Hailed as an “epic traversal of solo violin repertoire” and a “monumental achievement” (Chicago Tribune), American violinist Jennifer Koh’s complete Bach & Beyond recordings, pairing J.S. Bach’s violin sonatas and partitas with 20th- and 21st-century works inspired by Bach’s groundbreaking masterpieces, are now available in a convenient, economical boxed set offering all three albums for the price of two. Bach & Beyond Part 1 features Koh’s “alluring performances” (The New York Times) of Bach’s Partitas Nos. 2 and 3, Eugène Ysaÿe’s Sonata No. 2, Kaija Saariaho’s Nocturne, and the world-premiere recording of Missy Mazzoli’s Dissolve, O My Heart, commissioned for Koh by the Los Angeles Philharmonic. The Newark Star-Ledger cited the violinist’s “distinctive voice over a range of styles.” Toronto’s The Whole Note said of Bach & Beyond Part 2, “Koh, as always, is superb, her intelligence and interpretation always matching her outstanding technique” in Bach’s Sonata No. 1 and Partita No. 1, Bela Bartok’s Sonata for Solo Violin Sz. 117, BB 124, and Saariaho’s Frises. Koh’s Bach & Beyond Part 3 earned BBC Music Magazine’s and ClassicsToday.com’s highest ratings for performance and recording quality. The Strad admired Koh’s “eloquent, artful, yet unadorned playing” in Bach’s Sonatas Nos. 2 and 3, Luciano Berio’s Sequenza VIII, and the world-premiere recording of John Harbison’s For Violin Alone, written for Koh. AllMusic said, “Koh’s series is highly recommended to those in search of an experience that will reward repeated hearings.” Audiophile Audition called it a “remarkable three-disc effort, recommended to all with a good degree of urgency.”
Excerpts of reviews from previously released volumes included in this set:
Bach & Beyond, Part 1
Koh makes short work of the Bach pieces—not in a bad sense: she just nails these works with a confident technique and a free-flowing, un-mannered style that remains true to Bach yet reminds us that a modern violinist is at the helm. Although ostensibly “modern”, the works by Saariaho and Mazzoli still incorporate time-honored traditions of solo-violin writing and don’t stray into what some might call “experimental” territory. These are both very ingratiating and accessible works to anyone who appreciates interesting, involving, intelligently written new violin music.
– ClassicsToday.com (10/10)
Bach & Beyond, Part 2
Koh’s Bach is amazing as usual–so fluid and delivered with such a sensitively nuanced, confident authority. A personality emerges: is it Koh? is it Bach? It’s either or both, but ultimately, who cares? This is exceptional Bach playing. Throughout, Koh is in command, from the dazzling explications of the Bartók Fuga and Presto movements, to the sometimes frighteningly audacious dynamic and timbral assertions of the Saariaho.
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 “Legendary Voices” 10 album set for the anniversary of 40 years of ORFEO label history features eleven singers, who at their times upheld the art of opera singing and still uphold it in the best interpretation of nostalgia.
Chicago's Civitas Ensemble presents a spectrum of new instrumental works by living Chinese composers, each with a unique perspective on Western and Far Eastern musical sensibilities. Spearheaded by Shanghai-born violinist Yuan-Qing Yu, a Civitas founding member and assistant concertmaster of the Chicago Symphony Orchestra, Jin Yin (“Golden Tone”) comprises world-premiere recordings of works by Yao Chen, Vivian Fung, and Lu Pei, plus specially made new arrangements of pieces from Zhou Long and Chen Yi. First recordings include Yao Chen’s mystical, rhapsodic Emanations of Tara, named for a revered figure in Tibetan Buddhism and written expressly for the Civitas Ensemble; Vivian Fung’s Birdsong, a virtuosic piece for violin and piano that opens and closes with evocations of bird calls; and Lu Pei’s alternatively vigorous and lyrical Scenes Through Window, imbued with both American minimalist rhythms and South China folk traditions. Leading off the program, Zhou Long’s engaging Five Elements evokes metal, wood, water, fire, and earth, while Chen Yi’s serene, ethereal Night Thoughts was inspired by a Tang Dynasty poem. Both receive their first recordings in the composers’ own arrangements made specifically for the Civitas Ensemble. The Civitas Ensemble named their album for the Chinese phrase meaning “Golden Tone” because they treasure these works for their clarity of musical expression.
No artist has penetrated the human soul more deeply than Rembrandt van Rijn (1606-1669). Renowned as a young man for his portrayal of individual character and expression, as he withdrew more from the world he made his art a revelation of the inner life of his subjects. On this CD, the world of Rembrandt is given a musical perspective with a carefully chosen selection of pieces by the finest composers of his time. Inside, Hugh Griffith provides explanatory notes on his life and musical environment. 1 CD with full color, illustrated, explanatory booklet.
Forgotten Gems from Stage & Screen / David Jenness
Harbinger Records
CD
$9.49$18.99Save 50%May 01, 2020
"Mr. Jenness, who passed away in 2017 at age 80, had a straightforward, unpretentious approach, which fondly put the spotlight on craft and moods of the songs, not on him as a performer. While singing was not his main occupation, and he doesn't have the most dazzlingly distinctive or resonant sound, there are some appealing and endearing qualities that make the listening rewarding beyond the satisfaction of hearing so many rare and rarified pieces. There's infectious joie de vivre in numbers like "Have Feet, Will Dance" (Burton Lane/ Dorothy Fields, from the TV musical Junior Miss) and the gleefully goofy "Gus the Gopher," an independent song with music and lyric by Sheldon Harnick. Serious and sad subject matter like the lamenting "Paris Is a Lonely Town" (Harold Arlen/ E.Y. Harburg, from the feline-focused animated Gay Purr-ee) doesn't hesitate to cue earnest, melancholy approaches, but doesn't sink into mopey morass … Accompaniment is uncluttered: the sturdy (but subtle when needed) piano work of Bert Dalton, sometimes joined by bass and percussion, never pulling focus or adding swaths of instrumental time … If you're looking for a big portion of high-quality theatrical treats from the 1930s to the 1960s to drink in and savor, with 26 samples provided by David Jenness, your cup will runneth over." -Rob Lester (Talkin' Broadway)
David Jenness (1937–2017) is best known as the co-author of the widely read and influential book "Classic American Song: The Second Half-Century, 1950–2000.” In it he explores the final work of the Masters and introduces us to songs written by the next generations of composers and lyricists who upheld the demanding criteria established by their forebears. But Jenness was also a cabaret singer held in the highest regard in Santa Fe clubs. Between 1993 and 1998 he made frequent visits to recording studios, preserving his performances of songs he held dear. He said, “I’ve always loved good songs from the theater and film. In my life I’ve been lucky enough to get to know some of the forgotten songs of songwriters and performers—the kind of songs that singers like to sing late at night during the last set or at a party, or the songs that songwriters have a sneaky love for. “There’s kind of a revival going on of cabaret and theater tunes from earlier eras. I wanted to get the ones I know and love down on tape, hoping you’ll like them, too.” Jenness, who passed away three years ago, only shared his recordings on cassettes with friends. This release marks the first chance all of us have to appreciate a warm, understated vocal style that always honored the songwriters’ intent. He’s accompanied by piano or a tasty jazz trio. And the hall-of-fame songwriters include Cole Porter, Irving Berlin, Arlen & Koehler, Kern & Hammerstein, Rodgers & Hart, Lane & Loesser, Ellington & Latouche, Hugh Martin and Stephen Sondheim. This album is nirvana for all lovers of vintage American popular song—especially those who want to be introduced to rarely heard (or completely unknown) material courtesy of Jenness’s marvelous interpretations.
Il Cannone - Francesca Dego plays Paganini's Violin
Chandos
CD
$10.99$21.99Save 50%Mar 05, 2021
Paganini’s violin, the legendary ‘il Cannone’, made by Giuseppe Guarneri del Gesù in 1743, is one of the most important musical instruments in the history of Western music. Paganini was the greatest virtuoso of his time, acclaimed throughout Europe and an inspiration to performers and composers alike. On his death, he bequeathed ‘il Cannone’ to his home city of Genoa, where it is permanently housed under high security in the Town Hall. It has been heard on record just a handful of times. Francesca Dego was given the honor of recording with it after the success of her first performance on the instrument, in October 2019, when she was invited to play Paganini’s First Violin Concerto at the Paganini Celebratory Concert at Teatro Carlo Felice, in Genoa. Francesca Dego comments: ‘Spending a few enchanted days recording with this priceless treasure was unforgettable. I was overwhelmed when I was first handed the instrument that had caressed the ears of Schumann, Schubert, Goethe, Rossini, Bellini, Berlioz, Chopin, Heine, and so many more. I remember standing in that very room as a young girl, hypnotized, staring at history behind glass, fingers tingling at the thought of touching it. And suddenly there I was, holding Paganini’s violin. I feel so privileged to be able to share the soul of ‘il Cannone’ in a new recording. I remember thinking long and hard about the ideal programme and carefully selecting a series of works paying homage to Paganini. The ‘Cannon’ has pretty much only ever been used to record music by Paganini, so the idea of its celebrated tone teaming up with composers who idolized the Italian virtuoso throughout history is really exciting to me!’
REVIEWS:
Dego has an expressive touch, skittering over the strings, yet finding plenty of attack in Szymanowski’s Trois Caprices. Corigliano’s Red Violin Caprices are at times spellbinding, descending into a guttural, harried chase. Leonardi accompanies sensitively throughout.
– BBC Music Magazine
If you’re keen to hear Paganini’s favourite plaything (or favourite fourstringed one, at any rate), performed with technical finesse and strong musicality while shown off by suitably polished engineering, then this amply does that job.
Ray Anderson (born October 16, 1952) is a jazz trombonist. Trained by the Chicago Symphony trombonists, he is regarded as someone who pushes the limits of the instrument. He is a colleague of trombonist George Lewis. Anderson also plays sousaphone and sings. He was frequently chosen in Down Beat magazine's Critics Poll as best trombonist throughout the late 1980s and early 1990s. After studying in California, he moved to New York in 1973 and freelanced. In 1977, he joined Anthony Braxton's Quartet (replacing George Lewis)and started working with Barry Altschul's group. In addition to leading his own groups since the late '70s (including the funk-oriented Slickaphonics), Anderson has worked with George Gruntz's Concert Jazz Band. In the '90s, he began taking an occasional good-humored vocal, during which he shows the ability to sing two notes at the same time (a minor third apart). Anderson has worked with David Murray, Charlie Haden's Liberation Music Orchestra, Dr. John, Luther Allison, Bennie Wallace, Gerry Hemingway, Henry Threadgill, John Scofield, Roscoe Mitchell, Randy Sandke's Inside Out Band, Sam Rivers' Rivbea Orchestra, Bobby Previte, George Russelland others. Anderson is a member of Jim Pugh's Super Trombone with Dave Bargeron and Dave Taylor. He received a grant from the National Endowment for the Arts for a series of solo trombone concerts. Anderson has frequently returned to his early love of New Orleans music for inspiration. His Alligatory Band and Pocket Brass Band, featuring tuba player Bob Stewart or sousaphonist Matt Perrine and trumpeter Lew Soloff, are rooted in it's tradition. Since 2003 he has taught and conducted at Stony Brook University.
