Morton Gould's music is the quintessential definition of the American sound. Along with composers like Aaron Copland, he was remarkably influential in producing homegrown American musical works. Composing in a wide variety of musical idioms, Gould was brought to international recognition by his easy-listening melodies and vivid orchestral works.
This Naxos release celebrates several works that brought Gould to critical acclaim, beginning with 'American Ballads' composed in 1976. Including such notable themes as the "Star Spangled Overture" and "Amber Waves," the six-movement work captures tender themes and melodies close to the soul of any patriot. The 'Stephen Foster Gallery' suite also represents those uniquely American themes in an exquisite arrangement of songs. Gould's most famous work, 'American Salute' (based on the melody "When Johnny Comes Marching Home"), shows Gould's unmatched ability to create a synthesis between concert and popular music. Militaristic percussion and brass are accented by the soft, weaving harmonies of the woodwinds and strings.
Under the direction of conductor Theodore Kuchar, the National Symphony Orchestra of Ukraine offers a sensible, yet light-hearted rendering of the music. Firmly grasping the essence of Gould's American spirit, the orchestra communicates the music's strong nationalism with great skill and plausibility.

EVERYTHING CHANGED ON JANUARY 7, 2025 I never imagined we would evacuate our home in the Palisades-a place alive with laughter, music, and the joyful chaos of my husband, our two young daughters, and crazy rescue dog-never to return. So many dear friends lost everything: cherished family heirlooms, photographs, instruments, and music libraries that had taken a lifetime to build-all vanished in moments. That evening, from our hotel window, I watched the fires rage through the beautiful Santa Monica Mountains and sobbed, completely helpless. Yet from the ash and destruction, something profoundly beautiful emerged-much like the glowing fairy at the end of Fantasia, rising from Stravinsky's Firebird Suite. I commissioned Eric Whitacre to write a new work for violin and orchestra, and as the world changed, so did his composition. Little did I know that The Pacific Has No Memory would be born from these epic tragedies. This music has become salve for the soul-a warm, healing embrace for my broken heart. Tender and profound, it radiates love, hope, and renewal. I am eternally grateful to Eric Whitacre for creating this musical prayer and to the Orpheus Chamber Orchestra for breathing life into it together. This recording is dedicated to all who were affected by the Los Angeles fires, and to the brave first responders who risked everything to save lives. - Anne Akiko Meyers

The music and poetry of numerous persecuted and exiled minority cultures flourished throughout the Mediterranean and South America during the 17th century, the sensitivities of these displaced communities retaining powerful resonance today. These ancient narratives on beauty, love, joy and sorrow are expressed through Yaniv d'Or's haunting voice against a "folk-Baroque" instrumental backdrop that reinvents enchanting and distinctive musical worlds.

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Reviews:

Latino Ladino is the latest album from the inventive countertenor Yaniv d’Or. His rich, honeyed falsetto guides us through various Ladino traditions, eventually crossing the Atlantic to the Missa Mexicana of 1677. Here d’Or multi-tracks both voices of Francisco Escalada’s Canten dos Jilguerillos, a wonderful flamenco-infused setting of two goldfinches watching over the Christ child. Flamenco also appears in the Ladino song ‘A la una yo naci’, which d’Or has traced as far as Peru. This sumptuous programme is enhanced by excellent booklet-notes from Richard Jones, who explains how each performance has been constructed in what d’Or himself often calls a folk-Baroque style.

– Gramophone

This recital by countertenor Yaniv d'Or mixes a wide variety of music, from Spain to South America, from the 17th century to the 21st. The program's chief novelty, as the title suggests, is to mix Jewish and non-Jewish elements convincingly; recordings of music from the Ladino tradition of Spain's Jewish community generally focus on that tradition to the exclusion of others. D'Or maps it onto a wider theme of exile and wandering, reaching back to the African-influenced marizápalos and canarios dances cultivated by various composers of the Spanish Baroque, but also bringing in music by Albéniz, the Chilean folk singer Violeta Parra, and even a song of his own composition. But really the main attraction is the limpid voice of d'Or, who has performed this program live and entranced audiences with darkly beautiful readings of traditional Ladino songs from across the Jewish diaspora. An innovative and lovely recording.

– All Music Guide (James Manheim)

Acclaimed for his sacred choral and organ works, Francis Pott was recognized in 2021 with the Medal of the Royal College of Organists, its highest award. Regarded as an Everest of the organ repertoire, Christus is a Passion symphony that traces this dramatic Biblical narrative through evolving tonality, portraying Christ’s vast struggle through betrayal and crucifixion towards ultimate triumph. Christus here enjoys itsfirst studio recording, made in the presence of the composer. Included also are premieres of Surrexit Hodie (a toccata for Easter Sunday) and a commemorative chorale prelude, Schmückedich, Oliebe Seele.

The music of GRAMMY-nominated and Latin GRAMMY-winning composer, Roberto Sierra, is performed worldwide and has long been admired for it's confluence of Caribbean elements and inventive modernist language. The works on this album cover a decade's worth of composition and examine crucial concepts - the idea of time in music; creative new applications of sonata form with regard to mood, tempo and character; and evocations of images seen through Latin American eyes. Continuum, directed by Cheryl Seltzer and Joel Sachs, has enjoyed a 40-year friendship with Sierra, receiving dedications and premiering numerous of his compositions.

Charles-Marie Widor was a hugely influential and venerated musician in his day, and his innovative organ symphonies are both a pinnacle of the repertoire and a testament to his creative and technical mastery of the instrument. These spectacular works are in the grand Romantic manner, but Widor was keenly aware of his musical ancestry, referring to music of the past such as Bach's St. Matthew Passion in the opening of the Third Symphony. The Scherzo of the Fourth Symphony is one of Widor's finest symphonic movements, exploring the organ's sonic beauties. The original E major Scherzo from the Symphony No. 2, which Widor subsequently replaced with a Salve Regina can be heard on Track 6.

Mulgrew Miller, one of the most important pianists of jazz' modern era, proudly delivers his brand-new album Solo in Barcelona via Storyville Records. The occasion of a present-day release of a sol o recording by this remarkable musician is a very rare and extraordinary occasion. This album, which was recorded on February 2, 2004 in Barcelona, is truly a rare gem for the admirers of a man and piano player, who was loved by so many fans and the entire jazz global community. With his unique take on arrangements from Monk, Dizzy Gillespie, Cole Porter, Miles Davis and Duke Ellington, MM shows us why he is considered a modern legend. On this solo album, MM's piano embarks on an extraordinary musical journey. With each note, he effortlessly paints a vivid tapestry of emotions, traversing a rich musical landscape that spans genres and styles characterized by versatility, proficient soloing and tasteful restraint. He plays like a modern-day exponent of Art Tatum with the deepest musical roots, but with the freshest, most forward-thinking, profoundly original voice that's uniquely his own. Live in Barcelona shows how he is able to tell us a story and swing like very few others. A real master on the piano. The highlight is perhaps his 'Excursions in Blue', playing the blues like it should be done - in the moment! Solo in Barcelona is a beautiful documentation of Mulgrew Miller playing solo material that has not been recorded before. MM was one of the most influential jazz pianists of his generation. Renowned for his technical mastery, improvisational genius and deep musicality, Mulgrew Miller worked with Miles Davis, Betty Carter, Woody Shaw, Niels-Henning �rsted Pedersen and his own trio around the globe. Still missed by his big audience. Mulgrew Miller (1955-2013) was a world-renowned jazz pianist and composer. His illustrious career spanned over four decades, during which he performed with legendary jazz artists and received critical acclaim for his exceptional musicianship. His unique approach to the piano and his profound contributions to jazz have solidified his place as one of the greatest pianists in the history of the genre. With this exceptional solo album, MM invites listeners on a personal and intimate musical journey, as he displays his extraordinary command of the piano. His nuanced phrasing, exquisite dynamics and deep understanding of harmony create an enchanting and captivating listening experience.

Few of Gioachino Rossini's operas are less well known than Adina. This production by Rossini Opera Festival and Wexford Opera Festival revives a masterwork of glittering arias and rich orchestral textures. The oriental tale, where Adina is a slave in a Baghdad seraglio, is set by Rosetta Cucchi on a giant and colorful wedding cake. The vocal star Lisette Oropesa "gave a splendid rendition as Adina. Her voice was brilliant, shiny on top, warm and round in the middle." (Bachtrack) World Premiere Recording on DVD and Blu-ray

The three sonatas on this recording were written at the behest of violinist Cho-Liang Lin, who worked closely with each composer at their premiere performance. Paul Schoenfeld's Violin Sonata references literary influences and the composer's past as well as his Jewish heritage in the work's final Freilach or 'joyous dance.' Steven Stucky acknowledged Debussy as the source of inspiration in his work, while the alchemy of John Harbison's style creates music that is simultaneously abstract and narrative. Wryly introduced as "crazy modern music," Bernstein's brief Canon for Aaron was composed for Copland's 70th birthday celebrations.

This album marks the culmination of a landmark project to re-imagine new works from old for saxophone; choir and organ. Each work has been specially commissioned and boasts compositions by leading composers including Gabriel Jackson; Errollyn Wallen and Roderick Williams. Celebrated saxophonist Sam Corkin is joined by Canterbury Cathedral choir to bring a fresh perspective to some well-loved repertoire; recorded within the iconic surroundings of Canterbury Cathedral.

Penderecki wrote music for string quartet over a period of 56 years. His StringQuartetNo.1was written in the same year that he achieved international success with Threnody (Naxos8.554491), and includes a wide range of playing techniques reflective of the avant-garde. String Quartet No. 2 reveals the influence of Ligeti, while No.3is a personal, even autobiographical work. In No. 4 there are modal or even folk inflections, in writing that is both limpid and abrasive. The eventful Derunterbrochene Gedanke completes Penderecki’s music for quartet, while the String Trio exemplifies his music’s motoric energy.

REVIEW:

Penderecki's First Quartet pointed to his fascination with hard-edged atonality and 12-note influences, the one movement score expressed in pizzicato and lasting just a little over six minutes. With his Second Quartet he had begun to move away from astringency to a more legato quality but with atonality to signpost things to come. There was to be a gap of twenty years before the more lengthy Third appeared in 2008, and it was period when he ‘took stock’ of the way music was going. At the same time his music was moving to an even more communicative melodic period we experience to a final degree in the Fourth of 2016. Now in a more ‘traditional’ two movements, and with a Vivo finale, its style has a melodic starting point. Integrated into these changes were two further works for strings, an extremely brief String Quartet from 1988 given a title Der unterbrochene Gedanke (The Interrupted Thought), and a String Trio from 1990. Both fit neatly into the changing moods of the quartets that surround them. They are here performed by the much acclaimed British-based Tippett Quartet who encompass these changes with a conviction that would place the performances as my number one choice and in quite superb sound.

– David's Review Corner (David Denton)

Charles-Marie Widor’s ten organ symphonies sit at the heart of his extensive oeuvre. They reveal Widor’s mastery of the form with their profundity, technical difficulty and sonorous color. Symphony No. 7, Op. 42, No. 3 inaugurated a new, orchestral approach to the genre and encompasses dreamlike sonorities, Chopinesque melancholy and majestic bravura. The Symphonie gothique, Op. 70 makes explicit reference to Gregorian chant, developing a kind of theological ‘programme music’ that is both austere and consolatory.

The great hit at Venice's San Moise theatre in the autumn season of 1810 was Pietro Generali's Adelina. This 'melodramma sentimentale' was the latest work by an important contemporary of Rossini, who enjoyed a vogue in early nineteenth-century Italy. The plot concerns the trials of a girl who is seduced and abandoned by her lover, Erneville, has a child out of wedlock, and is rejected by her father who, thanks to the intervention of a kindly friend, then forgives her after she marries Erneville. Brimming with vivacious writing, Adelina reflects powerful cultural attitudes in vogue in early nineteenth-century Italy.

The renowned Italian composer and mountaineer Leone Sinigaglia wrote a fascinating series of pieces for string quartet that reflect his powers of characterization and elegance. Flowing melodies can be heard throughout, not least in the Concert-Etude, Op. 5, while the more substantial Variations on a Theme of Brahms, Op. 22 display his technical skill and expressive variety, whether reflective, somber or exuberant. His String Quartet in D major, Op. 27 exemplifies his dual inheritance: a commanding central European facility, combined with a natural Italian lyricism.

The world-premiere recording of Richard Danielpour's Toward a Season of Peace offers a dynamic performance that impresses with its immense forces and energetic playing and compels an emotional response with its pacifist sentiments and beautiful lyricism. Danielpour's style is instantly accessible by virtue of its rich tonality and poignant melodies, and the flow of the music gives his oratorio a traditional appeal, with the right balance of dramatic tension and comforting release. The setting of excerpts from the Masoretic text of the Bible, the Persian verses of Rumi (in an English translation), and an Arabic poem by Al Mutanabbi brings languages into a convergence somewhat reminiscent of Leonard Bernstein's mixing of Latin, English, and Hebrew in his Mass (1971), and the ecumenical nature of Toward a Season of Peace also brings that theater piece to mind. Unlike Bernstein, and to Danielpour's credit, he doesn't mingle elements of popular music with his neo-Romantic choruses, and he avoids the trendiness that dates Mass, aiming instead for a more universal and timeless prayer for peace. At many points, the mystical choruses of Vaughan Williams and Holst spring to mind, and feel stronger than any modern influence. Perhaps this oratorio is more inspirational than motivational, and it may join other works earnestly dedicated to world peace that have fallen by the wayside, but the performers aren't to blame if that happens. Soprano Hila Plitmann, the Pacific Chorale, and the Pacific Symphony, conducted by Carl St. Clair, give a lovely and reverent performance that is gorgeous in its harmonies and textures, and ultimately moving because of its simplicity and directness.

-- All Music Guide

The six Cello Suites represent J.S. Bach’s genius at its most distilled, with the composer confronting the enigma of writing counterpoint for a monophonic instrument at its core. Jeffrey McFadden’s arrangement for guitar enhances the music, adding a harmonic dimension and making the implied interaction of voices explicit. The Suites contain some of the most fascinating and beautiful movements in all of Bach's oeuvre, and remain one of the most important works in the history of Western music. ‘Jeffrey McFadden not only is an extraordinary guitarist – he’s also an inspired musician’ (ClassicsToday.com on Naxos 8.554354, works by Napoléon Coste).

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REVIEW:

McFadden avoids the result coming too close to a version for harpsichord, though the guitar can never equate to the range of tonal colours available from a solo cello, nor, for that matter the dynamic range of the instrument. Though we do hear fingers moving around the fret, let me conclude this short review by admiring the clean-cut playing of this world famous Canadian guitarist. We can now look forward to the second disc.

– David's Review Corner (David Denton)

Musicologist Adrian Thomas considered Grazyna Bacewicz’s string quartets “unrivalled in 20th-century Polish music and… one of the century’s most significant contributions to the genre”. Her folk-music infused First Quartet dates from student days at the Paris Conservatoire, while exceptional polyphonic skill, intense emotion and playful, high spirits characterize the Third Quartet. Both the Sixth and Seventh Quartets unite tradition with a strikingly effective and highly personal exploration of progressive contemporary techniques. As Lutoslawski observed, in the “rapidly changing artistic currents” of the times, “it was [Bacewicz’s] music which helped create that atmosphere.”

These three recordings cement the bond between the award-winning composer Richard Danielpour and the conductor Misha Rachlevsky, one of the composer’s most dedicated and perceptive interpreters. It was Rachlevsky who gave the American premiere of Symphony for Strings, a transcription of the Sixth String Quartet- a work saturated in farewells, complete with a hymn and variations. Talking to Aphrodite is the result of a collaboration between Danielpour and the writer Erica Jong, while Kaddish addresses the eternal issues of life, death and eventual peace.

Tomas Breton's distinguished career as an opera composer and leading figure in Madrid's musical life at the turn of the 20th century has tended to overshadow the significant contribution he made to Spanish chamber music. He remained true to the historic roots of the string quartet genre- his First String Quartet being a tribute to the Viennese tradition in it's Classical poise. The Third String Quartet exudes Mendelssohnian inspiration in it's first movement with overtly Spanish idiom, the Allegro no mucho third movement also having been turned into a version for piano trio as the Scherzo andalou. This is the first of two albums of the complete string quartets.

In his song settings, Korngold pursued the Romantic ideal and lavished considerable care and inventiveness on their composition. His seemingly effortless gift for melody is everywhere ap-parent in this second volume (Vol.1 is on 8.572027), whether in the early works or the songs from the 1940s, which would not sound out of place in an operetta or a Broadway musical. Also present, notably in the Drei Gesänge, Op.18, is an exciting, experimental approach to harmony that reflects the music of his most radical opera, Das Wunderder Heliane (8.660410-12).

REVIEW:

Already in the 1920s, as a young man, Korngold was composing in a powerfully vocal idiom, as can be heard in the four Lieder des Abschieds (Songs of Farewell). He did not become a prolific art song composer, but there are lieder dotted among his long list of compositions This second volume of his complete songs include Sonett fur Wien from 1953, just four years before his death. The mezzo, Sibylle Fischer, has the task of expressing so much sadness in the four Lieder des Abschieds, a mood she passes to the baritone, Uwe Schenker-Primus, in the Drei Gesange. He also has the task to hark on sorrow in the Lieder aus dem Nachlass, and we hear him to better effect in the forthright Five Songs. That Korngold wrote songs for the cinema surfaces with Morgen from the film The Constant Nymph, here recreated with a piano trio accompaniment, and sung with a smooth elegance by Britta Stallmeister. Together with the pianist, Klaus Simon, the vocal trio give us a rare chance to hear forgotten Korngold.

– David's Review Corner (SDavid Dento)

As the excellently written notes to this release point out, Beck probably would be far more highly regarded today had he not give up symphonic composition in the mid 1760s, turning his attention instead to that black hole of musical ambition: opera. The three works that constitute his Op. 4 (and the six of Op. 3) are quite wonderful, full of imaginative ideas, shapely forms, and effective orchestration. Consider the finale of Op. 4 No. 3, with its unusual harmonic scheme, tricky rhythm, and dynamic contrasts. It was the ability to make his music interesting by characterizing multiple parameters simultaneously that gives Beck’s symphonies their special kick, and allows them to be compared favorably to middle-period Haydn.

The principal competition for this release comes from CPO, and its set of Op. 3/4 played by La Stagione Frankfurt. Those performances employ period instruments, and these do not, but they are every bit as good. The strings play with appropriate rhythmic verve and (typically) smoother timbre, while the harpsichord continuo remains happily where it belongs–in the background. The oboes have a sweet tone characteristic of the Czech school of woodwind playing, and the horns blend well with them. Czech horn playing tends to be softer and more mellow in sonority then most modern schools, and I have to wonder if this is not in fact more “authentic” than the brassy, brazen tone typical of so many period instrument groups.

Whatever the reality, conductor Marek Stilec leads with well-jedged tempos and brings plenty of life to the music–energy without crudeness. This release will give a great deal of pleasure to anyone interested in the best symphonic works of the early classical period.

-- David HurwitzClassicsToday.com

Four-time BAFTA winning composer Christopher Gunning, has composed twelve symphonies as well as concertos for the piano, violin, cello, flute, oboe, clarinet, saxophone, and guitar. Here the BBC National Orchestra of Wales and conductor Kenneth Woods, perform his eighth and ninth symphonies, recorded in Hoddinott Hall in March 2024. "Each scored for a moderatelysized orchestra (the 8th has only one trumpet and no lower brass, while the 9th adds a second trumpet, a harp, and a small percussion section) and both [grapple], in Gunning's highly individual way, with the legacy of classical symphonic form" - Richard Bratby. [9th Symphony] "I believe this piece has a strong emotional flavour but if you try and untangle the story you're going to end up with your own story - and to me, that is absolutely perfect." - Christopher Gunning. "Gunning's [...] symphonies, numerous concertos and sundry orchestral pieces are as meticulously wrought as they are powerfully conceived." - Gramophone

Xiaogang Ye is regarded as one of today’s leading Chinese composers, having won prestigious awards for his concert music and for numerous highly successful film scores. The works on this recording share a deep affection for the beauty and power of nature and landscape in China. Mount E’mei eulogises the great spectacle and cultural significance of the mountain, creating a multi-dimensional picture through the use of traditional instruments. Lamura Cuo and The Silence of Mount Minshan describe mystic atmosphere and melancholy silence, while Scent of Green Mango uses vibrant colors and shading to express gratitude for the fruit’s refreshing fragrance.

Renowned Danish pianist and composer Carsten Dahl is set to release his new album, Interpretations The Norway Sessions with his Golden Ratio Trio feat. Swedish bassist Daniel Franck and Danish drummer Jakob Hoyer on vinyl on Storyville Records. This recording presents 13 original compositions, two by Dahl, one by Franck and ten by all three musicians. Interpretations presents two distinct recording sessions that offer contrasting textures. The first session is characterized by a warm, melodically precise ambiance, while the second session embraces a rawer, more aggressive edge. This duality in expression ensures that the music remains compelling and evocative, with every nuance and detail thoughtfully crafted. The interplay between Hoyer's delicate drumming, Franck's resonant bass, and Dahl's emotive piano creates a rich tapestry of sound, revealing layers of meaning and intensity. Interpretations showcases Dahl's matured approach to the piano trio format. Over the years, Dahl's style has evolved from his early bop influences to a more nuanced and sophisticated voice, drawing comparisons to jazz luminaries such as Bill Evans and Keith Jarrett. Dahl's unique interplay of melody and rhythm now incorporates influences from European classical music, with inspirations ranging from Bach to Rachmaninoff, all while remaining deeply rooted in the jazz tradition. Dahl describes the album with his signature poetic and introspective approach, stating: "We interpret the wind's sigh and the blood that bubbles inside us." He likens the creative process to a spiritual excavation, seeking the profound roots of musical expression. The trio's approach is akin to the artistic philosophy of Pablo Picasso-where creativity emerges not from striving, but from a receptive and intuitive interplay. Dahl likens their work to "small paintings where the picture dictates the interpretations, and where the musician merely plays the role of paint and paintbrush." Interpretations challenges listeners to engage with music in new and profound ways. It is in the delicate balance between action and pause, expectation and surprise, that this music truly thrives.

Known primarily as a composer of choral music, Lorenzo Perosi was also a priest and much admired by Puccini. Stellar Italian pianist Matteo Bevilacqua is joined once again by members of the Roma Tre Orchestra in these 20th-century Italian chamber music discoveries. Includes world premiere recordings. Perosi’s piano quartets and String Trio No. 2 are available on Naxos 8.574375.