All tracks have been digitally mastered using HDCD technology.

"A lush, glorious, moving, sublime disc." - Gramophone

S

ollazzo Ensemble makes its recording debut following its prize-winning performance at the highly respected biennial York Early Music International Young Artists Competition. Comprising sopranos Perrine Devillers and Yukie Sato, tenor Vivien Simon, medieval fiddles Anna Danilevskaia and Sophia Danilevskaia, and harpist Vincent Kibildis, this vibrant young ensemble offers a fresh perspective on mediaeval repertoire. On Parle qui veut the performers embrace the exuberant style of flourishing melodies which was fashionable in the north of Italy in the fourteenth century. In contrast, a different kind of expressivity is required for the sober and succinct aesthetic of the works with French provenance. Sollazzo creates a pure, bright sound, enhanced by the songs’ incredibly open textures and the use of the rarely heard Pythagorean temperament. All in all, this represents a remarkable debut.

Richard Egarr’s impressive career, both as a solo keyboardist and conductor (notably with the Academy of Ancient Music), has cemented his reputation as one of the UK’s most compelling musicians. In his debut solo recording for Linn, Egarr charts the extraordinary breadth of invention at play in works by William Byrd. One of English music’s most influential figures, Byrd’s innovative style is evident throughout this well-chosen program of preludes, grounds and fantasies. The Fantasia in A minor, MB13, demonstrates the unlimited scope of Byrd’s imagination; intricate rhythms, surprising modulations and changing textures precede a finale requiring a previously unequalled level of dexterous virtuosity. Egarr similarly relishes the technical demands of Byrd’s descriptive masterpiece, ‘The bells.’ This incredible composition begins with a single toll before developing into an elaborate and thrillingly complex showpiece of pealing bells. Egarr’s elegant phrasing, infectious enthusiasm and rich embellishments result in insightful performances. “The music exploded with character under Egarr’s hands… His playing was fluid and assured.” (New York Classical Review)

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REVIEW:

At first glance, the selection looks challengingly serious, yet Egarr has no problem keeping our attention. The sheer sound of his playing is one thing, produced on a crisp, punchy but resonant Ruckers copy… It has a fruity bass; but Egarr also manages to make it sing sweetly in the middle and high registers. This is an outstanding celebration of Byrd as one of the first keyboard greats.

– Gramophone

This is a hybrid Super Audio CD set playable on both regular and Super Audio CD players.

Symphonic Recording of the Year - 2011 ECHO Klassik Awards

Sir Charles Mackerras and his Scottish players are working backwards through Mozart's symphonies. This second volume follows their acclaimed (and award-winning) set of the last four symphonies with a group of works mainly from the latter part of his Salzburg period along with two he composed following his relocation to Vienna. Is another complete edition planned? It would be Sir Charles's second, following his survey with the Prague Chamber Orchestra (Telarc). There are some gaps here: Symphonies Nos 33 and 34, for example, and Nos 28 and 30 which both post-dated No 29. Perhaps they'll appear on Vol 3 with the "Little" G minor Symphony, K183.

These two discs display all the qualities identified by Lindsay Kemp in his review of the later symphonies (4/08). There's a clarity to the acoustic as recorded in Glasgow's City Halls, which Mackerras uses to his advantage, instinctively bringing out telling inner lines: listen especially for the ear-tweaking viola "stabs" in the second subject of No 29's first movement or the clattering horns at climaxes throughout the symphony. This work, surely Mozart's first symphonic miracle, is given added weight and import by Mackerras's decision to take all repeats, demonstrating especially that the fourth movement is far more than a mere chase finale. Claudio Abbado has also taken the period-informed modern-instrument approach with his hand-picked Orchestra Mozart (A/08; K201 is the one overlap with this selection) but I'm afraid I can't share my colleagues' enthusiasm for his joyless way with this music. The Paris is the least convincing of Mozart's later symphonies but Mackerras known (and shows) that there's plenty to be discovered beyond the French-pleasing special effects and brilliant orchestration. He also offers both slow movements: Mozart wrote a replacement to appease a cloth-eared audience who didn't recognise a genius when he was among them. More fool them, and alleluia that it's all the more Mozart for the rest of us. In fact there's so much to enjoy on these discs - armfuls of the humanity and wisdom referred to by LK, and vivacity aplenty too in the Haffner and Linz, advanced wayposts on the march towards the unparalleled mastery of the last three symphonies.

-- David Threasher, Gramophone

"Another offering from Sir Charles' Indian Summer; superb, vital accounts of five more important Mozart symphonies; the Scottish Chamber Orchestra doesn't play period instruments or eschew vibrato, but the hard sticks on the timpani give it an authentic flavour from a long-renowned Mozart specialist."
-- Peter Grahame Woolf, Musical Pointers [2/2010]

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The multi-award-winning partnership of the Scottish Chamber Orchestra and Sir Charles Mackerras is reunited in this second collection of Mozart Symphonies featuring Nos 29, 31 (Paris), 32, 35 (Haffner) & 36 (Linz). This much anticipated recording follows on from the astounding success of Mozart Symphonies 38 - 41 which resulted in him winning the Critics Award at the 2009 BRIT Awards and led to Mozart Symphonies 38-41 being named Disc of the Year at the 2009 BBC Music Magazine Awards.

Composer: Wolfgang Amadeus Mozart

Performers:
Scottish Chamber Orchestra
Sir Charles Mackerras - conductor

- This recording includes both versions of the 2nd movement of the Paris Symphony; unusually Sir Charles requested that the alternative version follows the original, rather than coming at the end of the album as an appendix.
- An obsessive musical researcher, Sir Charles merged his considerable knowledge of these works with scores and parts he has been editing from available sources for years in preparation for this recording.
- Sir Charles Mackerras has won widespread praise for his fresh, vibrant and youthful Mozart performances, which was named the classical recording of 2008 by the Sunday Times and HMV Choice. It also won a 2009 Midem Award for Symphonic Works and a Choc de l année Award from Le Monde de la Musique.
- This recording re-unites the award-winning team, including producer James Mallinson, who has just been nominated for a Grammy award.
- Sir Charles Mackerras, the SCO's Conductor Laureate, has produced numerous award-winning recordings, performed fifty times at the Edinburgh Festival and in 2005 was the first recipient of the Queens Medal for Music.
- The Orchestra has a large international fan base following recent performances

Track Listing:
1. Symphony No.29 in A major, K.201 i Allegro moderato
2. Symphony No.29 in A major, K.201 ii Andante
3. Symphony No.29 in A major, K.201 iii Menuetto
4. Symphony No.29 in A major, K.201 iv Allegro con spirito
5. Symphony No.31 in D major (Paris), K.297 i Allegro assai
6. Symphony No.31 in D major (Paris), K.297 ii Andantino
7. Symphony No.31 in D major (Paris), K.297 ii Andante (alternative 2nd movement)
8. Symphony No.31 in D major (Paris), K.297 iii Allegro
9. Symphony No.32 in G major, K.318 i Allegro spiritoso
10. Symphony No.32 in G major, K.318 ii Andante
11. Symphony No.35 in D major (Haffner), K.385 i Allegro con spirito
12. Symphony No.35 in D major (Haffner), K.385 ii Andante
13. Symphony No.35 in D major (Haffner), K.385 iii Menuetto
14. Symphony No.35 in D major (Haffner), K.385 iv Finale Presto
15. Symphony No.36 in C major (Linz), K.425 i Adagio ? allegro spiritoso
16. Symphony No.36 in C major (Linz), K.425 ii Adagio
17. Symphony No.36 in C major (Linz), K.425 iii Menuetto
18. Symphony No.36 in C major (Linz), K.425 iv Finale presto


Total Running Time:117 minutes

The first thing you notice is the vibrant sound, the ensemble's immediacy and depth, giving a realistic spatial and sonic picture of the array of musicians and instruments performing in a very complementary acoustic. Then you have to appreciate the robust rhythmic character and clean articulation in the opening March K. 189, the companion piece to the following Serenade K. 185. Indeed, throughout the program you get the sure impression that these performers know and love Mozart, putting sufficient energy into each movement of each piece, granting each the appropriate character of Menuet or March, Andante grazioso or Allegro. The orchestra's gentle way with the thematic rhythms in the Serenade's Andante grazioso and the subtlety with which the players (and conductor) highlight this movement's slight but important mood shifts is a pure pleasure to hear.

Violinist/director Alexander Janiczek asks for tempos that neither blaze nor plod nor obscure the happy spirit of these primarily youthful works. As a soloist in the two Rondos and the lovely Adagio K. 261 Janiczek also provides tasteful cadenzas that highlight his expertly executed, personable, open-hearted style. And who can fail to be impressed with the Divertimento K. 113, a remarkably "mature" piece of orchestral writing that shows a 15-year-old composer already in control of techniques and thematic devices that would reappear in later, more famous, more extensively developed forms. This is a very well-played, thoughtfully programmed recording of works that are all too often ruined by casual, matter-of-fact treatment; if its primary purpose is entertainment, which it should be, then it succeeds admirably.

– ClassicsToday

This recording features Christian Baldini conducting a hand-picked selection of arias from six of Mozart's much-loved operas, alongside their respective overtures. Soprano Elizabeth Watts, winner of the 2006 Kathleen Ferrier prize, is the featured soprano.

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Recording of the Month – Performance: 5 Stars (out of 5) / Recording: 5 Stars (out of 5)
Soprano Elizabeth Watts gets to the heart of Mozart in a sparkling recording of arias and overtures, performed with the Scottish Chamber Orchestra under Christian Baldini. Elizabeth Watts hits new heights with this superb disc.

An interweaving of Mozart overtures and (mostly) well-known arias could be a recipe for the conventional or anodyne, but this disc is neither of those thanks to the fresh approach of its exceptional soprano, orchestra and conductor. It would work as a straight concert, and you can play it all through at one sitting without ever tiring at Mozart's resourcefulness....

That the overtures are as much of a pleasure to listen to as the arias is thanks to the exceptional qualities of the Scottish Chamber Orchestra (SCO) under conductor Christian Baldini - never rushing, usually finding the perfect tempo in common with his and Robin Ticciati's predecessor in perfect SCO Mozart, Sir Charles Mackerras.

– BBC Music Magazine

This new release features Mozart’s Serenade in B-Flat major, K. 361 "Gran partita" and Haydn’s Notturno No. 8 in G Major, Hob. 11:27. Mozart’s largest and possibly most innovative instrumental work, Gran partita demonstrates the composer’s sensitivity to the varying colors of wind instruments. Harpsichordist and conductor Trevor Pinnock leads the Royal Academy of Music Soloists Ensemble for this album.

Review:

The veteran Baroque specialist Trevor Pinnock has made a strong series of Mozart recordings with his English Concert historical-performance orchestra. Here, with the more youthful Royal Academy of Music Soloists Ensemble, he achieves one of his most distinctive Mozart creations. The sizable Serenade in B flat major for 13 winds, K. 361, is a work that lacks obvious tunes and can, in many performances, collapse under its own weight. Pinnock forges an extremely distinctive reading that brings out the inner polyphony in this outwardly non-polyphonic work. His ensemble passages are dense blocks of sound that have an abstract, almost Webern-like quality. To hear it at its best, sample one of the pair of minuets (tracks 2 and 4), where any galant quality to the music is pushed deep into the background. It's hard to imagine this as a "serenade," but the truth is that the circumstances of composition of this work, like those of the last three Mozart symphonies, are unknown, and Pinnock's reading is as valid as any other. An added attraction is the little-recorded Notturno No. 8 in G major, Hob. 2/27, which brings down the curtain and lowers the tension a bit with a fine example of the mature Haydn's jocularity. An often fascinating example of Pinnock's way with Mozart.

– All Music Guide (James Manheim)

John Butt and the Dunedin Consort present the 1610 Vespers in its customary order with no chant additions, accepting the view that this ‘work’ is a collection of sacred pieces deliberately ordered in the general shape of an ‘imaginary’ Vespers service. In other words, the Vespers as most people know it.

The result is a ‘chamber’ version in which clarity of detail and the beauty of individual voices (recorded fairly closely and in many places clearly recognisable) provide an alternative to the grand gestures and bold colours of other more monumental performances. It also allows for plenty of attention to text, not just in the solo motets but in the larger psalm-settings as well.

The sound is first-rate as ever from Linn, with a sampled Italian chest organ discreetly adding warmth and incisiveness. With so many Vespers recordings out there, this one joins the ranks of those with both a character of its own and something to say.

– Gramophone

This is a lovely recording. It is always good to be reminded of Monteverdi's third extant opera and the least well known of the three. It's also a sad reminder of how much of his work has been lost. However, this recording gave me a lot of pleasure. There aren't as many recordings out there of Ulisse as there are of Orfeo or Poppea. It has structural flaws which probably place it below its two companions, but what is represented here is excellent.

Martin Pearlman has made his own performing version of the score, working from the only surviving manuscript copy. He explains his editing decisions in the booklet note, and you can also hear him talk about it at length, if you're interested. You'd need to be a greater expert than I am to pick out any major differences from pre-existing versions. Suffice to say that Pearlman makes his own decisions about how to fill in the gaps that have been left in the score.

The result is a labor of love in which he has invested much of his time, energy and passion, and that comes across in what you hear. He has also assembled a team who have bought into his vision completely, performing with passion and total commitment. Central to the sound-world of the recording is the playing of Boston Baroque, Pearlman's own band. They sound as marvelous as their other recordings have led me to expect. There is a slightly acidic quality to their sound but it is very energetic and full of affection. This is a score, and an edition, that Pearlman knows well and wants to bring to life with beauty and affection. There were innumerable touches that brought it to fruition, such as the chattering brightness that the winds often brought to proceedings. Pearlman's way with the dance music is very convincing. I also loved vitality of the score for the brief pastoral scene at the opening of Act 2, full of tremendous verve. The orchestral accompaniment to the gods' scene in the third act also sounds very fine. Throughout the opera there is a focus on beauty above all. This never undermines the drama, however, and many little touches bring that to the fore over and over again.

The singing cast is excellent, too. Fernando Guimarães is magnificent as Ulisse himself. His voice is passionate, ardent and fully committed, a delight in this role which he makes sound totally human. His mannerisms are technically very impressive too. He knows and loves the style of the period, which makes him a first-rate travelling companion for Pearlman's vision. Jennifer Rivera's Penelope is, if anything, even better. Hers is a low, slightly husky voice but I fell for it completely. Her portrayal of the queen is sensual and dignified but deeply felt, and her opening lament is something that not just welcomes you into the opera but gets you hooked. She is equally fine during the climactic scene of Act 2 when she presents Ulysses' bow to the suitors for the contest, full of possibility but also ample regret. The greatest moment in the opera comes in the final recognition duet, where the voices of Guimarães and Rivera blend beautifully while the orchestra spins a beatific web of sound around them. It's a magnificent ending to the disc.

Aaron Sheehan is a dashing, youthful-sounding Telemaco, who sings with ardour and passion, linking him with but setting him apart from the sound of his father. As Melanto, Abigail Nims is energetic and skittish, a strong contrast to Penelope. Their duet towards the end of Act 1 is beautiful, not least due to the contributions of the Boston Baroque strings. Daniel Shirley's Eurimaco manages to convey much of the character's duplicity, and his voice blends beautifully with Nims'. Daniel Auchincloss is a surprisingly virile, affectionate Eumete, while Marc Molomot cuts a slightly ironic, rather unpleasant figure as Iro, but at least he knows that the part is little more than a comic caricature. The trio of suitors are surprisingly sympathetic, and their Act 2 trio with Penelope (Ama dunque, sì, sì) is very beguiling. Antinous has an eerie resonance, however, and Ulysses Thomas' resonant bass brings him to life very compellingly.

The gang of gods are also very convincing. João Fernandes is a rich, boomy Neptune - beautifully accompanied, first by the buzzing organ then by endearingly chattering cornetts - while Owen McIntosh's tenor makes a surprisingly young-sounding, vigorous Jupiter. Leah Wool is at first slightly warbly as Minerva, but she sounds more comfortable as the opera progresses. Sonja DuToit Tengblad is a bright, sparkly Juno. The Prologue, too, sets the tone for the rest of the opera to come: bouncy and full of life; not at all a mere forethought. The chorus don't have much to do, but what they have is done very well with lots of energy and bounce.

Even aside from its unique qualities, this Ulisse sits pretty close to the top of the available recordings that I've heard. Its studio perfection is more welcoming than Alan Curtis' live version, for all its merits, and, while I acknowledge his importance, I've never been able to love Harnoncourt's version which sounds paradoxically wilful and underdone in places. René Jacobs typically has his own quirks and, for once, I thought they worked rather well, but I now rate Pearlman's version very highly too. Definitely worth a look for Monteverdians old and new.

– MusicWeb International (Simon Thompson)

Encompassing his first collaboration to his last, this four- album collection celebrates Joseph Swensen’s tenure as Principal Conductor of the Scottish Chamber Orchestra (1996–2005). Swensen combines his role as conductor and soloist in acclaimed recordings of popular concertos by Mendelssohn, Brahms, Dvorák and Prokofiev. Written within a hundred years of each other these concertos not only provide Swensen with the opportunity to display his mastery of formidable technical demands, but also demonstrate each composer’s individual expressive and melodic expertise. Swensen’s dual role as both conductor and soloist creates a special collaboration with the musicians of the Scottish Chamber Orchestra, who remain acutely attuned to his intentions. In addition they perform a wonderful selection of orchestral music together to complement the concertos: Brahms’ Hungarian Dances, Dvorák’s Nocturne for string orchestra and Czech Suite, Mendelssohn’s Fingal’s Cave and ‘Scottish’ Symphony, plus Prokofiev’s Symphony No. 1 and his Five Melodies (orchestrated by Swensen for solo violin and orchestra).

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Excerpts of reviews for some of the previously released titles included in this set:

Brahms: Violin Concerto & Hungarian Dances


This remarkable performance of the Brahms Violin Concerto stands among the finest available--indeed, it's just about perfect, and all the more remarkable coming from a soloist who also (at least nominally) conducts. As a conductor in the Hungarian Dances Swensen proves himself no less adept.

– ClassicsToday

Prokofiev: Violin Concerto No 2, Symphony No 1


The Classical Symphony is marvelous: exceptionally paced, exquisitely phrased by the violins in the slow movement, effervescent in the finale, texturally pellucid, with characterful wind playing. In a word, it's perfect. The Violin Concerto thrills me less as a piece, but not this performance, which in its shaping and poise reminds me of Milstein's, only with much better playing and sonics.

– ClassicsToday

Dvorak: Violin Concerto, Czech Suite, Etc

Both the Nocturne and the Waltz Op. 54 No. 1 come off splendidly, and as usual LINN's sonics are superb whether in stereo or multi-channel formats. In sum, there's a great deal here to enjoy, and I applaud Swensen's independence and well-thought-out approach.

– ClassicsToday

Gothic Voices, the world-famous early music ensemble, makes its Linn debut with a recording celebrating the biblical matriarch Mary. Pieces from contemporary composers Joanne Metcalf and Andrew Smith sit alongside setting of Marian texts from the 13th and 14th centuries. Notably, there is a rare setting of English biblical text which precedes the first publication of an English language bible by 150 years. Mary in her various guises – caring mother, virgin lover, guiding light – are explored through settings of ancient ritualistic texts showing her mythical and human aspects, whilst contemporary settings relate the themes to the modern day. The contemporary works are cleverly constructed around a modal core so that they fit perfectly with the structure and sound of the early music compositions. With over thirty years experience Gothic Voices’ complete understanding of every aspect of early music performance is exceptional. Throughout its career Gothic Voices has been world-renowned for the excellence, refinement and spirituality of its performances of medieval music and has appeared throughout Europe and in the Americas. Originally founded in 1980 by the scholar and musician Christopher Page, Gothic Voices has gone on to release over twenty recordings, three of which won the coveted Gramophone Early Music Award. With imaginative programs using voices in varying combinations to produce authoritative performances of great beauty, Gothic Voices has won the appreciation of audiences all over the world. Gothic Voices’ wonderfully evocative sound world resulted in over a million sales of its debut featuring the music of Hildegard of Bingen.

Benjamin Zander conducts the Philharmonia Orchestra in Mahler’s hugely popular ‘Resurrection’ Symphony in a GRAMMY-nominated recording. Exceptionally challenging and thrillingly powerful it is the perfect showcase for Zander’s distinctive balance of insightful musicianship and emotional intensity. With London’s famed Philharmonia Orchestra, he is recording the complete cycle of Mahler symphonies, recordings which have been received with extraordinary critical acclaim and several awards. Zander’s recordings of Mahler symphonies have inspired critics worldwide to use superlatives such as ‘revelatory’, ‘exhilarating’, ‘illuminating’ and ‘remarkable’. The featured soloists are Sarah Connolly, one of the foremost British mezzo-sopranos who has impressed at La Scala and Glyndebourne, and Swedish soprano Miah Persson, who is in great demand with the major opera houses including Royal Opera House Covent Garden, Metropolitan Opera New York.

Songs composed and sung by Maeve O'Boyle:
1. Old Greenwich Time
2. The Place you Became
3. Facing Home
4. Taxi
5. Swimming Upstream
6. Butterfly
7. Carnival Attraction
8. All My Sins
9. Romeo
10.Pray It Never Happens

Phantasm adds to its critically-acclaimed repertory of English viol consort music with the first recording in what will be a series exploring the music of Matthew Locke. A turbulent musical personality, Locke has much to endear him to ‘lovers of consort music’; his ceaseless and obsessive quest for variety ensures music of maximum breadth and diversity. Director Laurence Dreyfus has created an intriguing programme that showcases Locke’s rule-bending approach featuring music that is in turn quirky and humorous, lyrical and sweet. Most excitingly, this release reunites the partnership of Phantasm and lutenist Elizabeth Kenny, whose last album together, Dowland: Lachrimae or Seven Tears, won both a Gramophone Award and a Diapason d’Or de l’Année. Locke’s part-writing, and the oftentimes orchestral dimension of his approach, are both highlighted by the opulent realization of the continuo part, devised here with supreme inventive powers by Kenny.