Arkiv Outlet
3488 products
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SaleSchubert, Lacroix, Morlock, Yoshimatsu: Night Light / Chiu, Deutsch
Leaf Music · Feb 2022CD$18.99$9.49 -
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SaleHonegger, Liebermann, & Strauss / Brogli-Sacher, Lübeck Philharmonic
Musicaphon · Jan 2008SACD$16.99$8.49 -
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SalePaisiello: Il barbiere di Siviglia / Gavazzeni, Bastianini, Florence Teatro Comunale
MYTO Historical · Oct 2019CD$13.99$6.99 -
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SaleAmerican Classics - Sierra: Missa Latina "Pro Pace" / Murphy, Webster, Delfs, Milwaukee SO
Naxos · May 2009CD$19.99$9.99 -
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SaleTsontakis: Anasa, True Colors & Unforgettable / Miller, Albany Symphony Orchestra
Naxos · Aug 2017CD$19.99$9.99 -
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SaleRiley: Palmian Chord Ryddle, Royal Majestic / Guerrero, Nashville Symphony
Naxos · Nov 2017CD$19.99$9.99 -
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SaleBernstein: 1600 Pennsylvania Avenue Suite, Slava!, CBS Music & A Bernstein Birthday Bouquet / Alsop, Sao Paulo Symphony Orchestra
Naxos · Oct 2018CD$19.99$9.99
24K Gould / Leslie, UNLV Wind Orchestra
The UNLV Wind Orchestra has received international acclaim for its fresh and creative approach to music making. Performing contemporary repertoire in addition to classical masterworks, the Wind Orchestra at the University of Nevada, Las Vegas has been responsible for commissioning and premiering numerous significant new works by America’s finest young contemporary composers. The ensemble is comprised of music majors, non-majors, and includes select graduate students enrolled in the masters and doctoral performance degree programs at UNLV. Under the baton of Professor Thomas G. Leslie, the Wind Orchestra has received acclaim for outstanding performances at conventions across the globe. They have also received outstanding reviews for twenty professional recordings of international repute. The cornerstone of this album- and the piece from where the album’s title comes- is Morton Gould’s Festive Music, penned in 1964 by the Tri-City Symphony Orchestra of Illinois. In 1991 Mark Jirousek transcribed the work for wind band- the arrangement heard on this release. This work is paired with other remarkable wind band pieces by composers Malcolm Arnold, Howard Hanson, Julian Tanaka, and Jean Francaix.
Schubert, Lacroix, Morlock, Yoshimatsu: Night Light / Chiu, Deutsch
Fantasy for Viola & Piano
BEETHOVEN SUITES
Bach Unlimited / De La Salle
French pianist Lise de la Salle's new album is an outstanding, shining and subtle concept album built around Bach's music. Lise de la Salle selected pieces of Bach and works composed as a tribute to the giant of Leipzig: Busoni, Liszt, Roussel e.a. Four additional pieces have been commissioned to French classical and jazz pianist Thomas Enhco. Since 2001, Lise de la Salle has enjoyed an impressive international career that has seen her perform in every leading concert hall in Europe, the United States and Asia. She works closely with the conductors Fabio Luisi, James Conion and Osmo Vanska, among others, and has also played under the direction of Ludovic Morlot, James Gaffigan, Sir Andrew Davis, and others. She is regularly invited to perform with orchestras such as the Los Angeles Philharmonic, and the London Symphony Orchestra. Her previous albums have garnered her critical acclaim.
Letters to Bach / Noa
Noa, Israeli Born, NY raised singer/songwriter of Yemenite origins, is an internationally renowned artist, who has performed on the world’s most prestigious stages, including numerous performances in the Vatican for three Popes, the White House, Carnegie Hall, Lincoln Center, and the most important theaters of Europe. She has been produced and endorsed by Pat Metheny and Quincy Jones and shared the stage with Stevie Wonder, Sting, Andrea Bocelli and many others. She is Commander of the order of Merit of the Italian Republic, Good Will Ambassador to the UN, Global Leader of Tomorrow and has received endless awards for her artistry and commitment to peace between Israelis and Palestinians.
Paisiello: Il barbiere di Siviglia / Gavazzeni, Bastianini, Florence Teatro Comunale
Even before Rossini, Giovanni Paisiello was the first composer of the Libretto for The Barber of Seville. It is lovely to compare both versions, however, this release is unique in that it was the work’s first release on any format, and is still regarded as the best. Legendary Italian baritone Ettore Bastianini stars as Figaro. The rest of the cast is also incredible, making this release even more attractive to opera connoisseurs. The production was recorded at the Piccolo Teatro di Musica in March of 1953.
Elisa
American Classics - Sierra: Missa Latina "Pro Pace" / Murphy, Webster, Delfs, Milwaukee SO
- The Washington Post
Chopin: Works for Cello and Piano / Désert, Gastinel
Labyrinth / David Greilsammer
“A Riveting Piano Recital” (The New York Times, 2017) David Greilsammer’s new album venture, Labyrinth, is a project that he has been developing since 2017 in a number of concerts given in New York, at the Ravinia Festival, Illinois, in Lancaster and Sheffield, and at the Flagey in Brussels. The fascinated listener can follow this trail here, while keeping hold of the thread and following the light, encountering composers both well and less well known, from every period and style, with whole works and ephemeral fragments cunningly interwoven. While reconnoitering music by Beethoven, Janácek, Satie and Bach, we also have the surprise of a first world performance of Repetition Blindness by Ofer Pelz – specially commissioned for the program – and of a piano arrangement by Jonathan Keren of Chaos by Jean-Féry Rebel (also a first performance) as well as George Crumb’s mesmeric Magic Circle of Infinity.
American Classics - Carter: Symphony No 1, Etc / Wait, Et Al
It’s very good news that Naxos has added Elliott Carter to its American Classics series, beginning with a strong programme of rarely heard pieces, and juxtaposing Carter in early populist vein with Carter the 1960s’ avant-gardist in full cry.
The wartime muscularity of the Symphony No 1 (completed in 1942 but heard here in its 1954 revision) is clearest in passages which echo, or anticipate, Copland’s more extrovert orchestral scores of the same period. But that triumphalist spirit is most productively on show in Carter’s splendidly brash Holiday Overture (1944). The Symphony as a whole is less straightforward, more varied in style and character, and the slow movement in particular moves from hymnic meditation into more ambiguous regions of expression in a manner that might not be completely convincing. It is certainly distinctive, however, and fits well with the balance between restraint and exuberance that typifies the work as a whole.
By the mid-1960s, when the Piano Concerto was composed, Carter’s language had shed its tonal roots, and his forms were far more distant from those traditions that are still traceable in the Symphony. Textures are immensely elaborate, yet the music is uninhibitedly dramatic, depicting all kinds of conflicts and attempted reconciliations while subjecting the basic concept of the concerto to penetrating critical scrutiny.
The power of the drama emerging from the constantly fluctuating confrontations between soloist, main orchestra, and a mediating concertino-group of seven players is rather muted in this recording, which (I suspect) is not the result of a preparatory series of public performances. Ursula Oppens, with Michael Gielen, managed to convey rather more of the music’s inherent fire and tumult. But Mark Wait shows a finely gauged technical command, and although Kenneth Schermerhorn and his Nashville players are occasionally underpowered and inclined to play safe, the jubilant conclusion of the Holiday Overture sweeps any interpretative reservations aside. With the symphony not otherwise available, this disc is a thoroughly recommendable addition to the Naxos American canon.
-- Arnold Whittall, Gramophone [3/2004]
Lyla / Avishai Cohen ft. Chick Corea
‘Lyla’ is Avishai Cohen’s first release with Razdaz Recordz. Piano legend Chick Corea appears as a special guest performing a duet with the leader. Avishai Cohen is an Israeli jazz double bassist, composer, singer, and arranger. He began playing the piano at 9 years old but changed to the bass guitar at the age of 14, inspired by bassist Jaco Pastorius. In 2002, Cohen founded his record label, Razdaz Recordz. "I've always been interested in several genres of music, including jazz, rock, pop, Latin and funk," says Cohen. "I'm always packed with ideas. I decided to start my own label because I'm involved in so many different projects." Cohen's signature sound is a blend of Middle Eastern, eastern European, and African-American musical idioms.
Tsontakis: Anasa, True Colors & Unforgettable / Miller, Albany Symphony Orchestra
Over the last few years American composer George Tsontakis, winner of the Grawemeyer Award for Music Composition, has crafted three distinctive and exciting additions to the contemporary concerto repertoire. Anasa, for clarinet and orchestra, combines elements of the Klezmer tradition with dance themes inspired by the lyra and lauto, traditional Cretan instruments. In True Colors the trumpet journeys in harmonically vivid, jazz-tinged directions, while Unforgettable balances the meditative with the playful, moving from ballad to phantasmagoria in a double concerto of drama and drive.
Rouse: Seeing; Kabir Padavali
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Review:
Trevigne is nothing less than sensational. She is assured in her presentation, and possesses a warm and, yes, voluptuous soprano that is perfectly matched to this material. Her performance shows a level of commitment to the composer’s intentions that only the best singers of contemporary music can command.
– Fanfare
Ranz, J.: Three Cello Suites
Riley: Palmian Chord Ryddle, Royal Majestic / Guerrero, Nashville Symphony
Terry Riley’s name will always be associated with his breakthrough work In C, but his influence on modern music has stretched far beyond minimalism. Both of the works on this recording reveal Riley’s spirit of exploration and his close collaboration with remarkable musicians. Commissioned by the Nashville Symphony, The Palmian Chord Ryddle is a kind of musical autobiography in which electric violin pioneer Tracy Silverman’s “one-man string quartet” sets the pace for the sparse, translucent orchestration. At The Royal Majestic is another recent example of Riley’s work with a symphony orchestra and a virtuosic soloist, in this case organist Todd Wilson. Its title refers to “the mighty Wurlitzer housed in grand movie palaces,” and the music draws on a wide variety of genres including gospel, ragtime, Baroque chorales, and boogie.
REVIEW:
The late career of Terry Riley has received less attention than that of Philip Glass or even Steve Reich. The resurgent Nashville Symphony under Giancarlo Guerrero makes a good case here that such neglect is misguided. The Palmian Chord Ryddle (2011) is an eclectic, playful eight-movement work for electric violin and orchestra, but steering mostly clear of highly extended techniques. Even stronger is At The Royal Majestic, an homage to the golden age of the theater organ. Engineering kudos for clarity in an extremely diverse set of materials. Highly recommended.
– All Music Guide (James Manheim)
Menotti: Amahl & the Night Visitors, My Christmas
REVIEW:
It's remarkable that this classic Christmas opera hasn't received more recordings, but one reason may be its relatively short length (45-50 minutes) and the fact that it's more about the story and its quickly-paced dramatic aspects than the singing--Menotti focuses primarily on dialogue and less on stand-alone arias (this was written for television after all!). But the ensemble nature of the score, the sensitively wrought interaction of the sympathetically drawn characters, the humor, and the poignant relationship of the poor, crippled shepherd boy and his mother, are what give the work its charm and make it so affecting. Not that there aren't many clever and catchy, very pleasing tunes and a couple of fine ensemble numbers and choruses. Menotti's music is just enough and just the right blend of old and newer style.
Although the original 1951 television production conducted by Thomas Schippers (RCA) retains a dramatic edge over this excellent and very welcome newcomer--not to mention a vocally more solid cast--conductor Alastair Willis and his colleagues present a fully satisfying performance that has the advantage of first-rate, modern sound.
My only criticisms concern the acting--there could be a little more use of dramatic pauses and inflective touches, especially at the shocking moment when Amahl discovers he can walk, or in the scene when the Page discovers the Mother and the gold, which here lack the full measure of dramatic force exemplified by Schippers' cast. However, we mostly enjoy the easy interaction of the characters, such as the very effective, poignant moment when the Mother discovers the Kings at the door, or in Amahl's engaging banter with the Kings. The chorus is also fine, as is the orchestra, whose particular colors and instrumental balances are so important to the proper effect of the performance. Ultimately this is a production of this classic work that will hold up to many years of repeat hearings--and it's a pleasure to have it in a recording that obviously relishes and successfully captures the ambience of its chamber-opera character.
--David Vernier, ClassicsToday.com
Bolcom: Piano Music / Finehouse, Olevsky, Oppens, Taylor
William Bolcom was awarded the 1988 Pulitzer Prize in Music for his 12 New Etudes for piano, and his music has always revolved around works for the instrument on which he still performs as a soloist and accompanist. This collection of mostly premiere recordings reveals student pieces that negotiate twentieth century musical battles between the avant-garde influences of Boulez and Messiaen and Bolcom’s love of Schumann, as well as later work that embraces the 1960s ragtime revival and draws inspiration from friends and colleagues in every phase of his distinguished six-decade career. Elegantly performed by friends of the composer, this wide-ranging program is summed up by Bolcom as ‘cleaning house’ in the Charles Ives tradition.
REVIEW:
Anyone suitably provoked should accordingly investigate this set, each of whose discs is well planned as a standalone sequence. Piano tone is clear but never clinical and Bolcom’s own notes, informative and laconic, complement his music unerringly.
-- Gramophone
This extremely useful set gathers together all of Bolcom’s piano music that you don’t already have in your collection. There are many delights here, and some fascinating revelations about the development of this most versatile pianist-composer who has always resolutely refused to respect musical genre boundaries. …There are two delicious rags, separated by almost forty years, student pieces that show the composer coming to terms with the avant-garde polemics of the 1950s and 60s, and a concert paraphrase of an operatic aria in the popular ‘Neapolitan Song’ style.
-- Records International
What was originally mooted, by Klaus Heymann of Naxos, as a complete retrospective of the piano music of William Bolcom, eventually materialized as this 3-CD collection of works not easily available elsewhere. The compositions span 1956-2012, with music from his teen years to the present day, so you get a good overview of works from all periods of his career. Four pianists were engaged for the task, all with connections to the composer. Most of the recordings were set down in New York in 2014.
The music has been beautifully recorded with an attractively clear piano sound in each case. The excellent accompanying liner notes provide personal reflections and background to the pieces played, by the composer himself. On my first encounter with Bolcom’s music, I would offer a warm recommendation for this most enjoyable release.
-- MusicWeb International
Evolutionary Spirits / Nally, The Crossing
Grammy Award-winning chamber choir The Crossing brings to life the striking works of six contemporary composers in this Navona Records release, with performances that are unique and awe-inspiring. The Crossing is a professional chamber choir conducted by Donald Nally and dedicated to new music. It is committed to working with creative teams to make and record new, substantial works for choir that explore and expand ways of writing for choir, singing in choir, and listening to music for choir. Many of its over seventy commissioned premieres address social, environmental, and political issues.
Thompson: Requiem / Hayes, Philadelphia Singers
Listen to the Naxos Podcast episode on this release to learn more!
Randall Thompson’s choral works retain the affection of American choral singers and conductors alike. The Requiem is his masterpiece, written in response to the loss of close friends and colleagues. Using a wide-ranging selection of Biblical verses, it takes the form of a dramatic dialogue between two choirs, a "chorus of mourners" and a "chorus of the faithful", concerning eternal life. Recorded here for the first time in its complete form, this Requiem is an emotional and dramatically intense journey of conflict and resolution, and entirely unique within American music history and the requiem tradition as a whole.
REVIEW:
The performance is very well done by The Philadelphia Singers, a professional choir that after 43 years disbanded in 2015, the year after this recording was made. Although it’s an often strange and imperfect work, we’re fortunate to have the recording, as it fills an important gap in Thompson’s recorded catalog and gives a first-class opportunity to experience aspects of his compositional style that we don’t hear anywhere else in his output.
-- ClassicsToday.com (David Vernier)
The Philadelphia Singers, under the tireless, polished leadership of David Hayes, sustain an impressively high level of musicianship over the course of this long and demanding unaccompanied piece. Thompson’s Requiem is revealed here as a major work, unique and masterful, by an important American voice of the last century. I highly recommend it.
-- Opera News