SOMM Recordings is thrilled to announce Pierre Monteux Live, a two-CD set comprised entirely of first releases including never-before-issued performances led by the renowned conductor. Among these is a legendary 50th Anniversary performance of Stravinsky's Rite of Spring with the composer in attendance, given a half-century to the day after Monteux himself conducted the storied Paris world premiere! This recording captures an extraordinary moment of historical continuity: between 1913 and 1963 five decades elapsed in the evolution of 20th-century music, in the taste and understanding of the public and in the lives of both creator and pioneering interpreter. The concert was broadcast live on the BBC from the Royal Albert Hall and performed by the London Symphony Orchestra who referred to Monteux affectionately as their "Maître". Both the devoted playing and the emotional audience acclaim are preserved in vividly present sound. This set also commemorates the revered conductor - on the 60th anniversary of his death and ahead of the 150th anniversary of his birth - with moving testimony from LSO musicians involved in the landmark Stravinsky concert. These interviews were recorded between 1992 and 1995 by this set's producer, Jon Tolansky, co-founder of Music Preserved and the author of documentary features on composers and performers. Monteux is also heard speaking on tape here, in a 1955 interview and a 1959 rehearsal of the LSO in Dvorak's Seventh Symphony, providing a window onto the man's intellect, work ethic and rapport with fellow musicians. Rounding out this set are still more never-before-issued recordings of Monteux conducting the BBC Northern Orchestra and Royal Philharmonic Orchestra in music by Haydn, Weber and Beethoven, as well as works by Ravel, who, like Stravinsky, was a composer Monteux knew personally. To the highly discriminating players of the RPO of 1960, Monteux was a favourite guest conductor. As with The Rite of Spring, he represented a direct link to the origins of Daphnis and Chloe, another Ballets Russes production that Monteux led in it's world premiere. The RPO's Principal Clarinet, Jack Brymer, remembered "this wonderfully energetic and meticulous little man" who "even in his eighties... had the touch of elegance, the humour, the exquisite good taste" and "could produce a sudden sforzato second to none by a tiny stab of his baton." The recordings of the performances in this album, all made privately off-air from various sources, have been fastidiously polished by Restoration Engineer Paul Baily. His restoration of the recent Sir Adrian Boult Conducts (ARIADNE 5024-2) was honoured with the Preis der deutschen Schallplattenkritik (German Records Critics' Award) in the Historical Recordings category.

SOMM Recordings is pleased to release Volume 3 in it's "major commemorative series" (ConcertoNet. Com) Bruckner from the Archives. Many of the expertly restored and remastered recordings, like these performances of the Third and Fourth Symphonies, are appearing for the first time in any form. Conceived and designed by SOMM Executive Producer and acclaimed Audio Restoration Engineer Lani Spahr with support from the Bruckner Society of America, Bruckner from the Archives celebrates the 200th anniversary of the composer's birth in 1824 with rare archival recordings of the 11 symphonies and selected other important works. These have been sourced by Lani Spahr from the more than 11, 000 Bruckner performances in the Archive of John F. Berky, Executive Secretary of the Bruckner Society of America, who also acts as Consultant for this important series. This third instalment offers live radio broadcasts of Bruckner's Symphony No. 3 by the NDR Symphony Orchestra under Hans Schmidt-Isserstedt (1966) and Symphony No. 4 by the Munich Philharmonic under Volkmar Andreae (1958). These never-before-heard interpretations from the Bruckner symphonic canon offer a new perspective on these much-loved works, particularly as they are accompanied by the very latest in scholarship about the works' genesis in the context of Bruckner's life and compositional development, written by Professor Benjamin Korstvedt, President of the Bruckner Society of America and member of the Editorial Board of the New Anton Bruckner Complete Edition. Prof. Korstvedt commends the Brucknerian pedigree of Schmidt-Isserstedt and the NDR SO, an orchestra built by the conductor and led by him for two decades after the Second World War. They in fact had given the very first performances of the Oeser Edition of the Third shortly after it's publication in 1950. So, too, Swiss composer-conductor Volkmar Andreae, who was a leading Bruckner advocate: by the end of his career he had led more than 250 Bruckner performances. This recording of the Fourth, from 1958 with the Munich Philharmonic, is typical Andreae: characterful, at times fiery and passionate, at others deeply expressive, but always keenly alive to the richly varied content and moods of the music. Lani Spahr's previous SOMM releases include the lauded four-volume sets Vaughan Williams Live (ARIADNE 5016, 5018-20) and Elgar Remastered (SOMMCD 261-4), as well as Elgar from America, Volume 3 (Ariadne 5015-2), which garnered a Gramophone Editor's Choice for "superb audio restorations [bringing] performances fully to life". Praise for Volume One and critical interest in the Series: Gramophone Editor's Choice (June 2024) [EMBARGOED UNTIL 22 MAY] "We look forward to the next editions in the series; to further uplifting recordings and to new light, shed on a composer we thought we knew. "?The Quarterly Review: Endnotes, May 2024 "This is an auspicious launch of what promises to be a Bruckner series of uncommon interest. "?John Quinn, Music Web International Volume One: ARIADNE 5025-2 · Volume Two: ARIADNE 5027-2

SOMM Recordings announces Bruckner from the Archives, a major new, six-double-CD-volume series celebrating the 200th anniversary of Anton Bruckner’s birth in 1824. Conceived and designed by SOMM Executive Producer and acclaimed Audio Restoration Engineer Lani Spahr with support from the Bruckner Society of America, the series features rare archival recordings of Bruckner’s 11 symphonies and selected other important works, many appearing for the first time in any form.

Recordings have been sourced from the more than 11,000 Bruckner performances in the Archive of John F. Berky, Executive Secretary of the Bruckner Society of America, who also acts as Consultant for this important series.

Across the series, authoritative notes by Professor Benjamin M. Korstvedt, Jeppson Professor of Music at Clark University, Worcester, Massachusetts, President of the Bruckner Society of America and member of the Editorial Board of the New Anton Bruckner Complete Edition, trace Bruckner’s life and compositional development from the Symphony in F minor (1862) to the unfinished Ninth Symphony (1894).

Volume 1 (SOMM 5025) will be released on 15 March 2024 and includes two Symphonies: in F minor (Bruckner Orchestra, Linz conducted by Kurt Wöss) and No.1 in C minor, ‘Linz’ (Bavarian Radio Symphony Orchestra, Eugen Jochum); Bruckner’s only String Quartet (Koeckert Quartet); Psalm 112 (Vienna Akademie Kammerchor, Vienna Symphony Orchestra, Henry Swoboda); the Overture in G minor (WDR Symphony Orchestra, Cologne, Dean Dixon); the March in D minor, and Three Pieces for Orchestra (Vienna Symphony Orchestra, Hans Weisbach).

Future volumes include never-before released performances conducted by noted Brucknerians Eugen and Georg Ludwig Jochum, Eduard van Beinum, Volkmar Andreae, Christoph von Dohnányi, Herbert von Karajan, and Joseph Keilberth. Lani Spahr’s previous SOMM releases include the lauded four-volume sets Vaughan Williams Live (ARIADNE 5016, 5018-20) and Elgar Remastered (SOMMCD 261-4), and a Gramophone Editor’s Choice for “superb audio restorations [bringing] performances fully to life” for Elgar from America, Volume 3 (Ariadne 5015-2).

Franz Schmidt 150 (1874-1939)

SOMM Recordings honors Franz Schmidt, one of the great symphonic composers of the 20th century, on the 150th anniversary of his birth with this double-disc set featuring two of his masterworks. Revered in his day in his native Austria as the nation’s leading composer and an elite teacher, cellist, and pianist, his name will not be known to many. This is due, at least in part, to a perceived association with the Third Reich (against which there is ample evidence). This first release on CD of two premiere recordings, meticulously produced and restored by Lani Spahr, showcases Schmidt’s unique harmonic language, exceptional contrapuntal skill, and mastery of form, qualities which prompted Hans Pfitzner to call Schmidt’s Symphony No. 4 “nearer perfection than Bruckner, more honest than Richard Strauss and more original than Reger”.

Born in Pressburg (Bratislava) in 1874, Schmidt’s teachers (piano) included his mother (herself a student of Liszt), Rudolf Mader, Ludwig Burger and Theodor Leschetizky; (cello) Karl Udel and Ferdinand Hellmesberger; and (theory) Felicián Moczik and Robert Fuchs. He was, for a time, principal cellist in the Vienna Philharmonic under Mahler. While his symphonic output is clearly in the structural mold of Schubert, Brahms, and Bruckner, his harmonic language, while showing influences of Strauss, Mahler, and early Schoenberg, is clearly his own.

A near fatal heart attack in the years following the success of his Fourth Symphony prompted the composer to put his efforts into a major religious work. His setting of eight chapters of the last book of the New Testament in Martin Luther’s German became The Book with Seven Seals (From the Revelation of St. John the Divine), not through-composed but constructed of clearly defined sections in the great 19th-century oratorio tradition.

The success of this summum opus and his stature in Austria drew the attention of the Nazis, who commissioned Schmidt to write a cantata on partisan texts (which he abandoned, only for it to be completed by a student and nevertheless performed under Schmidt’s name). With the fading of this unfortunate association a growing number of prominent conductors (the Järvis, Welser-Möst, Luisi, Bychkov) have begun to revive performances of his music in our time. Lani Spahr’s previous SOMM releases include the lauded four-volume sets Vaughan Williams Live (ARIADNE 5016, 5018-20) and Elgar Remastered (SOMMCD 261-4), as well as Elgar from America, Volume 3 (Ariadne 5015-2), which garnered a Gramophone Editor’s Choice for “superb audio restorations [bringing] performances fully to life”.

SOMM RECORDINGS announces the first appearance on disc of three historic live recordings by Sir Adrian Boult to mark the 40th anniversary of the pre-eminent British conductor’s death, including his complete 1949 account of Alban Berg’s Wozzeck, Stravinsky’s Capriccio (1948), and Vaughan Williams’ Fourth Symphony (1965).

Boult had led the UK premiere of Berg’s excoriating opera in 1934, although only Act II of that performance survives. This complete 1949 recording with the BBC Symphony, Heinrich Nillius as Wozzeck, and Suzanne Danco as Marie – only the second UK performance – adds to Boult’s and the opera’s stature on disc. Recorded live in London’s Royal Albert Hall, it is a remarkable document of an exhilarating performance.

Boult’s pioneering championing of ‘new’ music is also heard in his recording of Stravinsky’s Capriccio, with the BBC Symphony and the prodigiously gifted Australian Noel Mewton-Wood at the piano.

Boult’s rare outing in 1965 with the Royal Opera House Orchestra saw him returning to a work he premiered 30 years earlier, Vaughan Williams’ Fourth Symphony. Under Boult’s baton it is a stirring and startling statement of loss and grief.

A bonus track features a revealing discussion of his 19-year tenure at the head of the BBC Symphony by Boult with Bernard Keeffe for BBC Radio in 1965.

Sir Thomas Beecham had a long association with the works of Richard Strauss, to the extent that Strauss once told him, "What you have done for my works in England cannot be sufficiently appreciated." SOMM Recordings pays tribute to this collaboration between two musical giants of the early twentieth century-and throws in an early nineteenth-century powerhouse for good measure-with the release of Beecham Conducts R. Strauss and Beethoven. This is the 33rd edition of SOMM's long-running and acclaimed series The Beecham Collection, and it marks the 70th anniversary of two remarkable recordings from 1956. Once again, audio engineer Lani Spahr brings his depth of musicality and technical expertise to these newly restored masterworks. In addition to his determined efforts to put Strauss's operas on the London stage-beginning with conducting the British premiere of Strauss's opera Elektra in 1910-Beecham was enthusiastic about Strauss's tone poems. Ein Heldenleben, in particular, became something of a calling card for him. In 1947, he made a studio recording of the tone poem with the recently established Royal Philharmonic Orchestra. A few weeks after his death in 1961, his 1958 stereo recording of Ein Heldenleben was released. The present live recording comes from an all-Strauss concert given at the Royal Festival Hall on 17 October 1956. The first half of the programme included MacBeth, Le Bourgeois Gentilhomme, and the Dance of the Seven Veils, which SOMM released in 2023 (ARIADNE 5021). The second half, heard here, was devoted to Ein Heldenleben. Strauss's eighth tone poem is considered somewhat autobiographical despite his insistence that the hero was "not a single poetical or historical figure, but rather a more general and free ideal of great and manly heroism." It traces the dramatic arc of the hero's life through his adversaries and his companion; at battle and in peace; and it closes with his retirement from this world. Contemporary critics of Beecham's rapturously received 1956 performance were fulsome in their praise, one noting that "the epilogue was played with such tenderness as to bring tears to the eyes," and another that "this is how Strauss can sound when conducted with musical sensibility deepened by experience." Beecham's relationship with Ludwig van Beethoven was rather more ambivalent. Although he performed several of Beethoven's symphonies regularly, his recordings were more sporadic and he never completed a full cycle. SOMM is fortunate and proud to present here Beecham's exciting, fleet-footed interpretation of the Eighth Symphony, recorded at the Festival Hall on 12 December 1956. His performance brings energy and a sense of fun to the work, which musicologist Nigel Simeone describes as the "wittiest of the Beethoven symphonies."

At the Festival Hall, on 24 April, 1960, an 80-year-old Sir Thomas Beecham gave what would turn out to be the final concert he conducted with the Royal Philharmonic Orchestra in London. SOMM Recordings is releasing the last work on that historic programme as part of it's continuing Beecham Collection of live recordings-the Bacchanale from the opera Samson et Dalila by Camille Saint-Saens. Unbeknownst to them, the audience's tumultuous reception of this performance proved to be a farewell to Beecham on the London concert platform. In June 1960, he suffered a cerebral thrombosis and never conducted again; he died on 8 March 1961. Jon Tolansky, a former musician at the Royal Opera House who has since specialised in making documentary features on composers and performers, recalls hearing this programme as an 11-year-old. "I had never heard anything remotely like it," he says, "as Sir Thomas, now standing fully upright on the podium, became a generator of electric lightning and as the Royal Festival Hall seemed to be shaking, most especially in the last two minutes or so, in a catastrophic earthquake." This historic release also includes live recordings of Saint-Saens's First Cello Concerto and Nikolai Rimsky-Korsakov's Scheherazade. Once again, audio restoration is by the renowned audio recording engineer Lani Spahr, whose work has recently been honoured with four Gramophone Magazine Editor's Choice Awards-for Bruckner from the Archives Vols I and IV and, more recently, Bliss, the Composer Conducts and E.J. Moeran's music conducted by Sir Adrian Boult. Beecham was always what The Times called "a quietly persistent advocate for Saint-Saens," and he offers attentive support to the 1958 reading of Saint-Saens's First Cello Concerto by Ukrainian-born soloist Mischel Cherniavsky. The concerto is in one continuous movement with three tightly structured sections sharing interrelated ideas. Cherniavsky came from a family of nine musically gifted children, and he played in the Cherniavsky Trio with two of his brothers from 1901 until 1934, after which he was mostly based in London and France. The live performance of Rimsky-Korsakov's Scheherazade on this release was given at the Royal Festival Hall on 21 March, 1957. This fell right in the middle of recording sessions when the orchestra was immersed in the piece for three days, which goes some way to explaining the glorious quality of the playing in the concert. What Rimsky-Korsakov described as the "various fairy-tale wonders" he had in mind when composing the work come across in Beecham's live performance with a freshness and brilliance that make for an unforgettable experience. A 24-year-old Steven Staryk became leader of the RPO shortly before these recordings, earning the title "king of concertmasters" from The Strad magazine. About his performance on this concert The Times wrote "the solo playing of the new leader, Mr Steven Staryk, must have due acknowledgment."

SOMM RECORDINGS continues its acclaimed Vaughan Williams Live series celebrating the 150th anniversary of Ralph Vaughan Williams’ birth with Volume 4 featuring his signature Fantasia on a Theme of Thomas Tallis, the Concerto for Two Pianos and Eighth Symphony in recordings conducted by Dimitri Mitropoulos and Sir John Barbirolli. The Tallis Fantasia is a live recording from Carnegie Hall in 1943 with Mitropoulos, a committed advocate for Vaughan Williams’ music, conducting the New York Philharmonic-Symphony Orchestra. They are also heard in the Concerto for Two Pianos, again from Carnegie Hall in 1952, when the soloists were Arthur Whittemore and Jack Lowe, who forged a widely popular and critically acclaimed piano duo partnership in America in the middle of the last century. Recorded in Manchester’s Free Trade Hall in 1964, the Symphony No.8 is blazingly conducted by its dedicatee, Sir John Barbirolli, leading the Hallé Orchestra.

SOMM Recordings’ celebration of the 150th anniversary of Ralph Vaughan Williams’ birth continues with Volume 2 of Vaughan Williams Live, featuring historic performances by the BBC Symphony Orchestra and Chorus and the Boston Symphony Orchestra conducted by Sir Adrian Boult in new, signature remasterings by Lani Spahr with authoritative booklet notes by Vaughan Williams’ biographer Simon Heffer. Two works featuring the BBC Symphony Orchestra and Chorus include a 1945 BBC radio broadcast of the first performance of the wartime masterpiece Thanksgiving for Victory – with soprano Elsie Suddaby, organist George Thalben-Ball and Valentine Dyall as the speaker – and the rapturous Serenade to Music from the opening night of the BBC’s Third Programme (now Radio 3) in 1946. First performed in 1938 in celebration of Henry Wood’s jubilee as a conductor and originally composed for 16 solo singers, it appears here in its version for orchestra, chorus and four soloists – Isobel Baillie (soprano), Astra Desmond (contralto), Beveridge White (tenor), and Harold Williams (baritone). Its dedicatee, Boult, conducts a performance of Job: A Masque for Dancing in 1946 by the Boston Symphony Orchestra before he made his four studio recordings of the work. Volume 1 of Vaughan Williams Live (SOMM Ariadne 5016) was hailed by All About the Arts as “beautifully remastered [and] sounding like pure gold” and was The Symphonist’s Record of the Week. SOMM’s other Vaughan Williams recordings include the Gramophone Award-winning Symphony No.5 and Dona Nobis Pacem with the LPO/BBCSO (SOMMCD 071), and The Piano Music of Ralph Vaughan Williams by Mark Bebbington and Rebecca Omordia (SOMMCD 0164), described by International Piano as “compelling”.

Somm Recordings celebrates the 150th anniversary of Ralph Vaughan Williams’ birth with Vaughan Williams Live, Volume 3, featuring signature works conducted by the composer including the 1943 world premiere of his Fifth Symphony with the London Philharmonic Orchestra. All performances on this double-album set have been expertly restored and re-mastered by Lani Spahr.

SOMM Recordings announces a major new release: the first appearance on album of live performances of Tchaikovsky’s Fifth and Sibelius’ Second Symphonies by the iconic conductor Serge Koussevitzky and the London Philharmonic Orchestra. This historic, two-album set includes an exclusive, specially-commissioned documentary about Koussevitzky’s Boston Symphony Orchestra tenure and his LPO guest appearances, featuring interviews with four key players from both orchestras by Jon Tolansky. Tolansky’s revealing hour-long documentary includes wide-ranging musical excerpts and contributions from former BSO players Harry Ellis Dickson (violin), Everett ‘Vic’ Firth (timpani), and Harry Shapiro (sub-principal horn), and erstwhile LPO sub-principal horn Patrick Strevens. The symphonies are heard in performances Koussevitzky conducted with the LPO in London’s Royal Albert Hall in 1950. Both have been expertly restored by Lani Spahr. Noted authority on historical recordings Rob Cowan provides detailed booklet notes on the “individual, flexible, flammable, emotionally candid and utterly spontaneous” Koussevitzky’s stewardship of both orchestras. He describes the Tchaikovsky as “especially unique [in] its unsparing volatility.... The explosive climaxes leave the audience stunned”. Of the Sibelius, he says: “Koussevitzky’s London Second is as comprehensive an overview of the work as we have”.

Lani Spahr’s previous restorations for SOMM include the four-disc Elgar Remastered (SOMMCD 261-4) featuring recordings from the composer’s own collection, hailed by Audiophilia as “a fascinating achievement which will have you wishing for more”. George Szell: The Forgotten Recordings was a Gramophone Editor’s Choice and awarded a Diapason d’Or as “a major discovery”. Jon Tolansky is the founder of the Music Performance Research Centre (now Music Preserved) and a widely admired producer of audio documentaries on classical musicians. For Spahr’s restorations on Beecham Conducts Sibelius, he produced a 30-minute audio documentary. MusicWeb International declared it “an unmissable disc [that] walks straight into a position of eminence in the catalogue”.

SOMM RECORDINGS celebrates the 150th anniversary of Ralph Vaughan Williams’ birth with definitive, newly remastered performances by Lani Spahr of his ever-popular The Wasps Overture and two symphonies – the startling Sixth and, in its world premiere performance, the valedictorian Ninth – with Sir Malcolm Sargent conducting the BBC Symphony Orchestra and Royal Philharmonic Orchestra. As Simon Heffer comments in his authoritative booklet notes, this major new release is notable for containing historical performances (from 1957, 1958 and 1964), for Spahr’s meticulous restorations, and for offering “a clear indication of the genius of” Sargent. From the 1957 BBC Proms, The Wasps Overture blends Ravelian influences with English folk songs to produce a vivaciously genial impression of RVW at his most distinctively infectious. Recorded in 1964 and again for the BBC Proms, the Sixth Symphony – a ‘war symphony’ in all but name – is, as Heffer notes, “rich in orchestral experiment, more innovative than perhaps any other work in the composer’s canon, and whose enigmas and mysteries still remain to be deciphered”. RVW’s final, Ninth Symphony, “a work of beauty and grandeur, and a magisterial signing off”, says Heffer, is heard here in splendidly remastered audio in its very first performance in April 1958, four months before the composer’s death, by Sargent and the RPO. SOMM’s previous Vaughan Williams recordings include Symphony No.5 and Dona Nobis Pacem with the BBCSO (SOMMCD 071), “a mandatory purchase for all lovers of Vaughan Williams’s music and, frankly, a priceless document” (MusicWeb International). And the “compelling” (International Piano) The Piano Music of Ralph Vaughan Williams by Mark Bebbington and Rebecca Omordia (SOMMCD 0164). Lani Spahr’s previous, universally acclaimed SOMM restorations include Elgar Rediscovered (SOMMCD 0167) and the four-album set Elgar Remastered (SOMMCD 261-4) hailed by Audiophilia as “a fascinating achievement which will have you wishing for more”.

SOMM RECORDINGS is delighted to announce the label debut of composer-conductor Nimrod Borenstein with first recordings of three works showcasing the piano in separate guises: his Piano Concerto, piano quintet Light and Darkness, and Shirim for solo piano. Borenstein himself conducts pianist Clélia Iruzun and the Royal Philharmonic Orchestra in his Piano Concerto, while Iruzun is joined by I Musicanti on Light and Darkness, and is the soloist for Shirim. For Borenstein, who also provides booklet notes, the disc is a dual celebration: “of the piano, an instrument I love”, and of “musical friendship”, recognizing his long creative partnership with Iruzun.The three-movement Piano Concerto – his Op.91 and first for the instrument, building on discoveries from his continuing series of Chopin- influenced solo Études – was composed for Iruzun and premiered in Brazil in July 2022. It reflects Borenstein’s concept of “the concerto as an heroic form”, a notion informing its “very fast, virtuosic and full of energy” finale. 2021’s Shirim (Op.94) takes its title from the Hebrew word for “poems” or “songs”. Cast in 18 variegated miniatures, “each being a world in themselves”, they are, says Borenstein tributing Mendelssohn, “my own songs without words”. Light and Darkness (2018, Op.80), “begins and ends with pure light, but is full of melancholy, and contains sections of great despair”. Nimrod Borenstein’s music has been performed by some of the world’s most prestigious soloists, chamber ensembles and orchestras. Several of his 90-plus pieces are available on acclaimed recordings. In demand as a conductor, he is currently working with orchestras in the UK, Germany and Israel.

SOMM Recordings announces the release of The Reeds by Severn Side, a ravishing collection of choral works by Edward Elgar, sung by the Chapel Choir of the Royal Hospital Chelsea, led by director William Vann, accompanied by organist Joshua Ryan. Of the 18 featured works, six are first recordings. They traverse Elgar’s remarkable ascension from lowly lawyer’s clerk to self-taught composer to Master of the King’s Musick. And chart the impeccable fusing of his Roman Catholic heritage with the Anglican church tradition to which he contributed several masterpieces. They also reveal what Vaughan Williams described as the “mystery and [the] miracle” of Elgar’s flowering into the music laureate of Edwardian England, as Andrew Neill, former Chairman of the Elgar Society, observes in his authoritative booklet notes.

Alongside juvenilia such as the 16-year-old Elgar’s Credo on Themes from Symphonies 5, 7 and 9 by Beethoven (in James Olsen’s completion) and Drake’s Broughton, to which the 73-year-old composer would return in his Nursery Suite, are diverse works that reveal growing confidence, including early settings of the Mass and first recordings (in English) of the Op.2 trilogy: Jesu, word of God Incarnate; Jesu, Lord of Life and Glory; Jesu, Meek and Lowly. The masterpiece bitonal setting of Tennyson, There is Sweet Music, one of Elgar’s self-described “choral songs”, is a highlight, alongside twin peaks of his anthem writing: O Hearken Thou (heard as the Latin motet, Intende voci orationis meae) and substantial Give Unto the Lord. William Vann and the Chapel Choir of the Royal Hospital Chelsea’s previous SOMM releases include In Remembrance, described by Gramophone as “almost unbearably moving”, and as “an album that will have enduring value into the future” by MusicWeb International. Carols from Chelsea was a Best Classical Christmas Release, praised for its “model singing”, in The Guardian.

SOMM RECORDINGS celebrates the mastery of a 20th-century original with superb new recordings of Kurt Weill’s Violin Concerto and Second Symphony by Tomás Kocsis and the Ulster Orchestra conducted by Jac van Steen. Although Weill found fame in theatre-focused collaborations with Bertolt Brecht that produced the era-defining The Threepenny Opera, the onetime pupil of Ferruccio Busoni straddled the worlds of music-theatre, jazz and the concert hall with music of daring aplomb and dazzling achievement. Dedicated to Joseph Szigeti, his five-movement Violin Concerto of 1924 also pays tribute to the ailing Busoni and sports discernible allusions to Stravinsky, Mahler and the potent popular music of Weimar Berlin’s cabaret clubs. A unique blend, as Robert Matthew-Walker comments in his authoritative booklet notes: “No comparable work had appeared before from any composer”. Composed a decade later, the Second Symphony was premiered by Bruno Walter and the Concertgebouw Orchestra in Amsterdam. In three movements, “Weill’s contrapuntal mastery and his equally unselfconscious command of instrumentation present us with genuinely symphonic music, such as a 20th-century Haydn would have appreciated and enjoyed”. Jac van Steen’s previous SOMM releases include acclaimed recordings of Mozart piano concertos with Peter Donohoe, Valerie Tryon and Mishka Rushdie Momen (SOMMCD 278-2), The Deeper the Blue, an intriguing exploration of color and timbre in music featuring Vaughan Williams, Ravel, Dutilleux and Kenneth Hesketh (SOMMCD 275), and the International Classical Music Awards-nominated pairing of concertos by Albeniz and Mignone with Clélia Iruzun (SOMMCD 265). The Ulster Orchestra has released world premiere recordings of Vaughan Williams’ Fantasia for Piano and Orchestra and two piano concertos by William Matthias with pianist Mark Bebbington (SOMMCD 246).

SOMM RECORDINGS announces the release of I Vow to Thee, My Country, believed to be the first recording to feature all of Gustav Holst’s sacred choral music, by the Chapel Choir of the Royal Hospital Chelsea directed by William Vann, with organist Joshua Ryan and Richard Horne on tubular and bass bells. A prolific composer best known for his orchestral spectacular The Planets, Holst was an expressive and sincere composer and arranger of religious music despite his professed agnosticism. Included are his only setting of the Anglican Service for Evening Prayer, Nunc Dimittis, and his substantial Two Psalms and Four Festival Choruses, whose inspirations range from the Bible, Byzantine liturgy, 16th-century sources (not least Bach), and Welsh hymns. The 12 other featured songs see Holst setting an impressive array of centuries-spanning texts, and include the striking eight-part setting of Ave Maria for unaccompanied female voices, the ecstatic Not Unto Us, O Lord, premiered by the Royal Hospital Chelsea and William Vann in 2020, and the disc’s anthemic title song, its melody borrowed from The Planets’ ‘Jupiter’. I Vow to Thee, My Country is sponsored by The Holst Society, who also commissioned four new arrangements making their debut on album by Iain Farrington, and includes extensive, authoritative notes by Andrew Neill.

SOMM RECORDINGS celebrates the powerful and dynamic relationship between soloist and orchestra with three works by Nimrod Borenstein, whom Opus klassiek called "Brilliant... an inspired composer but also an inspiring conductor." Borenstein leads the English Chamber Orchestra in his Concerto for mandolin and orchestra; Shakespeare Songs for soprano and orchestra; and Legende - Concerto for oboe and orchestra. The program features mandolinist Alon Sariel, honored for his "dazzling virtuosity" by The Vancouver Sun; soprano Sarah Fox- Honorary Fellow at the University of London's Royal Holloway College and winner of the Kathleen Ferrier and John Christie awards-praised for her "shining intelligence" by Gramophone; and oboist Sanja Romic, hailed by Zubin Mehta for her "musical depth and lovely tone" and applauded worldwide for her expressive sound and charismatic stage presence. Nimrod Borenstein-whose substantial catalogue currently numbers more than 100 works ranging from orchestral and chamber music to solo instrumental pieces-made his SOMM debut [SOMMCD 281] conducting the first recordings of his Piano Concerto, piano quintet Light and Darkness, and Shirim for solo piano, celebrated by Pizzicato as "feel-good music of exquisite quality." With reference to this present release, Borenstein describes the relationship between soloist and orchestra as having an epic, almost theatrical quality. "It can become a moment of confession, or of confrontation," he says, "a personal voice rising against, or carried by, a collective force." These elements are richly evident in all three works presented here. While the qualities of a mandolin can be delicate, quiet, and soft, Borenstein's choice in composing his Concerto for mandolin and orchestra was to create a work that feels monumental in scope while showcasing the virtuosic capabilities of the instrument. To this end, the composer explored many of the technical ideas and expressive tools pioneered by Paganini for the violin, adapting them to the mandolin's unique sound. This release of Borenstein's Shakespeare Songs reprises his performance in March 2025 at London's Cadogan Hall with Sarah Fox and the English Chamber Orchestra. In choosing and setting these five Shakespeare sonnets, Borenstein has created both variety and a sense of overall structure ranging from the enchantment of pure beauty in "Shall I compare thee to a summer's day?" to the despair-turned-hope in "When in disgrace with fortune and men's eyes." The two-movement Legende - Concerto for oboe and orchestra was written for and premiered by Sanja Romic in 2024. The slow, dance-like opening is like a preamble to a tale about to be told; "Let me tell you a story about a legend I once heard." The second and final movement is more fiery, with contrasts leading to a faster tempo return of the opening theme, creating a sense of narrative closure before a brilliant, virtuosic conclusion.

SOMM Recordings adds to it's already extensive catalogue of music by the British composer and BBC Radio 3 broadcaster Stephen Dodgson (1924 - 2013) with a third volume of his songs titled Turn Ye to Me. SOMM's previous Dodgson song releases include The Peasant Poet [SOMMCD 0659], hailed by Opera Today as "an incredibly interesting and engaging disc... done excellent service by all the performers;" and The Distances Between [SOMMCD 0673], about which the British Music Society said "the performances (by some prestigious names) and the warm, lifelike recording are impeccable." The performers on this third volume of Dodgson songs include prior SOMM artists also featured in Volumes I and II: Irish soprano Ailish Tynan and British mezzo-soprano Katie Bray, both past winners of the BBC Cardiff Singer of the World competition; doctor-turned-tenor James Gilchrist, who is noted for his forthright and passionate style; Roderick Williams, one of the most sought-after baritones of his generation; guitarist and Dodgson specialist, Mark Eden; and GRAMMY® Award-winning pianist, Christopher Glynn. The recital opens with a first release of Three Songs to words of Thomas Lovell Beddoes, who died by suicide in 1849 aged 45. Tandaradei is his translation of the 13th-century German love poem, Under der linden, by Walther von der Vogelweide. Dirge and The Old Crow of Cairo are from Beddoes's posthumously published drama Death's Jest Book. Three single songs include settings of Andrew Marvell's pastoral poem The Mower to the Glow-Worms; George Meredith's sonnet Winter Heavens; and Matthew Prior's poem Daphne to Apollo inspired by Greek myth and set to guitar accompaniment. Two short solo piano pieces are from a set of Eight Fanciful Pieces-included in full on SOMM's 2024 release of piano music by Dodgson [SOMMCD 0684.] The marcato (marked) tempo of Il Zoppo suggests an irregular gait, while the contemplative Mirage hints at an Impressionistic style. Dodgson composed three sets of Bush Ballads based on texts by Australian poets and Australian folk verses. This release of the third series is a first recording. All Got a Mate sets an anonymous text as a folk duet. Rollicking, but steady is the tempo marking for Song of the Squatters to words by A.B. "Banjo" Paterson. The group closes with a quieter setting of Waitin'-a-While by Jim Grahame. Two single songs from 1950 include The Stone, marked Moderato: Calmo, to words adapted from Hal Summers, and the title song, Turn Ye to Me, which is a gently haunting Hebridean air with lyrics by Christopher North. The recital closes with London Lyrics, a cycle of five songs for tenor and guitar set to poetry by five different poets across four centuries-including Wilfred Owen and Cecil Day-Lewis-all inspired by Dodgson's home city. The composer draws expressive and captivating range from voice and guitar, exquisitely executed here by James Gilchrist and Mark Eden.

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.

SOMM RECORDINGS celebrates the 400th anniversary of two Renaissance masters of the First Golden Age of English Song: John Dowland (1563-1626) and John Danyel (1564-1626). This recital for tenor and lute takes it's name from Dowland's song, Time Stands Still. The recording features British tenor Kieran White, who was a chorister at Wells Cathedral and held a Kohn Foundation Scholarship at the Royal Academy of Music. The Guardian has praised White's "pure, luminous tenor" and Opera Magazine his "extraordinary emotional clarity." He performs with long-time collaborator and friend, the Swiss-French lutenist Cédric Meyer, who holds two Master of Arts degrees and a postgraduate certificate with a specialisation in early music. Meyer plays here on his personally handcrafted eight-course Renaissance lute, based on an extant Italian lute from 1592. Lute songs, or "ayres," combine music and poetry to create songs that are filled with love, melancholy, and despair. John Dowland is acknowledged as the premier secular lute song composer of the late sixteenth and early seventeenth centuries, with a special affinity for melancholy. It was a distinction he relished, even punning on his own name in the lute solo Semper Dowland, semper dolens - Always Dowland, always doleful. Dowland's status as a god of early music enthusiasts is matched by his astute business sense. To prevent unscrupulous printers from distributing his work in pirated editions, Dowland preserved his music by publishing it himself. The lute songs on this recording come from The First Booke of Songes or Ayres, published in 1597; The Second Booke, 1600; The Third and Last Booke, 1603; and A Musicall Banquet, published by Dowland's son Robert in 1610. The texts are predominantly by anonymous authors. Unlike his enterprising publication of lute songs, Dowland never printed a definitive collection of his solo lute music. The four lute solos recorded here come from varying sources, with the result that not all can be definitively attributed. Nevertheless, the solo instrumental pieces offer a taste of the highly refined art of lute playing at the turn of the 17th century. Dowland's superstar reputation is diametrically opposed to that of his exact contemporary, John Danyel, whose vocal music survives in a single, slender volume, First Booke of Songes or Ayres-twenty-one songs for the lute, viol, and voice-published in 1606. Danyel seems to have come from a wealthy family. He graduated from Oxford, served as a tutor and court musician, and his privacy could well have been by choice. Yet these few pieces that have survived illustrate the uniquely sensitive mind of a skilful composer. Despite being less prolific and remaining comparatively obscure, noted early music specialists consider every one of Danyel's extant works a masterpiece.

MM Recordings presents a seductive and captivating release of Russian art songs, an intriguing juxtaposition of Russian Romances for voice and piano by Anton Arensky (1861-1906) and his student Sergei Rachmaninoff (1873-1943). The recital, "performed with great charm and sympathy" (Opera Today), features two artists making their debut for SOMM: lyric coloratura soprano Anastasia Prokofieva-a rising young star in the opera world, described as "striking" by Opera Magazine-and London-based conductor, pianist, and vocal coach Sergey Rybin, an Associate of the Royal Academy of Music, where he studied under SOMM recording artist Malcolm Martineau. Sergey Rybin's excellent notes, together with full texts and translations, help bring these neglected gems to light and highlight the inner connection between Arensky and Rachmaninoff. While there is no doubt that Rachmaninoff was possessed of a unique and innate musical gift, he acknowledged the profound influence of his teacher and mentor Arensky, who was his professor of harmony, counterpoint, and free composition at the Moscow Conservatory between 1885 and 1888, when Rachmaninoff was still a teenager. Arensky's writing-and Rachmaninoff's, too-is full of eminently singable melodies that are deeply connected both to bel canto and to a Russian folk aesthetic. Sergey Rybin also makes the point that a certain virtuosic flair in the piano parts of these románsy, by both the professor and the pupil, "are unmistakably the branches of the same stylistic tree." Anton Arensky studied composition with Nikolai Rimsky-Korsakov at the St. Petersburg Conservatory, and he was just twenty-one when he began teaching harmony and counterpoint-and later, instrumentation and free composition-at the Moscow Conservatory. While his role as a teacher may well be his most lasting contribution, he remained active as a composer of operas, symphonies, concertos, chamber music, and piano works. He also wrote fifty-seven románsy, which show his affinity for intimate, emotional expression. Included among the thirteen art songs by Arensky on this release are the Five Romances, Op. 70 from 1900, and the five-song cycle Reminiscence, Op. 71, circa 1905. Before Rachmaninoff left Russia permanently in 1917, he composed a total of eighty-three románsy for voice and piano. His gift for lush melodies, expansive emotional range, and exceptionally difficult piano works makes him one of the last great Romantic pianist-composers, and these stellar qualities are evident in his art songs. Thirteen are presented on this programme. The earliest, from his Six Songs, Op. 8 written in 1893, include Child! You are as beautiful as a flower and Dream. The Twelve Songs, Op. 21, composed in 1902, include some of his finest vocal writing, Lilacs being an exquisite example. Rachmaninoff's last compositions in the genre of románsy were the Six Songs, Op. 38 in 1916; four from this set close the recital.

SOMM Recordings presents an intriguing pairing of chamber works that share the unusual and expressive instrumentation of piano, violin, viola, cello, and double bass: Johann Nepomuk Hummel's 'Military' Quintet in C major and Franz Schubert's Piano Quintet in A major, his Trout Quintet. Extraordinarily, this is a first recording of Hummel's 'Military' Quintet.' It is an amazing find by the virtuoso double-bass player Leon Bosch, Artistic Director of the mixed-instrument chamber ensemble I Musicanti, with whom he performs here. They're joined by Peter Donohoe, laureate of the Tchaikovsky Competition and acclaimed as one of the foremost pianists of our time. Johann Nepomuk Hummel's gift as a composer was matched by his excellence as a pianist. A child prodigy, Hummel was taught and housed by Mozart for two years, and he studied further with Clementi, Haydn, Albrechtsberger, and Salieri. Hummel's mastery as a pianist and his compositional personality, admired by Liszt, shine through in his two piano septets featuring winds, brass, and strings, which he also arranged for a combination not uncommon at the time of piano, violin, viola, cello, and double bass. It was in October 1829, nearly a year after Schubert's death, that Hummel completed his 'Military' Piano Septet No. 2. For publication in Vienna the following year, he also prepared a piano quintet version, again arranged for that ensemble of piano, violin, viola, cello, and double bass. The Septet's scoring-for piano, flute, clarinet, trumpet, violin, cello, and double bass- already included four of the five of those instruments, so in effect the alternate version redistributes the wind and brass parts among four strings with added viola. It is this version that receives it's premiere recording on this release. Franz Schubert's Trout Quintet came about during a walking holiday in the Alps in 1819, when he made the acquaintance of Sylvester Paumgartner, an amateur cellist who promoted chamber concerts in his home. He greatly admired Schubert's lied, Die Forelle ("The Trout"), and he commissioned a set of variations based on the song's melody. At the time, Paumgartner had brought together a group of musicians to perform Hummel's Piano Quintet in E flat minor-the arrangement Hummel made of his first piano septet-and suggested that Schubert write his new variations for that same quintet ensemble of pianist, violinist, violist, cellist, and double bass player. Schubert being Schubert, he not only composed a set of five variations on Die Forelle, but he created a five-movement quintet that featured the variations as the fourth movement of a work that has become one of the most renowned and beloved in the chamber repertoire. It is Schubert's first mature chamber work. He was twenty-two years old.

SOMM Recordings marks the 150th anniversary of Samuel Coleridge-Taylor (1875 - 1912) with a diverse selection of his orchestral works, reflecting both his Afro-British parentage and a musical milieu that included Holst and Vaughan Williams. Of particular note is that five of the seven works presented here are first recordings. This commemorative release features the Ulster Orchestra conducted by Charles Peebles, whose first recordings of Piano Concertos by Dora Bright and Ruth Gipps for SOMM were widely praised. It was quickly apparent that Coleridge-Taylor possessed an unusual talent, and he produced a remarkable body of work before his untimely death at 37 though much of his music has been hidden from public view by the absence of surviving performance material. He composed his first work for voice and orchestra, Zara's Earrings, when he was just 19. Rebecca Murphy, hailed by Opera Journal for her "stunning delivery," is the featured soprano. The Ballade, also written when Coleridge-Taylor was 19, was premiered by Isabella Donkersley, the future wife of Augustus Jaeger (soon to be immortalised by Elgar as 'Nimrod' in his Enigma Variations). The Ballade's great drama and charismatic melodic material play to the strengths of Coleridge-Taylor having been a violinist.  Ioana Petcu-Colan, heard here, is leader of the Ulster Orchestra and a soloist of considerable reputation. When Coleridge-Taylor heard Brahms's Clarinet Quintet while a student at the Royal College of Music, he was encouraged to write his own. The Romance for string orchestra is an arrangement of the quintet's introspective Larghetto affettuoso movement. Solemn Prelude, written for the Worcester Three Choirs Festival of 1899, is a work of elegiac pathos exuding the confidence of a young composer reaching the height of his powers. Since it's modern revival in 2021, it's been performed by some of the world's most distinguished orchestras. Coleridge-Taylor's Idyll, a commission for the Gloucester Three Choirs Festival in 1901, was a reworking of the Lament from his Symphony in A minor. When he conducted it's first performance, the Times critic wrote, "it was a single, very beautiful movement in C major. Giving ample room for the composer's love of original rhythm and rich and individual orchestral colouring. " Ethiopia Saluting the Colours from 1902 is an exuberant work for orchestra and organ. It was inspired by Walt Whitman's moving poem paying tribute to an elderly Ethiopian woman encountered during the American Civil War. Beerbohm Tree commissioned the incidental music for Stephen Phillip's play Nero in 1906, and the chance for Coleridge-Taylor to hear his music nightly rather than as one performance in the concert hall was a particular joy. This anniversary collection includes the first Entr'acte, which also featured at the 1907 Proms under Henry Wood.

In January 2026 The Elgar Society marks it's 75th anniversary, and SOMM Recordings celebrates the event with several Elgar releases in gratitude for the society's generous support and encouragement from 1998 to the present day. Light Out of Darkness, Choral Music by Elgar was recorded in February 2025, with the support of The Elgar Society, and continues the inspired journey of the composer's musical development in a series of widely acclaimed releases by SOMM. This present release includes five world-premiere recordings. Light Out of Darkness features the Chapel Choir Of The Royal Hospital Chelsea conducted by their Music Director, the multiple prize-winning conductor and pianist William Vann. This follows their hugely successful first recording of Elgar's choral works for SOMM, The Reeds by Severn Side [SOMMCD 0278]. The featured organist is Callum Knox, an emerging talent from Australia. Edward Elgar (1857-1934) had an unorthodox musical education that turned out to be a fertile training ground for his evolution into one of the most important composers of the Victorian and Edwardian eras. He "learned on the job," so to speak, studying scores and instruction manuals in his father's music shop; assisting his father who played the organ at Worcester's St George's Church; and graduating to organist for St George's in 1885. From these early years come world-premiere recordings of the hymn Praise ye the Lord, 1878, and the first of Elgar's seven settings of Thomas Aquinas's O Salutaris Hostia composed c.1877. Two later versions-from c.1880 (dedicated "To my father - with affection") and 1882-are also included here. This last is another world-premiere recording, as is Elgar's a cappella setting of the Stabat Mater from 1886. In 1888, now aged 31, Elgar composed the dignified Ecce sacerdos magnus (Behold a great priest) for a visit to St. George's by the newly installed Bishop of Birmingham. This release includes three anthems extracted from Elgar's oratorios. Light out of darkness and Light of the World, we know Thy praise are taken from his first oratorio, The Light of Life (Lux Christi). The third is The Spirit of the Lord is upon me, the opening chorus from his penultimate oratorio, The Apostles. Elgar's part songs, or "choral songs" as he later preferred to call them, contain some of his greatest music. Amongst the six included here are Byron's Deep in my soul from The Corsair; O wild West Wind! Inspired by Shelley's Ode to the West Wind; and Go, Song of Mine after the Italian 13th century poet, Guido Cavalcanti, translated by Dante Gabriel Rossetti. The programme closes with Elgar's rousing 1902 arrangement of God Save the King, heard here in the version for organ accompaniment.

SOMM Recordings is proud to present an album devoted to works by David Matthews, hailed as one of the leading symphonists of our time. His diverse output is superbly represented here by a Symphonic Diptych from his opera, Anna; his Symphony No. 11; and his Flute Concerto. The release features Dutch conductor Jac van Steen and the Ulster Orchestra, of which he is Honorary Principal Guest Conductor. Both are frequent SOMM collaborators, most recently on Manuel de Falla: The Three-Cornered Hat, Nights in the Gardens of Spain & Seven Spanish Folk Songs, SOMMCD 0694, about which Gramophone magazine wrote, "when van Steen unleashes the full orchestra... The tone is big and generous." They are joined by flautist Emma Halnan, winner of the BBC Young Musician Competition in 2010 in the woodwind category. She was also elected an Associate of the Royal Academy of Music (ARAM) in the Academy's 2024 Honours, recognizing alumni of the Academy who have distinguished themselves in the music profession. Emma enjoys commissioning new works, and composers who have written for her include Sir Karl Jenkins, James Francis Brown, and, as here, David Matthews. David Matthews' first opera Anna had it's concert premiere at The Grange Hampshire in July 2023, conducted by Jac van Steen. Shortly afterwards, Jac suggested that David should make an orchestral reduction, as Strauss had done for his Intermezzo and Die Frau ohne Schatten. So, in this Symphonic Diptych, David has compressed the opera into two movements, one for each act-I. Anna in Love and II. Lament for Anna-which tell the story in purely orchestral terms about a brother (Peter) and sister (Anna) and their different reactions to the revolution that has just taken place in their country. In transferring all the vocal parts to instruments, David has slightly increased the opera's orchestra. In 2022, at the Presteigne Festival, David Matthews heard some striking trumpet playing at an orchestral concert. The next day, he wrote a few bars of quiet trumpet solo over a string chord. At first, he did not know what to do with this idea, until he thought it might be the beginning of a symphony, and so his single-movement Symphony No. 11 was conceived. He decided to preface it with an allegro D major/d minor theme, beginning on violas and moving to first violins, and these two ideas form the basis for a set of free variations. Considering the flute to be, essentially, a melodic instrument, David Matthews composed his Flute Concerto as alternating song and dance. The first movement combines a gentle allegretto with a fast waltz. The slow middle movement evokes a dance celebrating Pan, while the finale begins with a little tune that he wrote for his wife, Jenifer, at Christmas 2019, which has something of an Irish flavour. Siegfried Wagner was named for the young hero in Richard Wagner's Ring Cycle and immortalized in the Siegfried Idyll, included on this release. He was born to Richard Wagner and his future wife, Cosima (nee Liszt), on 6 June 1869. Although Siegfried considered following a profession outside music (and, as a youth, studied architecture in Berlin and in Karlsruhe), it was inevitable that he would follow a career in music given the lineage of both his parents and his grandfather, Franz Liszt. In addition to receiving instruction in music from Liszt, the thirteen-year-old Siegfried began his advanced musical studies in Frankfurt with Engelbert Humperdinck, a true disciple of Richard Wagner. Siegfried became an assistant at Bayreuth in 1892, immersing himself in his father's music under the strong influence of Cosima Wagner and the conductor Hans Richter. In 1895, he made his debut at Bayreuth conducting a complete Ring cycle. The debut was a considerable artistic success, and Siegfried's future as the true guardian of the Wagner inheritance was assured, as he took a greater share in the direction of the Bayreuth Festival. With Cosima's full endorsement, Siegfried assumed the general directorship from his mother in 1908. Siegfried's busy professional life was devoted in the main to Bayreuth in the 1920s, but it was also during this time that he began a recording career devoted almost exclusively to his father's and his own works. Apart from his evident qualities as a conductor of his father's music-heard here in the recorded legacy he left of his performances at Bayreuth and in Berlin and London-he was equally keen to establish himself as a composer. The first of his twelve completed operas, Der Barenhauter (Bearskin) inspired by the German fairytale, met with public and critical acclaim when it was produced in 1899. The acoustic recording of the overture is heard here. Among the Richard Wagner works conducted by Siegfried Wagner on this historic release are well-known selections from Das Rheingold and Die Walkure from the Ring Cycle. Also included are a suite from Parsifal and selections from Tannhauser, Lohengrin, and Tristan und Isolde.