Following up its widely acclaimed reissues of the Juilliard Quartet’s complete Epic and RCA Victor albums – originally issued between 1956 and 1960 – Sony Classical is excited to present a new box set collecting the earliest albums of this august American ensemble. Made between 1949 and 1956 in Columbia’s studio on Manhattan’s 30th St., these landmark recordings are mostly new to CD.

From its first appearances in New York, the Juilliard Quartet was identified as a champion of modern music. Its first recordings for American Columbia, all included here, were dedicated to the works of Alban Berg and Béla Bartók (then only recently deceased), as well as to Arnold Schoenberg (still very much alive), and to active American composers including William Schuman. But the heart of this release comprising 16 newly mastered CDs and also featuring works by Mozart, Ravel, Webern, Milhaud, Copland, Peter Mennin, Alexei Haieff and Andrew Imbrie, are three discs containing the premiere of Béla Bartók’s six quartets on records, which were set down in 1949. They appeared on LP and 78s the following year, bringing the Juilliard Quartet its first real celebrity. Recorded on 78-rpm shellacs rather than on tape, this path-breaking set thus consists of live, unedited performances. When reissued some years ago on CD – the only portion of the new Sony Classical box set ever to have appeared before on silver discs – it was rapturously praised in Fanfare magazine for “its joy of discovery, which remains completely fresh and vivid” even though numerous other traversals of the Bartók cycle had appeared in the meantime.

Another Juilliard milestone was the premiere of Arnold Schoenberg’s four quartets on records, set down in 1951–52. At last, all these historic Juilliard String Quartet recordings are available to today’s music lovers.

REVIEWS:

[An] engrossing 16-disc box set of [the Juilliard Quartet's] earliest recordings for the Columbia label, many appearing on disc for the first time.

What other quartet of that era would have made its recorded debut not with standard repertoire but with a cantata by Darius Milhaud, written just a few years before? There are works here by composers both renowned (Berg, Webern, Copland) and virtually forgotten (Peter Mennin, Alexei Haieff), all rendered in the Juilliard’s trademark sound: X-ray clear and devoid of schmaltz.

Two complete cycles anchor the set: Bartok (the first recording of his six quartets) and Schoenberg. Given how unfamiliar these works were at the time, the Juilliard’s confidence and authority is stunning. Subsequent recordings may have disclosed other aspects of this repertory, but that does not dampen the freshness and sense of discovery audible here.

-- The New York Times

If patience is a virtue, then fans of the Juilliard String Quartet’s earliest records must be saints. For only now have these much-cherished monaural recordings returned to circulation, some 70 years after their debuts, in a new 16-CD set from Sony Classical titled “Juilliard String Quartet: The Early Columbia Recordings, 1949-56.” The quartet, currently observing its 75th anniversary, is still going strong, though the present ensemble naturally comprises personnel entirely different from those selected for the group at its founding in 1946 by the composer William Schuman, then president of the famed Juilliard School in New York.

Sony has been good to the Juilliard, having previously released important sets of recordings from a bit later in the group’s life, specifically the 1950s and ’60s, when the quartet made what quickly became fabled discs for Epic and RCA Victor. The addition of this box means the quartet’s early prime is now thoroughly documented. (That said, good luck acquiring those Epic and RCA reissues, which were quicky snatched up—something worth keeping in mind while pondering this latest one.)

String quartets, with their changing personnel and specialized repertory, have rarely achieved lasting fame, at least among the larger population. They have never in modern times commanded the attention that celebrated instrumental soloists garner, and they haven’t the institutional resources that orchestras command. So releases like this one serve a special purpose. They make us aware of great musicians who might otherwise be, at best, dimly recalled. And, certainly in this case, they return to public attention extraordinary performances that should never have been out of the limelight.

-- The Wall Street Journal

Following Sony Classical’s 16-CD release of Artur Rodziński’s New York Philharmonic recordings, here is the label’s eagerly awaited 13-disc collection of his complete recordings with the Cleveland Orchestra, which Rodziński headed from 1933 to 1943. The fiery, volatile Polish conductor (1892–1958) – whose lean, propulsive style emulated that of his idol Toscanini – earned a reputation as a builder of great orchestras: he led and developed the Los Angeles Philharmonic before taking up his position in Cleveland. In 1935, he brought nationwide attention to the midwestern orchestra when he conducted it in the US première of Shostakovich’s opera Lady Macbeth of the Mtsensk District. During his tenure in Cleveland, Rodziński moulded its orchestra into a brilliant ensemble which his successor, George Szell, would then elevate to international pre-eminence. Meanwhile, Rodziński was also active in Europe, becoming the first naturalized American to conduct the Vienna Philharmonic at the Salzburg Festival. There Toscanini admired his work and in 1938 picked him to train his new NBC Symphony Orchestra. In Cleveland between 1939 and 1942, Rodziński conducted a number of important recordings for Columbia Masterworks, all of them contained in this new set.

With dedicatee Louis Krasner as soloist, he made the first studio recording of the Berg Violin Concerto. His other acclaimed 78-sets include the Berlioz Symphonie fantastique, Rimsky-Korsakov’s Scheherazade (“among the finest statements ever given this incorrigibly popular score” – High Fidelity), Strauss’s Ein Heldenleben, the Fifth Symphony of Tchaikovsky (“Remarkable here is the tension of the second movement and the heroic close to the first” – Gramophone) as well as those of Sibelius and Shostakovich, Tchaikovsky’s Romeo and Juliet (“Unsullied excitement” – Gramophone), Debussy’s La Mer and the orchestral “scenario” from Jerome Kern’s Show Boat – plus a previously unreleased recording of Mendelssohn’s Violin Concerto with Nathan Milstein. Until now, most of these albums have only been released on 78s and reissued on LP. Thus Sony Classical’s meticulously transferred and mastered 13-disc collection of Rodziński’s Cleveland recordings fills a large gap in this still widely admired conductor’s CD discography.

For their fourth release with BIS, the United Strings of Europe with their director Julian Azkoul present another innovative programme, dedicated this time to the night, a source of wonder and fascination, rich with metaphorical associations. The ensemble’s varied, tailor-made programme features counterpoint, aching dissonance and chromaticism from across a range of styles spanning nearly 500 years, from the Renaissance to the present day.

The album is built around two post-romantic masterpieces: Richard Strauss’s Metamorphosen (here in an arrangement by Éric Mouret), a work composed during the final months of the Second World War that evokes destruction, mourning, nostalgia, but also hope for progress and transformation, and Arnold Schoenberg’s Verklärte Nacht, based on a poem by Richard Dehmel, which, in a nocturnal dialogue between a man and a woman, shows the power of love that can overcome the greatest challenges. These two major works are joined by arrangements for strings of vocal pieces by Maddelena Casulana, Carlo Gesualdo and Henry Purcell, as well as a new work by Daniel Kidane, Be Still, featuring percussionist Beibei Wang, a reflection on recent years marked by lockdowns during which everyday markers, such as meeting with friends and family, travelling or attending concerts vanished.

Vienna around 1900 was a melting-pot in several ways: a city attracting artists from the entire Austro-Hungarian Empire where bohemian writers and musicians rubbed shoulders with aristocrats and establishment figures, and where late-Romanticism co-existed uneasily with the Wiener Moderne aesthetic of the fin-de-siècle. In the visual arts, Jugendstil (or Wiener Secession) was all the rage: its curlicues, floral patterns and fluid lines were seen everywhere – in architecture, interior design and graphic arts. In music, the term is usually associated with composers such as Mahler, Zemlinsky and Korngold, but also early works by Alban Berg and Arnold Schoenberg. Following on three previous acclaimed recital albums on BIS, Camilla Tilling and Paul Rivinius have devised a programme with songs by these very composers, written between 1898 and 1916. The songs range from the Einfache Lieder by a teenaged Korngold to Zemlinsky’s set of Walzer-Gesänge based on Tuscan folk poems and the much-loved Rückert-Lieder by Mahler. Schoenberg is represented by his Op. 2 collection 4 Lieder and his student Berg by the set of Sieben frühe Lieder, from 1905–08.

Arnold Schoenberg, one of the most influential musical figures of the 20th century, was born in Vienna in 1874. Sony Classical is celebrating the 150th anniversary of the great composer’s birth with the reissue of 20 CDs of recordings from CBS/American Columbia. The company was a pioneer in documenting Schoenberg’s achievements and already demonstrated that commitment during his lifetime (he died in 1951). In 1940, with the composer conducting, Columbia Masterworks produced the first recording of one of his most captivating and revolutionary works, Pierrot lunaire; and in the 1950s and 60s, the label undertook a ground-breaking multi-volume series entitled “The Music of Arnold Schoenberg”. But arguably no recordings have done more to further the cause of Schoenberg’s orchestral and vocal works than those of Pierre Boulez, while none have done more to promote his chamber music than those by the Juilliard Quartet. Sony Classical now presents all of Boulez’s Schoenberg for CBS/Columbia in a 13-CD box, and all of the Juilliard’s in a 7-disc set.

Traditionally, Switzerland has an important and impressive heritage regarding festivals for classical music, among them the famous Lucerne Festival, rooting back to the so-called "Concert de Gala" in the gardens of Richard Wagner's villa at Tribschen in 1938 conducted by Arturo Toscanini. This release features the fascinating variety and the many facets of the classical festival scene in Switzerland. The selection of the works takes the importance of big names and well known works into account, but also presents modern or even avant-garde approaches or less well known chamber music works.

The world’s leading orchestras, conductors and soloists, outstanding concert venues like the KKL Culture and Convention Centre by the renowned architect Jean Nouvel in Lucerne, a breathtaking landscape: there are many reasons for falling in love with the Swiss music festivals. The Swiss festivals now draw more than 500,000 classical music enthusiasts to the shores of Lake Lucerne or the Verbier mountains every year. And the numbers of visitors is growing from year to year. With this release, you will understand why.

CONTENTS:

DISC 1:
Beethoven: Piano Concerto No. 3 in C Minor, Op. 37    
Francesco Piemontesi, piano
Chamber Orchestra of Europe / Roger Norrington, conductor

Mozart: Symphony No. 39 in E-Flat Major, K. 543    
Francesco Piemontesi, piano
Le Cercle de L'Harmonie / Jérémie Rhorer, conductor

DISC 2:
Mozart: Symphony No. 40 in G Minor, K. 550    
Mozart: Symphony No. 41 in C Major, K. 551, "Jupiter"    
Le Cercle de L'Harmonie / Jérémie Rhorer, conductor

DISC 3:  
Elgar: Introduction and Allegro, Op. 47  
Schumann Quartett
CHAARTS Chamber Artists 
Felix Froschhammer, concert master

Kancheli: Chiaroscuro for Violin and Orchestra    
Sebastian Bohren, violin
CHAARTS Chamber Artists
Andreas Fleck, conductor

Schumann:
Dein Angesicht, Op. 127 No. 2    
Lehn' deine Wang' an meine Wang', Op. 142 No. 2    
Es leuchtet meine Liebe, Op. 127 No. 3    
Mein Wagen rollet langsam, Op. 142 No. 4    
Ian Bostridge, tenor
Saskia Giorgini, piano

Ralph Vaughan Williams: On Wenlock Edge: V. Bredon Hill    
Ian Bostridge, tenor
Casal Quartett

Purcell: The Fairy Queen, Z. 629: O Let Me Weep    
Regula Mühlemann, soprano
Robin Müller, violin
CHAARTS Chamber Artists

DISC 4:  
Brahms: Piano Trio No.1, Op. 8    
Jonian-Ilias Kadesha, violin
Vashti Hunter, cello
Joonas Ahonen, piano

Blum: Luzerner Kreisel    
Silke Gäng, mezzo-soprano
Oliwia Grabowska, piano

Gesualdo: Madrigals, Libro 6: II. Beltà poi che t'assenti    
Davos Festival Kammerchor

Dalbavie: Palimpseste für Flöte, Klarinette, Violine, Viola, Violoncello und Klavier    
Àgnes Vass, flute
Joonas Ahonen, piano

Dickkopf: Paris    
Davos Festival Männerchor

DISC 5:
Beethoven: Violin Concerto in D Major, Op. 61    
Lily Francis, violin
Festival Orchestra / Willem de Bordes, conductor

Enescu: Romanian Rhapsodies, Op. 11: No. 1 in A Major 
Jonian-Ilias Kadesha, violin
Festival Orchestra / Daniel Bard, concert master

DISC 6:  
Beethoven: Piano Trio No. 5 in D Major, Op. 70 No. 1 "Ghost"    
Candida Thompson, violin
Xenia Jankovic, cello
Paolo Giacometti, piano

Enescu: Octet in C Major, Op. 7    
Daniel Bard, violin

DISC 7:  
Bach: Jesu, meine Freude, BWV 227    
Britten: Hymn to St. Caecilia
Gabrieli Consort & Players
Paul McCreesh, conductor

DISC 8:  
Mozart: Requiem in D Minor, K. 626    
Elgar: They Are at Rest
Gabrieli Consort & Players
Paul McCreesh, conductor

DISC 9:  
Haydn: Symphony No. 6 in D Major, Hob. I:6 "Le Matin"    
CHAARTS Chamber Artists  
Gregory Ahss, concert master

Sollima: Fecit Neap 17
Giovanni Sollima, cello
CHAARTS Chamber Artists  
Gregory Ahss, concert master

Schönberg: Verklärte Nacht, Op. 4    
Felix Froschhammer, violin
Gregory Ahss, violin
Lawrence Power, viola
Razvan Popovici, viola
Maximilian Hornung, cello
Andreas Fleck, cello  

DISC 10: 
Webern: Sechs Stücke für großes Orchester, Op. 6    
Orchestra of the Lucerne Festival Academy / Susanna Mälkki, conductor 

Neuwirth: Trurliade - Zone Zero
Victor Hanna, percussion
Orchestra of the Lucerne Festival Academy / Susanna Mälkki, conductor 

Rihm: Gruss-Moment für Pierre Boulez
Ligeti: San Francisco Polyphony
Orchestra of the Lucerne Festival Academy / Matthias Pintscher, conductor

DISC 11: 
Shostakovich: From Jewish Folk Poetry, Op. 79  
Shostakovich: Cello Sonata in D Minor, Op 40    
Rachmaninoff: Cello Sonata in G Minor, Op. 19    
Bloch: From Jewish Life, IEB 6
Sol Gabetta, violin
Bertrand Chamayou, piano

DISC 12:  
Mahler: Symphony No. 5    
UBS Verbier Festival Orchestra / James Levine, conductor

DISC 13: 
Bach: Concerto for 4 Keyboards in A Minor, BWV 1065    
Martha Argerich, piano
Evgeny Kissin, piano
James Levine, piano
Mikhail Pletnev, piano

Haydn: Symphony No. 88 in G Major, Hob. I:88    
Verbier Festival Chamber Orchestra / András Schiff, conductor

Rachmaninoff: Cello Sonata in G Minor, Op. 19    
Lynn Harrell, cello
Yuja Wang, piano

Ysaye: Sonata for 2 Violins in A Minor, Op. posth.
Joshua Bell, violin
Leonidas Kavakos, violin

A 2020 Grammy nominee for best opera recording!

Also available on Blu-ray

Based on Oscar Wilde’s story The Birthday of the Infanta, Zemlinsky’s single-act opera Der Zwerg is the tragic tale of a dwarf who is presented at court, falls in love with the beautiful Donna Clara, but is ultimately forced to see himself as others see him and to die of a broken heart. Preceded by Schoenberg’s Accompaniment to a Cinematographic Scene, Op. 34 (1930), Zemlinsky’s Romantic score is full of psychological intrigue. Is Der Zwerg a critique of society’s superficiality? Is it the composer’s self-portrait in his doomed affair with Alma Schindler? Director Tobias Kratzer’s stunning, transparent production creates a space in which each character is thrown into sharp relief in this ‘fine, noble and melancholy work’. (Bachtrack.com)

Three years after recording Franz Schubert’s Schwanengesang (arranged by Liszt), pianist Can Çakmur launches a new series called Schubert. Describing the Viennese composer as “a con­stant companion” in his life, Çakmur’s aim here is to juxtapose his complete major piano solo compositions with works by other composers that were inspired by his music, thus providing the opportunity to see these works in a new light. While making up a near complete anthology of Schubert’s completed major piano music, each disc is also intended as a self-sufficient recital. In this first instalment, two sonatas by Schubert, respectively D 537 and D 959, are juxtaposed with Arnold Schoenberg’s Three Pieces op. 11. The reason for this combination is that, firstly, the same theme is shared but treated differently in Schubert’s sonatas, and secondly, Schubert and Schoenberg seemingly sharing the same conception where the natural flow and direction of the music appear consciously deconstructed. With different means and a hundred years apart, both Schubert and Schoenberg, the former with his aversion to formal boundaries, the latter with his efforts against the natural tendencies of Western harmony, managed to strengthen the subjective expression of their music.

The Greek soprano Fanie Antonelou and German pianist Kerstin Mörk here join forces in an exciting project, entitled ‘Affinities’. In a carefully constructed sequence of 23 songs, they explore the kinship between Greek and German art songs – a varied one, filtered through friendships, family connections and teacher-pupil relationships. All the composers represented on the album studied and/or worked in the late 19th and early 20th centuries in the three great German-speaking musical centres – Vienna, Munich and Berlin – and include figures both well known (Schoenberg, Weill, Skalkottas and Mitropoulos) and less familiar (Emilios Riadis, Dimitrios Lialios, Ludwig Thuille). With twelve composers and even more poets involved, the subject matter of the individual songs is diverse indeed – from a café scene in Berlin (Der Abschiedsbrief by Kurt Weill in cabaret mode) to a hymn to Aphrodite, set by Dimitri Mitropoulos in a highly expressionistic free atonal idiom inspired by Schoenberg.

This collection from the legacy of Jirí Belohlávek was put together during the year after the demise of this outstanding conductor. It is intended mainly as a recollection of this extraordinary musician and person. His life can be briefly described by enumerating the greatest of his achievements (Chief Conductor of the Czech Philharmonic, BBC Symphony Orchestra, guest conductor with the Berliner Philharmoniker, New York Philharmonic, Royal Concertgebouw, appearances at the MET, Glyndebourne, etc.; holder of the Commander of the Order of the British Empire /CBE/ title). The Maestro himself may have preferred a sharing of memories to recordings; yet the set of twenty-three pieces taken from the almost three hundred pieces from Supraphon archives and recorded in the years 1971 – 2016 is a wonderful illustration of Belohlávek’s professional maturing. They capture him as a conductor of several leading Czech orchestras, beginning with the Brno Philharmonic Orchestra and concluding by the Czech Philharmonic and Prague Philharmonia. In the very centre of Belohlávek’s repertoire we find compositions by Dvorák (From the New World), Smetana (My Country), Suk, Janácek and, notably, Martinu, whom he introduced to the world. The collection is enriched by several side-steps into other areas of repertoire including Mozart, Ravel, Mahler and Bartók, which documents the amazing scope of the conductor’s focus.

Hot on the heels of their acclaimed recording of Britten’s Peter Grimes, Stuart Skelton and Edward Gardner join forces with Christine Rice and the BBC Symphony Orchestra for this fascinating programme of early twentieth-century works. Schoenberg’s Verklärte Nacht needs no introduction, but far rarer is Oscar Fried’s contemporaneous setting of the same poem. Composed in 1901 for soloists and orchestra, Fried’s version is a true setting of (as opposed to Schoenberg’s reflection on) the text by Richard Dehmel. Lehár wrote Fieber in 1915 as the closing part of his song cycle Aus eiserner Zeit – he then made the orchestral setting a year later. Korngold’s Lieder des Abschieds (Songs of Farewell) date from the early 1920s, whilst he was still in Vienna, and shortly after he had completed the opera Die tote Stadt. Setting poetry by Christina Rossetti, Edith Ronsperger, and Ernst Lothar, the cycle is a poignant reflection on the Great War.

Mariss Jansons was one of the most important conductors of our time, celebrated worldwide and held in the highest regard – all the more so since his unexpected death on December 1, 2019. "Mariss Jansons - The Edition," comprising 70 recordings and a box set in representative LP format, documents the final phase of his life and career: his work as chief conductor of the Symphonieorchester des Bayerischen Rundfunks and the Bavarian Radio Chorus between 2003 and 2019. Predominantly live recordings from Munich, Tokyo, Vienna, New York, Waldsassen, and the Vatican enable listeners to experience for themselves musical highlights that are as moving as they are exciting. The set contains a remarkably diverse repertoire, ranging from symphonic music and great choral works to opera, and from the First Viennese School to 20th century classical music. "Mariss Jansons - The Edition" contains works by a broad range of composers, including complete cycles of the symphonies of Beethoven, Brahms, and Mahler respectively. It is supplemented by fascinating rehearsal recordings that bear witness to Jansons's trusting artistic collaboration with the musicians in his orchestra, together with a large-format, approximately 72-page-long booklet containing background information, essays, an interview, and a detailed track listing.

SUMMARY OF MAJOR WORKS:

Beethoven: Symphonies Nos. 1-9 (No. 9 appears twice)

Berlioz: Symphonie fantastique

Brahms: Symphonies Nos. 1-4 (No. 4 appears twice)

Bruckner: Symphonies Nos. 3-4; 6-9

Mahler: Symphonies Nos. 1-9 (Symphonies Nos. 3-4, 6, & 8 are FIRST RELEASES)

Saint-Saëns: Symphony No. 3 ("Organ")

Schoenberg: Gurre-Lieder

Schubert: Symphonies Nos. 3 & 8 (9); ("The Great")

Schumann: Symphony No. 1

Shostakovich: Symphonies Nos. 5-7, 9-10

Stravinsky: Petrouchka, Firebird, & Rite of Spring

Tchaikovsky: Symphonies Nos. 4-6; Pique Dame

Verdi: Requiem

This new OSR recording presents the two most ambitious musical responses to Maurice Maeterlinck’s 1893 epoch-making play Pelléas et Mélisande. Conductor Jonathan Nott has created a new suite of Debussy’s opera, which is much more extensive, and focuses more on the actual drama and symphonic development than existing suites that rely heavily on Debussy’s interludes. Schoenberg’s Pelléas und Melisande is often perceived as relatively “amorphous”, its narrative structure obscure, leaving concealed all but the most explicit references to the drama on which Schoenberg based it. In this recording, Jonathan Nott introduces a novel track division and analytical track titles that make the music’s relation to the story much more tangible to the listener. Programming it next to the music of Debussy’s opera allows us to compare both works, and to see how the most important innovators of turn-of-the-century music responded to this haunting, Symbolist story. The arrangement of Debussy’s music on this recording is the work of Jonathan Nott.

REVIEW:

For many listeners, conductor Jonathan Nott's new version of Debussy's work will be reason enough to check this album out. While his task was a difficult one, the results give a feel for the flow of the opera. But there's more. Nott has configured the track divisions and track titles of Schoenberg's single-movement Pelleas und Melisande in a novel way. In part, he seems to have relied on Alban Berg's analysis of the work as a combination of four-movement sonata form and the Wagnerian leitmotif technique, and the track titles, Nott's own, reflect this. One might debate what has been done in the cases of both Debussy and Schoenberg, but there's no debating the value of his effort; comparing the Debussy and the Schoenberg side by side is fascinating. Nott further emphasizes the direct comparison with his relatively straightforward performances of the two works, avoiding operatic gestures in the Debussy, and the venerable Swiss orchestra follows him well through unfamiliar interpretations. This is highly recommended for aficionados of the early 20th century.

-- AllMusic.com (James Manheim)

Following their acclaimed recordings of the works for string trio by Mozart and Beethoven, Trio Zimmermann make a great leap in time. Arnold Schoenberg and Paul Hindemith were both at the avant-garde epicentre of the 1910s and 1920s, but their future paths could hardly have been more different. Whereas Schoenberg would go on to have a decisive influence on twentieth-century modernism with his dodecaphonic music and the Second Viennese School, Paul Hindemith gradually renounced his rebellious early music, eventually becoming something of an anachronistic loner. The relatively early String Trio No. 1 (1924) already betrays the composer's interest in the forms and textures of baroque music. It opens with a flittering Toccata, going on to offer a contrapuntal web in its slow movement and ends with a double fugue. The contrapuntal textures are present also in the Second String Trio, but the neotonal language and general atmosphere point forward to later, large-scale works such as Mathis der Mahler. In 1933, the year Hindemith composed his second trio, the political developments in Germany caused Arnold Schoenberg to leave Europe for the U.S.A. (Hindemith would follow in 1940.) It took him considerable time before he found his feet in this new environment and continuing financial and professional worries probably contributed to a serious heart attack that struck him down in August 1946. The String Trio, Op.45, begun shortly before the heart attack and completed a month after it, is the disturbing expression of this extreme near-death experience. It also presents one of the greatest challenges in the entire string repertoire – in fact Schoenberg considered easing the technical difficulties by expanding the trio into a quintet.

Under the artistic direction of Nicolas Altstaedt, this multi-award winning series in collaboration with the Lockenhaus Festival continues to bring to light great works of chamber music by composers who are already well known or still awaiting discovery. Schoenberg was in his early seventies when he composed his String Trio op. 45 in 1946, completing it after suffering a terrible heart attack. He told Thomas Mann that the trio reflected his physical and psychological condition of that period. The composer Constantin Regamey, born in Kiev in 1907, is little known. A Swiss of Polish descent, he was also a pianist, music critic and writer, who was appointed lecturer in Indian philology at Warsaw University in 1936. He joined the Polish Resistance in 1942 and it was at this time that he wrote his Quintet for clarinet, bassoon, violin, cello and piano.

With sparkling articulation reminiscent of the remarkable Alicia de Larrocha, pianist Pola Baytelman probes deeply to the heart of whatever music she plays. Keeping the composer’s intent foremost, she plays with effortless technique, listening always. The press has called her playing “formidable” and having “a diaphanous touch.” Baytelman is an active recitalist with a broad repertory that covers from the 18th to the 21st century. She has toured extensively in China, Europe, Hong Kong, South America, and across the United States.

Pola Baytelman is Distinguished Artist-in-Residence at Skidmore College, in Saratoga Springs,N.Y. where she was chosen to present the Moseley Lecture-Recital in 2006, the highest honor Skidmore faculty confers on a colleague. Her latest compact disc, “From Chile to Cuba,” was released by Albany Records in 2009. Baytelman’s recording of Robert Schumann’s Humoreske (2002 Centaur) was listed by American Record Guide as one of the top three performances of the classic work.

Named a Concerto Choice in BBC Music Magazine September 2022!

The Orchestre de la Suisse Romande and its Music and Artistic Director Jonathan Nott continue their acclaimed series of 20th-century masterpieces on PENTATONE, together with star pianist Francesco Piemontesi, presenting piano concertos by Ravel and Schoenberg alongside Messiaen’s Oiseaux exotiques. Each of these composers redefined 20th-century music in a highly personal way, and the works recorded here share a connection to the United States which one would perhaps not expect right away from these European master composers. While Ravel and Schoenberg’s piano concertos provide the most original and colourful 20th-century contributions to this genre, Messiaen employs a similar scoring to express his profound reverence for nature in Oiseaux exotiques. These challenging and multifarious scores fit Piemontesi, Nott and the orchestra like a glove.

Francesco Piemontesi is among the most-cherished pianists of our age, and presents the third fruit of his exclusive collaboration with PENTATONE, having released the acclaimed Schubert - Last Piano Sonatas (2019) and Bach Nostalghia (2021). The Orchestre de la Suisse Romande is one of the world’s most respected orchestras with a vast PENTATONE discography. This is their third release on the label with their Music and Artistic Director Jonathan Nott, after Strauss, Debussy & Ligeti (2018) and the gloriously received Debussy & Schoenberg,Conductor:Pelléas et Mélisande (2021), containing Nott’s new arrangement of Debussy’s opera.

REVIEWS:

Francesco Piemontesi’s musicianship is both deft and searching. Here are stellar interpretations of three very different concerto-type works, ordered into a journey from easier listening to more difficult.

You have to envy the citizens of Geneva, regularly able to hear music-making on this level from their resident orchestra and conductor. Add a pianist in Francesco Piemontesi’s class, and here are stellar interpretations of three very different concerto-type works, ordered into a journey from easier listening to (notionally at least) more difficult.

Ravel was so determined to avoid portentousness in his winsome G major Piano Concerto the first work heard on the disc — that it can easily sound trite in performance. Any such risk vanishes in the presence of Piemontesi’s brand of musicianship, which is at once deft and searching; a special moment is the sequence of trills decorating the melody in the first movement’s cadenza, marvellously judged to sound as if the notes are somehow gliding, rather than stepping from one to the next.

Without any compromising sense of a soft- focus paraphrase, the music is nonetheless delivered with a sureness of touch and purpose that absorbs and, as often as not, beguiles the ear.

--BBC Music (Malcolm Hayes)

The Telegraph Quartet makes their Azica Records debut, In this first installment we have two works that, as far as can be determined, have never been recorded together. They are equally unlikely to have appeared together on the same mainstream live concert program. Ravel’s only string quartet is often paired with Debussy’s only string quartet particularly to showcase their shared lineage of French Impressionism, and that Ravel’s design was strongly influenced by Debussy’s. Schoenberg’s first numbered quartet is most often programmed within the cycle of his own radically evolving quartets, or with the work of the larger “Second Viennese School”, perhaps even the quartets of his only teacher Anton Zemlinsky. Here, in a striking setting, two of the greatest 20th century composers share the program with two distinctively different masterworks that have a nearly identical chronology. Born one year apart (Schoenberg in 1874, Ravel in 1875), these contemporaries composed, premiered and published their quartets between 1902 and 1907 (Ravel first, then Schoenberg). 1904 saw the premiere of Ravel’s quartet just as Schoenberg began to compose his. This synchronicity in the first decade of the 20th century makes this pairing an extraordinary snapshot of the avant- garde: A time capsule.

The juxtaposition is a marvelous invitation for comparison and contrast. It presents two significantly divergent “schools” that nonetheless share some interesting traits. The history, temperament, life story and lasting influence of each composer portray them as wildly different, like two different musical species. But together, their quartets paint a vivid portrait of a shared moment within the long history of the string quartet genre

Schoenberg's famous Verklärte Nacht (Transfigured Night), inspired by Richard Dehmel's poem in which a woman announces to her companion that she is pregnant by another man, is presented here in its version for piano trio by Eduard Steuermann: 'This brilliant pianist, the creator of many of Schoenberg's pieces, brings the story to life by entrusting the dialogue between the man and the woman to cello and violin alone', says Thomas Dieltjens, pianist of the group Het Collectief. Anton Webern made a transcription of Schoenberg's Kammersymphonie Op.9 in 1923 for the same forces as Pierrot Lunaire. This miniature orchestra, consisting of just two wind instruments (flute, clarinet), two string instruments (violin, cello) and a piano, 'preserves great clarity in the polyphonic line'. Het Collectif asked the young composer Tim Mulleman to transcribe for the same ensemble the Piano Sonata Op. 1 of Alban Berg, who himself made arrangements of some of his own works, including the famous Adagio from his Kammerkonzert, also presented in this programme.