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American Folklore
$23.99CDNimbus
Sep 05, 2025NI6462 -
Resonating Earth
$17.99CDMetier
Sep 20, 2024MEX77128 -
Tomorrow is today - Songs of love, beauty and the passing of
$20.99CDSOMM Recordings
Apr 17, 2026SOMMCD 0721 -
RECTANGLES AND CIRCUMSTANCE
$14.85CDNONESUCH
Jun 14, 2024NNS899542.2 -
LEONARDO DA VINCI (SCORE) - O.S.T.
$41.31VinylNONESUCH
Oct 25, 2024NNS727006.1 -
Quartet Integra
$21.99CDYarlung Records
Nov 21, 2025YAR407246-20 -
LIONEL HAMPTON PRESENTS THE MUSIC OF CHARLES
$13.99CDGOOD TIME
Nov 09, 2021GODM14326615.2 -
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Straus: Der Tapfere Soldat (The Chocolate Soldier) / Kohler, Kranzle, Dickie, Stein, Borst, WDR
$22.99CDCapriccio
Jan 31, 2012C5089 -
Sonic Wires / Katia & Marielle Labeque
$16.60CDVERVE
Dec 06, 2024VRV165308.2 -
LEONARDO DA VINCI (SCORE) - O.S.T.
$16.56CDNONESUCH
Oct 25, 2024NNS727006.2
American Folklore
Nimbus
Available as
CD
$23.99
Sep 05, 2025
The Yale Symphony Orchestra was founded in 1965 by a group of students who saw the growing potential for a large orchestral ensemble to thrive on campus. With a spirit for promoting new music and performing underrepresented composers alongside works of the standard Western canon, the orchestra has become a destination for students who wish to perform orchestral music at the conservatory level while taking advantage of all that Yale - a liberal-arts institution - has to offer. In it's more than fifty years, the orchestra has performed in some of the most hallowed music halls in the United States from Carnegie Hall in New York to Benaroya Hall in Seattle, toured twelve countries including Turkey, Russia, Brazil and Mexico, and premiered over fifty works of new music by composers including Leonard Bernstein, Benjamin Britten, and Caroline Shaw. YSO alumni have music careers in major orchestras around the world, including the New York Philharmonic, Israel Philharmonic, Boston Symphony, Vancouver Symphony, and the Berlin Philharmonic. The YSO is led by William Boughton, who is in his seventh and final year conducting the orchestra.
Resonating Earth
Metier
Available as
CD
$17.99
Sep 20, 2024
Metier Records proudly presents "Resonating Earth," the latest album by acclaimed pianist Carolyn Enger. Resulting from a multimedia project, developed in collaboration with producer and video artist Elliott Forrest, visual artist Myles Aronowitz, and photographer/activist J. Henry Fair, the work addresses the urgent climate crisis through the transformative power of music and art. Resonating Earth emerged from Enger's profound connection to nature and her dedication to environmental activism. Living in a wooden house outside Manhattan, Enger draws inspiration from the natural vibrations of her seven-foot Steinway piano, her personal yoga and meditation practices, and her profound love for the planet. This album, born from those inspirations, offers a sonic environment conducive to contemplation and openness, featuring a diverse collection of compositions that span multiple generations and schools of thought. The album opens and closes with works by Meredith Monk, whose pieces "Quarry Waltz" and "Ellis Island" frame the program with themes of totalitarianism and the promise of freedom. Interwoven throughout are compositions by Marcos Balter, Nico Muhly, Wolfgang Rihm, Missy Mazzoli, John Cage, John Luther Adams, Philip Glass, Iman Habibi, Caroline Shaw, and Sean Hickey-each bringing unique perspectives and emotional depth to the project. Key highlights include: Marcos Balter's Bagatelle: A piece filled with simple, spare gestures fading into chasms of silence, creating a resonant environment for reflection. Nico Muhly's Lilt: Broadcasting assurance through steady rising fourths and hymn-like melody. John Luther Adams's Nunataks: Inspired by the solitary peaks of glaciers, evoking human isolation and vulnerability in the face of climate change. Iman Habibi's in the brittle quietude: Reflecting on the pandemic's impact and hoping for a more equitable and conscientious future. Resonating Earth not only showcases Enger's lyrical and dynamic playing but also her deep commitment to using art as a means to inspire and provoke thought about our relationship with the planet. Enger's previous recordings have garnered critical acclaim, with The New York Times and Gramophone praising her ability to elevate musical miniatures to profound levels. Enger's extensive performance history includes prestigious venues such as Weill Recital Hall at Carnegie Hall, the National Gallery of Art in Washington, D.C., and the National Gallery in Oslo. Her multimedia collaborations extend to exhibits at the Cooper Hewitt Smithsonian Design Museum and the Jewish Museum Berlin. Resonating Earth is more than an album; it is a call to action, a reminder of the interconnectedness of art, humanity, and the environment. About Carolyn Enger Pianist Carolyn Enger has gained critical acclaim for her deeply felt interpretations and dynamic performances. Her Naxos recording of Ned Rorem's miniatures was named one of The New York Times' "Best in Classical Recordings," and she continues to captivate audiences worldwide with her passion, skill, and genuine warmth. A Steinway Artist, Enger is dedicated to bringing music to diverse audiences in accessible civic spaces.
Tomorrow is today - Songs of love, beauty and the passing of
SOMM Recordings
Available as
CD
$20.99
Apr 17, 2026
SOMM Recordings has had the good fortune to add to it's wide-ranging catalogue the "extraordinary voices" (BBC Radio 3) of the all-female a cappella vocal quintet Papagena these past few years. Formed in 2015, the ensemble is made up of sopranos: Elizabeth Drury, Imogen Ram-Prasad, and Suzzie Vango; mezzo: Shivani Rattan; and alto: Sarah Tenant-Flowers. What distinguishes Papagena is their gloriously adventurous programming, which defies pigeonholing: medieval, classical, folk, and contemporary music from around the world, juxtaposed with repertoire from Hildegard of Bingen to Katy Perry and all points in between. Papagena's debut album, Nuns and Roses, was self-released in 2017. Their second, The Darkest Midnight, was released in 2018 by SOMM. Selected as MusicWeb International's Recording of the Month, it reached No.6 in the classical charts and No.1 in Amazon's classical download chart. In 2020, Papagena's second release with SOMM was Hush!, a Recommended Recording by MusicWeb International, which was praised by John Quinn as "another winner from Papagena. More, please!" SOMM is happy to oblige. SOMM's third collaboration with Papagena is Tomorrow is Today: Songs of love, beauty and the passing of time. As an example of the unique diversity of their programming, this new collection opens with a set of four songs that are united by ideas of love in various guises. The Gallant Weaver with words by Robert Burns tells of the sincere love of a humble girl for her weaver. Sì Ch'io Vorrei Morire (Yes, I should wish to die), a madrigal by Claudio Monteverdi, deals with passionate sexual attraction. Oy Khodyt Son (Oh, sleep is coming) is a traditional Ukrainian melody about love within a family unit. Kaval Sviri (The Flute is Playing) is a traditional Bulgarian song of coquettish flirtation. A sampling of other highlights from this release includes Henry Purcell's Music for a while from his incidental music for John Dryden and Nathaniel Lee's 1692 play Oedipus. Holi, in a setting by Papagena's mezzo-soprano Shivani Rattan, is an Indian celebration song. The motet, Sicut lilium, is attributed to Leonora d'Este, a daughter of Lucrezia Borgia. From a collection of the earliest surviving examples of polyphonic music written in English, is the carol, Ther is no rose. The title song Tomorrow is Today, commissioned by Papagena from Janet Wheeler with a text by the composer's daughter Sarah Cattley, is subtitled Dawn Chorus, and is filled with bird references reflecting the ensemble's name of the bird-catcher's wife in Mozart's Magic Flute. Dolce Cantavi, written in the style of an Italian madrigal by American Caroline Shaw, also contains allusions of birdsong, natural beauty, and the dawning hope of love; while in Welcome somer, the Canadian composer Don Macdonald partners Chaucer's text with music that references medieval rhythms within a more contemporary harmonic idiom.
RECTANGLES AND CIRCUMSTANCE
NONESUCH
Available as
CD
$14.85
Jun 14, 2024
2024 release. Nonesuch Records releases Rectangles and Circumstance, an album of ten songs co-written and performed by Caroline Shaw and So Percussion. The album follows their 2021 Grammy Award-winning Nonesuch debut, Narrow Sea, and their first record as a band, 2021's Let the Soil Play It's Simple Part, with Shaw on vocals backed by So-Eric Cha-Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting. Grammy-winning engineer Jonathan Low (The National, Taylor Swift) co-produced with them on both Let the Soil... and Rectangles and Circumstance. Sliwinski says. "For this album, Caroline, Eric, and I sourced a group of nineteenth-century poems that shaped it's expressive mode [and] ended up using verses by Christina Rosetti, Emily Bronte, Emily Dickinson, Gertrude Stein, and William Blake... The lyrics on this album by members of the band contain wordplay that explores the same profound feelings explored by Blake and Dickinson."
LEONARDO DA VINCI (SCORE) - O.S.T.
NONESUCH
Available as
Vinyl
$41.31
Oct 25, 2024
Double vinyl LP pressing. The original score for Ken Burns's 2024 two-part documentary, LEONARDO da VINCI. The album features performances by the composer's longtime collaborators Attacca Quartet, So Percussion, and Roomful of Teeth as well as John Patitucci. Shaw wrote and recorded new music for LEONARDO da VINCI, marking the first time a Ken Burns film has featured an entirely original score. LEONARDO da VINCI is directed by Ken Burns, Sarah Burns, and David McMahon. The film, which explores the life and work of the fifteenth century polymath Leonardo da Vinci, is Burns's first non-American subject.
Quartet Integra
Yarlung Records
Available as
CD
$21.99
Nov 21, 2025
... four of the brightest young stars in classical music today. We are enjoying another golden era thanks to Quartet Integra. -Martin Beaver, First Violin, Tokyo String Quartet Producer's notes: Yarlung Records returned to Zipper Hall at Colburn School in April, 2025 to record the debut album for Quartet Integra toward the end of the quartet's 3-year residency in Los Angeles. They had just returned from acclaimed performances in Wigmore Hall in London. The quartet left again after our recording for summer concerts (and a little bit of family time) in Asia before moving to Paris and Hannover in the autumn. Quartet Integra begins a two year residency in Paris at the Centre Europeen de Musique de Chambre and will continue study with Oliver Wille at the Hochschule fur Musik, Theater, und Medien in Hannover. We will miss the Quartet badly in Los Angeles and hope they return soon. This extraordinary young ensemble, Kyoka Misawa and Rintaro Kikuno on violins, Itsuki Yamamoto on viola, and cellist Ye Un Park play Classical, Romantic, Contemporary and Renaissance music equally well. In fact, we explore all four eras in this recording. We begin with Beethoven's last published work, String Quartet No. 16 in F Major, Opus 135, written in 1826. Beethoven wrote this piece at the height of his Romantic powers, but the quartet looks back with irony and nostalgia to his classical period. Next, Quartet Integra tackles Ligeti's 1968 ground-breaking Sonata No. 2, which they played for me at their audition and which won me over immediately. Kyoka, Rintaro, Itsuki and Ye Un find beauty and repose in this seat-belts-required 25-minute work full of extended techniques and mid-20th-Century sound world while communicating humor and transcendent energy. Kyoka said "When people hear the name Ligeti, many tend to associate it with contemporary music and assume it will be difficult to listen to. But in reality, that's not the case. Especially the String Quartet No. 2, which we're performing this time - it's wild and destructive, yet it holds a kind of breathtaking beauty. It feels almost like watching a movie." Mike Wechsberg, an audience member at our special live concert recording session commented heartily how "Ligeti is not the sort of music I normally like, but THIS was magnificent! Bravo Quartet Integra!" We ended the concert with Green Mountains, Now Black, a new piece by David S. Lefkowitz which he completed in the spring of 2025. Donna Morton commissioned David's piece for Yarlung Artists and Quartet Integra through Yarlung's sister organization Coretet. Donna and her group have steadfastly supported new chamber music including from composers Caroline Shaw, Diego Schissi (who won a Latin GRAMMY® nomination for Nene, which he wrote for Yarlung's Sibelius Piano Trio), Jamie Thierman, Eric Nathan and Benjamin Taylor among others. Donna serves on the boards of both Yarlung Artists and Coretet, and we relished the opportunity to collaborate again as Coretet celebrates it's 10th Anniversary and Yarlung celebrates it's 20th. Beethoven wrote his last major composition, String Quartet Op. 135, in 1826. This was his final statement in his groundbreaking series. Opus 135 premiered in 1828, performed by Ignaz Schuppanzigh and his famous ensemble, a year after Beethoven died. When the members of Quartet Integra suggested we record this work on their debut album instead of Schubert's "Rosamunda" Quartet written only two years earlier, I initially demurred. Who needs yet another superb performance of Beethoven's final masterpiece?" I complained. "Who needs yet another Rosamunda?" Quartet Integra 'cellist Ye Un Park responded within milliseconds. She had a point, and I'm glad we recorded the Beethoven instead, at least on Quartet Integra's first Yarlung album! The ensemble had just performed Beethoven's first string quartet in London's Wigmore Hall in London, as well as "Rosamunda, " and they were game to expand their horizons and capitalize on their "Beethoven High." They also wanted to utilize the superb acoustics at Colburn School while the quartet was still living in Los Angeles, and we knew Zipper Hall would do the Beethoven special justice. Our recording concludes with David S. Lefkowitz' Green Mountains, Now Black. David's piece offers quotations from Monteverdi's earliest extant opera Orfeo (one of my favorites in the operatic literature) and additional quotations from Monteverdi's final opera The Coronation of Poppea, including it's magical and ever-so recognizable love duet between Poppea and the emperor Nero at the end of the opera. Instead of merely transposing my favorite arias, choral passages and this famous duet for string quartet, David wrote a work that explores the very nature of what it means to be a string quartet. And he experiments with the genre, pushes boundaries, and incorporates his own despair witnessing the burning of much of Los Angeles in the spring of 2025. David and his wife Laurie could see flames and smoke not too far away from their home as he composed this work. Nero himself famously allowed a good chunk of downtown Rome to burn, exercising (and bragging about) his dubious leadership in the process. David layers Octavia's farewell to her beloved city with the giddy love duet between Octavia's husband, the emperor, and his mistress Poppea, to tell the story of David's own distress while writing the piece. Green Mountains, Now Black not only refer to Monteverdi himself (Green Mountain) but the fire which turned so many of our spring green mountains to char in Los Angeles. Despite David's gloom and worry during our fires, his iridescent string writing shows itself proudly and his many glorious and lyrical passages outnumber the darker ones. As musicians, the members of Quartet Integra communicate superbly with audiences and with each other as they explore the depths and details of these musical scores. With generous support from Sel, Nick and Martin at Colburn School, we worked with Quartet Integra on April 13-15, 2025 and ended our recording session with a live concert for invited guests from the Los Angeles and Orange County Audio Society on April 15th. You can enjoy videos of this concert on YouTube's YarlungChannel. Fellow recording engineer and equipment designer Arian Jansen and I used SonoruS Holographic Imaging technology in the analog domain to refine the stereo image, Yarlung's SonoruS ATR12 to record Agfa-formula 468 analog tape, the Merging Technologies HAPI to record 256fs DSD in stereo and surround sound and the SonoruS ADC to record PCM. We used our friend Ted Ancona's AKG C24 microphone previously owned by Frank Sinatra, and Yarlung Audio vacuum tube microphone amplification designed and built by Elliot Midwood. In closing, it was Donna Morton and Martin Beaver who suggested Yarlung support Quartet Integra and Martin coordinated their audition. The Quartet has been lauded as the most exciting ensemble to emerge from Japan (and Ye Un from Korea) since the famous Tokyo String Quartet formed in 1969 at Juilliard. I love a certain symmetry here: two of the non-Japanese born musicians playing as members of the Tokyo String Quartet were Yarlung Special Advisor Martin Beaver, who became principal violin in 2002, and Clive Greensmith, who joined Tokyo as cellist in 1999. Both Martin and Clive performed with the Tokyo Quartet until the ensemble gave their final concerts in 2013, and now Martin and Clive co-direct Chamber Music at Colburn School and have mentored the four members of Quartet Integra. Before their Colburn residency, Quartet Integra won a four-year fellowship with Suntory Hall's Chamber Music Academy where they were coached by Tokyo Quartet members Koichiro Harada, Kikuei Ikeda and Kazuhide Isomura. This is generational integrity and communication worthy of Kyoka, Rintaro, Itsuki and Ye Un. As we celebrate Yarlung's 20th Anniversary, we are enjoying thinking back to our original inspiration. We began working with young musicians starting international concert careers and sharing their transformative performances with the world. Yarlung Records takes it's name from the Yarlung Valley in Central Tibet, which legend holds as a meeting place between heaven and earth. It is in this valley, at the site of Yambulakhang Castle in our Yarlung Records logo, where Heaven and Earth touched in order to transform humanity. What could be a better metaphor for the transformative power of great music? I feel a deep connection between this mythical name for our record label and Quartet Integra. Hearing them play and working with these four good-natured and talented people reminded me why we created Yarlung Records in the first place. Despite my earlier comment, Quartet Integra is not a Japanese ensemble. Three of their members come from Japan and one from Korea, but they are inherently international. Quartet Integra lived in California these past years, and as indicated will spend the next several years in France and Germany. Their ties to the famous Tokyo String Quartet increase the Japanese-ness of Quartet Integra, but Tokyo String Quartet was actually founded in 1969 at Juilliard in New York City, not Japan. In planning their album cover, this image of the Toyosaki Kompira Shrine Torii Gate on the west coast of Hokkaido jumped out at us, and reflected Quartet Integra's refreshing vitality. As does the inspiration for the name of Yarlung Records, a Torii gate symbolizes a portal to the sacred in Shintoism connecting everyday reality with transcendence. -Bob Attiyeh, producer
LIONEL HAMPTON PRESENTS THE MUSIC OF CHARLES
GOOD TIME
Available as
CD
$13.99
Nov 09, 2021
Founded in 1977 by Lionel Hampton, the Who's Who in Jazz label existed as a means to present to the world the best musicians that the jazz world had to offer. With Lionel chairing the recording sessions (and also featuring on several of the sessions himself), these recordings have truly earned their title featuring jazz greats such as Buddy Rich, Charles Mingus, Terumasa Hino, Sonny Stitt, Teddy Wilson, Stephane Grappelli and Dave Brubeck, amidst the many others. Released in 1977 'Lionel Hampton Presents' sees Mingus and Hampton invite Gerry Mulligan (sax), Danny Richmond (drums), Peter Matt (French horn), Bob Nelums (piano), Richard Ford (sax), Paul Jeffrey (sax), Woodie Shaw (trumpet) and Jack Walrath (trumpet) to showcase an array of classic jazz compositions including 'Slop', 'Fables of Faubus' and 'Duke Ellington's Sound of Love'. Tracklisting: 1. Just for Laughs, (Pt. 1) 2. Peggy's Blue Skylight 3. Caroline Keikki Mingus 4. Slop 5. Just for Laughs, (Pt. 2) 6. Fables of Faubus 7. Duke Ellington's Sound of Love 8. Farewell, Farewell 9. It Might As Well Be Spring 10. So Long Eric.
Straus: Der Tapfere Soldat (The Chocolate Soldier) / Kohler, Kranzle, Dickie, Stein, Borst, WDR
Capriccio
Available as
CD
$22.99
Jan 31, 2012
STRAUS Der Tapfere Soldat • Siegfried Köhler, cond; Caroline Stein ( Nadina ); Johannes Martin Kränzie ( Bumerli ); Martina Borst ( Mascha ); John Dickie ( Alexius ); Gertraud Wagner ( Aurelia ); Helmut Berger ( Popoff ); WDR RO; Händel Collegium Köln • CAPRICCIO C5089 (2 CDs: 88:06)
The irascible playwright and man of letters George Bernard Shaw seems to have had a gift for producing stories that were ripe for adaption as light musical comedy. Shaw did not live to see his Pygmalion turned by Lerner and Loewe into the megahit My Fair Lady and make superstars of Rex Harrison, Julie Andrews, and Audrey Hepburn. The British pundit (and one-time opera critic) was front and center, however, as his little antiwar drama Arms and the Man was turned by Oscar Straus and his Viennese librettists into the operetta Der Tapfere Soldat (The Valiant Soldier) and became an international hit. In fact, Shaw worried about his satirical play being turned into bad musical comedy. He agreed to let the story be used only if (1) none of his dialog or character names were used, (2) the operetta were to be advertised as a parody of his work, and (3) no remuneration was to be made. Never widely popular in the pre-World War I Germanic countries where soldiers were heroes and the military a revered institution, Der Tapfere Soldat went on to become a smash hit in New York in 1909 as the more aptly titled Chocolate Soldier , and then one year later scored another triumph right under Shaw’s nose in London. The old man publicly denigrated Straus’s popular operetta but lived to regret his lack of share in its box-office success.
The story involves a likeable young soldier in the Bulgarian army who, to avoid the fierce raging battle outside, climbs up the drainpipe and into the home of a mother, daughter, and another young friend, whose menfolk are also off at the war (actually, he drops right into the daughter’s bedroom). When threatened by his own gun by daughter Nadina, the soldier, Bumerli, laughs and tells her his cartridge case is full of chocolates; he has no bullets for his weapon. In spite of his not being the type of romantic hero she has been dreaming of, Nadina falls for her little chocolate soldier, as do the two other women. They hide him when soldiers come searching and provide him civilian clothes to aid his escape. Trouble comes when Nadina’s father and fiancé return with the regiment. Bumerli also turns up, ostensibly to return the clothes, but he is in love with Nadina. Outrage and hurt feelings ensue, but Alexius, Nadina’s intended, shows a marked preference for the young friend, Mascha. The typical operetta muddle is eventually sorted out and the parents are made happy when it turns out the chocolate soldier is the son of a wealthy Swiss businessman. So much for true love.
Straus wrote many catchy melodies for the early Viennese silver-age work, the most famous of which is Nadina’s solo “Komm, komm, Held meiner Traume” (Come, Come, Hero of My Dreams). Also popular was the humorous duet between the two leads, “Ach, du kleiner Praliné-Soldat” (Ah, You Little Praline Soldier). This recording was made for WDR radio in Cologne in 1993 and features clear, pure-voiced, light soprano Caroline Stein in the lead role of Nadina. She sings very well both alone and in ensemble and is much the best singer on the recording. Baritone Johannes Martin Kränzie sings Bumerli in a pleasant voice but has a noticeable wobble when he pushes his upper range. He blends in well in the ensembles, of which there are many in this light work. The second romantic couple of tenor John Dickie and mezzo Martina Borst sing well in this style of music, as do Mom and Dad, contralto Gertraud Wagner and bass-baritone Helmut Berger.
As far as I am aware, this is the only recording of Der Tapfere Soldat in German. The Ohio Light Opera Company recorded it in English in the late ’90s on the Newport label, where it is still available. A 1958 recording of highlights in English on RCA features much the best voices led by mezzo Risë Stevens and baritone Robert Merrill. That recording is out of print but can be obtained as a facsimile CD-R from ArkivMusic. Capriccio sadly does not provide a libretto, but there is a more than adequate synopsis and some brief bios. If, like me, you want these operettas in their original language, this is the one to buy. It will provide you an hour and a half of very enjoyable, frothy light music. Recommended.
FANFARE: Bill White
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Oscar Straus (note the spelling of Straus – only one ‘s’ at its end) was born in Vienna on 6 March 1870 but was not related to the famous Strauss dynasty.
He began his career emulating the satirical Offenbach, with Die Lustigen Nibelungen (The Merry Nibelungs). Richard Traubner in his excellent book, Operetta, A Theatrical History, suggests that it was “too musically advanced for Viennese ears” and national-socialist pro-Wagnerians were not amused. Those who relish the idea of lampooning of The Ring might like to know that Capriccio have a one-CD Köln recording of Oscar Straus’s The Merry Nibelungs again conducted by Köhler (C5088). Noticing the great success of Lehár’s The Merry Widow, in 1905, Straus decided to capitulate to public taste and entered the comfortable dream world of sentimental Viennese operetta with his smash success - in Austria and Germany if not in America and England - of Ein Waltztraum (A Waltz Dream) of 1907.
Straus’s The Chocolate Soldier (German title: Der tapfere Soldat or Der Praliné-Soldat) followed in 1908. It was based on George Bernard Shaw's 1894 play, Arms and the Man and the libretto was by Rudolf Bernaur and Leopold Jacobson. G.B. himself was not at all keen on such an adaptation of his play which had been successful in its Viennese run and only accepted the situation provided that Straus’s operetta was promoted as an unauthorized parody of his play and that he received no royalties for it. A bad mistake - because the show was a big hit in London and New York - but not quite so in Europe because of political sensitivities surrounding the Balkans where the action of the story was set. Later, Shaw tried to recoup some of his financial losses when M-G-M approached him for the film rights for The Chocolate Soldier. Louis B. Mayer refused Shaw’s exorbitant demands and the film went ahead with a mix of Straus’s and other’s music but to a different plot based on Ferenc Molnár's play Testor . The 1941 film starred Nelson Eddy and Risë Stevens – although Jeanette MacDonald had originally been pencilled in to star with Eddy.
There’s a very good Wikipedia article on Straus’s The Chocolate Soldier that also details all the songs. Briefly the story is set in Bulgaria in 1885 during the war between Serbia and Bulgaria. Nadina, her friend Mascha and her mother are missing their menfolk away at the hostilities. Suddenly a soldier, handsome and charming bursts into her bedroom. He is Bumerli, a Swiss mercenary serving in the Serbian army. He is an ordinary soldier quite unlike her supposedly heroic fiancée Alexius. Bumerli carries chocolates in his pouch instead of ammunition! His charm captivates the ladies and as Act I closes all three are smitten. They all give him photographs of themselves inscribed with loving messages. He puts all three in his great coat and promptly forgets them. But he cannot forget Nadina. Six months later he returns for her but the three photographs are produced. Jealousy flare up between Nadina and Mascha, Bumerli is thought to be fickle and faithless and comic complications ensue. All is happily resolved at the end.
The big hit of the show is the well-known and popular waltz song, ‘Komm, komm, Held meiner Träum’ (‘Come, come hero of my dreams’). Here it is sung most beguilingly by sweet-voiced Caroline Stein as Nadina. She is singing about her Alexius in Act I, her fiancée and imagined hero, who turns out to be nothing of the kind. The lower tenor timbre of Kränzle makes Bumerli sound just that little bit too mature for Nadina. However the charm of their duet ‘Weill’s Leben suss und herzlich ist’ (‘Because life is sweet and beautiful’) cannot be diminished. Much of the music comprises ensemble writing - quartets, quintets, and sextets and soloists with choir. The Act I ensemble song with comic material for the soldiers searching for Bumerli and an interpolated stirring patriotic song lustily sung by Nadina is a highlight – so, too, is the following charming waltz-song trio for Nadina, Mascha and Aurelia They sing ‘Tiralala’ as all besotted, they dream of their Chocolate soldier. This number has some lovely orchestral felicities in the strings and woodwinds. Kränzle’s wistful Act II song ‘If one can, as one wants’ has an introduction that echoes the ‘Tiralala’. Kränzle has another charming if argumentative duet ‘Es war einmal ein Fräulein’ (‘There was once a maiden’) with Nadina before Act II’s exuberant finale closes with a ringing reprise of the big number, ‘Komm, komm, Held meiner Träum’ (‘Come, come hero of my dreams’). Conductor, Köhler consistently delivers telling sentimental and witty accompaniments to all the numbers. Mention should be made of the delicious irony of the orchestral accompaniments to the waspish numbers of Act II like the bickering between Nadina and Bumerli in ‘Pardon, pardon pardon! Ich steig ja nur auf den Balkon’ (Pardon, I rise only on the balcony)
A charming recording of a delightful operetta.
Ian Lace, MusicWeb International
Sonic Wires / Katia & Marielle Labeque
VERVE
Available as
CD
$16.60
Dec 06, 2024
Katia Labèque/Marielle Labèque/David Chalmin/Bryce Dessner -"Sonic Wires"
Founded in 2018, the Dream House Quartet is bringing classical and contemporary music into completely new forms as a matter of course. The members draw on decades of expertise: the two piano sisters, Katia and Marielle Labèque, are joined by Bryce Dessner (Grammy-winning guitarist, composer and founding member of The National), and composer, musician and producer David Chalmin. Together they perform radical commissions from visionary composers and key contemporary works from the past half century.
LEONARDO DA VINCI (SCORE) - O.S.T.
NONESUCH
Available as
CD
$16.56
Oct 25, 2024
The original score for Ken Burns's 2024 two-part documentary, LEONARDO da VINCI. The album features performances by the composer's longtime collaborators Attacca Quartet, So Percussion, and Roomful of Teeth as well as John Patitucci. Shaw wrote and recorded new music for LEONARDO da VINCI, marking the first time a Ken Burns film has featured an entirely original score. LEONARDO da VINCI is directed by Ken Burns, Sarah Burns, and David McMahon. The film, which explores the life and work of the fifteenth century polymath Leonardo da Vinci, is Burns's first non-American subject.
