Balkan ska / reggae, electronic and folk music. He has performed with bands in Turkey, Sweden, Germany and the Czech Republic. Mikail Yakut studied classical accordion and jazz piano at university, he is a member of two bands and involved in numerous collaborations such as an electro-acoustic techno duo with Korhan Erel. One can hear influences of classical, contemporary, jazz and blues in his music. He enjoys mixing different styles and crossing genre borders while leaving room for improvisation in his live performances. Arsen Petrosyan is a young duduk master numerously awarded for his talent. He lives in Charentsavan, Armenia. Seen as a musical prodigy, he initially started his studies at the age of six. He has toured internationally and created diverse collaborations that go beyond the boundaries of traditional Armenian music.

China’s rich and diverse musical heritage has been recorded and documented in a stunning, original collection. With nineteen albums in the pipeline, this is a highly specialized series with the appeal of perhaps being the closest thing to the ‘complete works’ of traditional Chinese music. Each album features a different region of the vast territory; an historical snapshot of China’s heritage. Due to the cultural privacy China mandates, these are in fact rare, musical gems. This series explores China’s rich and diverse musical heritage. The songs featured in these recordings are folk songs from the Dai and Hani peoples of Yunnan province. As with Chinese traditional visual arts, the song titles explain their mood and origin.

When Brooklyn-born, NYC native Kenny Werner came on stage for his concert in Stuttgart in 1992, he had just begun experimenting with the possibilities of solo piano programs. Over time he grew into the role of a high-quality craftsman who drew his strength not from the struggle for innovation, but from the elegance and finesse with which he incorporated the pianistic possibilities of the keyboard tradition into his music. In artistic self-understanding he was one step ahead of his era.

Werner’s advanced position was also evident in the repertoire that he brought with him to the studio room of the SDR (Süddeutscher Rundfunk) in Stuttgart on 10 June 1992. Most of the compositions were standards associated with the “Great American Songbook”, which he took as a starting point for letting his own creativity play on familiar melodies and forms. It didn’t interest Werner to have the material fall apart in the postmodern fashion typical of the time. On the contrary, for him it was about the perfection of an interior design of the songs, which allowed him to savor the freedom within the set frame of classical jazz patterns. The evening in Stuttgart thus becomes a link in the canon of Werner’s style.

Born in Brooklyn, NY on November 19, 1951 and then growing up in Oceanside, Long Island, Kenny Werner began playing and performing at a young age, first recording on television at the age of 11. Although he studied classical piano as a child, he enjoyed playing anything he heard on the radio. In high school and his first years of college he attended the Manhattan School of Music as a classical piano major. His natural instinct for improvisation led Kenny to the Berklee School of Music in 1970. There he sought tutelage of the renowned piano teacher Madame Chaloff. Her gracious wisdom and inspiration became a driving force in Kenny’s conception: A music conscious of its spiritual intent and essence. From Boston, Kenny traveled to Brazil with the saxophonist Victor Assis Brasil. There he met Victor’s twin brother, Brazilian pianist Joao Assis Brasil. He studied with Joao, who provided another piece of the puzzle for Kenny’s conception that would lead to Effortless Mastery, his landmark opus on how to allow the master musician from within to manifest. Kenny Werner has been a world-class pianist and composer for over forty years. His prolific output of compositions, recordings and publications continue to impact audiences around the world.

Acclaimed pianist Inna Faliks breaks new ground with REIMAGINED on Navona Records, an homage to Beethoven and Ravel which manages to do the impossible: be breathtakingly innovative while remaining respectful to the source material. Nine contemporary composers, including Richard Danielpour, Paola Prestini, Billy Childs, and Timo Andres, were commissioned to craft responses to Ludwig van Beethoven's Bagatelles, op. 126 (incidentally, the master's favorite) as well as Maurice Ravel's Gaspard de la Nuit. The results are exhilarating, not least owing to Faliks's stunningly precise and sensitive pianistic interpretation: the Ukrainian-born American pianist ties together Classical, Romantic and modern pieces with disarming nonchalance and rock-solid technical skill. Defying the challenge of uniting three centuries of musical styles and social commentary, as well as producing an album during a global pandemic with the help of Yamaha's Disklavier technology, REIMAGINED proudly raises a monument not only to the genius of Beethoven and Ravel, but also to the perseverance and verve of some of today's most exciting and important composers.

Following up its widely acclaimed reissues of the Juilliard Quartet’s complete Epic and RCA Victor albums – originally issued between 1956 and 1960 – Sony Classical is excited to present a new box set collecting the earliest albums of this august American ensemble. Made between 1949 and 1956 in Columbia’s studio on Manhattan’s 30th St., these landmark recordings are mostly new to CD.

From its first appearances in New York, the Juilliard Quartet was identified as a champion of modern music. Its first recordings for American Columbia, all included here, were dedicated to the works of Alban Berg and Béla Bartók (then only recently deceased), as well as to Arnold Schoenberg (still very much alive), and to active American composers including William Schuman. But the heart of this release comprising 16 newly mastered CDs and also featuring works by Mozart, Ravel, Webern, Milhaud, Copland, Peter Mennin, Alexei Haieff and Andrew Imbrie, are three discs containing the premiere of Béla Bartók’s six quartets on records, which were set down in 1949. They appeared on LP and 78s the following year, bringing the Juilliard Quartet its first real celebrity. Recorded on 78-rpm shellacs rather than on tape, this path-breaking set thus consists of live, unedited performances. When reissued some years ago on CD – the only portion of the new Sony Classical box set ever to have appeared before on silver discs – it was rapturously praised in Fanfare magazine for “its joy of discovery, which remains completely fresh and vivid” even though numerous other traversals of the Bartók cycle had appeared in the meantime.

Another Juilliard milestone was the premiere of Arnold Schoenberg’s four quartets on records, set down in 1951–52. At last, all these historic Juilliard String Quartet recordings are available to today’s music lovers.

REVIEWS:

[An] engrossing 16-disc box set of [the Juilliard Quartet's] earliest recordings for the Columbia label, many appearing on disc for the first time.

What other quartet of that era would have made its recorded debut not with standard repertoire but with a cantata by Darius Milhaud, written just a few years before? There are works here by composers both renowned (Berg, Webern, Copland) and virtually forgotten (Peter Mennin, Alexei Haieff), all rendered in the Juilliard’s trademark sound: X-ray clear and devoid of schmaltz.

Two complete cycles anchor the set: Bartok (the first recording of his six quartets) and Schoenberg. Given how unfamiliar these works were at the time, the Juilliard’s confidence and authority is stunning. Subsequent recordings may have disclosed other aspects of this repertory, but that does not dampen the freshness and sense of discovery audible here.

-- The New York Times

If patience is a virtue, then fans of the Juilliard String Quartet’s earliest records must be saints. For only now have these much-cherished monaural recordings returned to circulation, some 70 years after their debuts, in a new 16-CD set from Sony Classical titled “Juilliard String Quartet: The Early Columbia Recordings, 1949-56.” The quartet, currently observing its 75th anniversary, is still going strong, though the present ensemble naturally comprises personnel entirely different from those selected for the group at its founding in 1946 by the composer William Schuman, then president of the famed Juilliard School in New York.

Sony has been good to the Juilliard, having previously released important sets of recordings from a bit later in the group’s life, specifically the 1950s and ’60s, when the quartet made what quickly became fabled discs for Epic and RCA Victor. The addition of this box means the quartet’s early prime is now thoroughly documented. (That said, good luck acquiring those Epic and RCA reissues, which were quicky snatched up—something worth keeping in mind while pondering this latest one.)

String quartets, with their changing personnel and specialized repertory, have rarely achieved lasting fame, at least among the larger population. They have never in modern times commanded the attention that celebrated instrumental soloists garner, and they haven’t the institutional resources that orchestras command. So releases like this one serve a special purpose. They make us aware of great musicians who might otherwise be, at best, dimly recalled. And, certainly in this case, they return to public attention extraordinary performances that should never have been out of the limelight.

-- The Wall Street Journal