Following the release of the award-winning Sugarloaf Mountain: An Appalachian Gathering, which was a Top 5 Billboard Classical Crossover hit, Jeannette Sorrell and Apollo’s Fire present Christmas on Sugarloaf Mountain. In this celebration of the American immigrant experience, fiddlers, medieval harp, hammered dulcimer, bagpipes and singers join with children’s voices to evoke the Celtic roots of an Appalachian Christmas. From Christmas Eve in medieval Scotland to folk carols and shape-note hymns at a toe-tapping Christmas gathering in Virginia, Apollo’s Fire follows the journeys of the Irish and Scottish settlers who bravely crossed the Atlantic, settled in the mountains and welcomed Christmas with love, singing, dancing and prayer. Acclaim for the premiere performances of this program was widespread: “The lightning strike of genius can happen, sometimes even repeatedly to those willing to earn it. Jeannette Sorrell is one such person. This show was intense, interesting, spectacularly performed, and deeply moving. If that’s not genius, I don’t know what is.” (Seen & Heard International)

REVIEWS:

Apollo’s Fire is a celebrated baroque orchestra, but their ventures into folk music are just as celebrated. This is music of and by amateurs, here arranged and performed with professional skill, but without sacrificing its vibrant folk quality to the glitz of showbiz. This recording is a must have for anyone susceptible to the allure of this tradition.

– American Record Guide

There are other ways to reveal fresh musical truths in the context of Christmas, and the determination of another early music group to do so has produced my vote for festive disc of the year. Christmas on Sugarloaf Mountain from Apollo’s Fire charts the passage of Scottish and Irish immigrants to the Appalachian Mountains in the 1830s. The Baroque music group gives us sounds we don’t often associate with Bethlehem but are probably far closer to what was heard there: zingy harps, reedy winds and plenteous modality.

– Gramophone

The Door to Paradise celebrates Stephen Darlington’s more than thirty year legacy as Director of the distinguished Choir of Christ Church Cathedral, Oxford. This unprecedented contribution to the choral discography is the most comprehensive collection to date of music from the Eton Choirbook. The Door to Paradise brings together all five volumes of the Choir’s survey in a newly-packaged, beautifully presented deluxe box set with a newly-penned overview of the project by Darlington. This extraordinary collection of English sacred music from the early Renaissance reveals a striking diversity and range of stylistic structures, harmony, sonority, ornamentation and improvisation, and brings to light two world premiere recordings- Walter Lambe’s Gaude flore virginali and John Browne’s second setting of the Salve regina. The collection’s title derives from a dual meaning: the “door to paradise” is the English translation of a line from Browne’s O regina mundi clara, while the cover image features the “Alice Door” between the Deanery and Cathedral Gardens of Christ Church, Oxford, featured in Lewis Carroll’s Alice’s Adventures in Wonderland.



Excerpts of reviews from select, previously released volumes included in this set:

The Sun Most Radiant: Music from the Eton Choirbook, Vol. 4


Stunningly effective singing, with insightful and precise direction by Stephen Darlington. A ground-breaking achievement.

– Early Music Review

Choirs of Angels - Music from the Eton Choirbook Vol 2

Intonation is exact, enunciation clear, the tonal balance distinct between parts yet carefully blended. Phrasing is expressive. Overall, fine performances in sacred music of remarkable eloquence.

– Fanfare

Mirror in Mirror is one of the most personal recordings to date by best-selling violinist Anne Akiko Meyers, a reflective and spiritual journey that weaves a beautiful story through commissions and arrangements by Philip Glass, John Corigliano, Jakub Ciupinski and Morten Lauridsen, alongside works by Arvo Pärt and Maurice Ravel.

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REVIEW:

The American violinist Anne Akiko Meyers has always had a distinctive programming sense to go with her lush tone. But she has perhaps never been more original than on this, her 33rd album. Meyers calls the album one of her most personal projects, and the description holds up even though the recordings were made at several different times. The album is at once intelligently thought out, sensuously beautiful, and deeply spiritual. Highly recommended.

– All Music Guide (J. Manheim)

In the 1990s, Donald Fraser scored a hit with his orchestral arrangement of Marin Marais’ baroque classic The Bells of Genevieve which reached the Top 5 of Billboard’s Classical Chart and remains a radio evergreen to this day. Numerous commissions for arrangements followed for musicians such as The King’s Singers, Yehudi Menuhim and the English Chamber Orchestra. In 2016, AVIE released Don’s large-scale orchestration of Edward Elgar’s Piano Quintet and choral version of Sea Pictures, which charted in the Top 10 of the UK Specialist Classical Chart. Don now returns to the art of arranging smaller scale, classic works by John Dowland, Henry Purcell, Antonio Vivaldi and others, including new versions of his own “Amen” from A Christmas Symphony which was written for and premiered by soprano Jessye Norman, a new remix of The Bells of St. Genevieve and orchestrations of four Elgar art songs that evoke the album’s title, Songs for Strings.

Continuing Avie’s acclaimed and influential series of recordings of the music of Austrian émigré Hans Gal, this latest release brings together two of today’s most eminent Gal interpreters, Sarah Beth Briggs and Kenneth Woods with violin virtuoso David Juritz for a recording of Gal’ breathtakingly lyrical Piano Trio in E major and his witty Variations on a Popular Viennese Tune. Gal’s music and destiny was shaped by war and political upheaval, as was that of Dmitri Shostakovich, whose Piano Trio in E minor, one of the monuments of 20th century chamber music, is a harrowing souvenir of the times in which it was written. “Beautifully poised, enchanting accounts.” (Gramophone) “Briggs is an artist with prowess and personality… [her] infectious pianism is impossible to resist.” (MusicWeb Inernational) “Woods holds his own against such wonders as Sawallisch, Celibidache, Giulini and immediately becomes a favorite for this delectable work.” (Classical Source) “Refreshingly spontaneous.” (BBC Music Magazine)

Award-winning Irish pianist David Quigley, heralded by The Birmingham Post as a musician of "amazing maturity and concentration," makes his Avie label debut with a stunning and beautiful recital that takes the listener on a moonlit journey of the solo piano nocturne, beginning and ending with Quigley's compatriot and the genre's originator, John Field, and traversing the highways and byways of interpretations by composers through the centuries, from Chopin to Schumann, Liszt to Lowell Liebermann and many more in between. "Considerable virtuosity... expertly played." (MusicWeb International) "Crisp, elegant, sophisticated... full of technical elan..." (Culture Northern Ireland)

“My heart skipped a beat when [The Italian Job] from La Serenissima and Adrian Chandler landed on my desk, such was my enjoyment of their Gramophone Awards-shortlisted Vivaldi Four Seasons recording. So to discover that with this all-Italian assortment of sinfonias and concertos they’ve actually topped their 2016 triumph- and apparently effortlessly- gives me no small amount of pleasure.” So said the reviewer of the Gramophone Award-winning release, and the Vivaldi specialists are set to triumph once again with Vivaldi x2, an astonishing medley of double concertos for hunting horns, oboes, bassoon, violin and cello. Emanating from Vivaldi’s pen the double concerto- a genre of which he all but cornered the market- resulted in some of the composer’s most colorful and exuberant works. In the hands of two-time Gramophone Award-winning La Serenissima, these concertos come to virtuosic and effervescent life. “Were I asked to condense this review down to two simple words, they would be: buy it.” (Gramophone) “the freshness incinerates the cobwebs of familiarity in the heat of La Serenissima’s proselytizing zeal.” (BBC Music Magazine Concerto Choice)

REVIEWS:

The Vivaldi recordings by Adrian Chandler and his British period instrument ensemble La Serenissima, named after the nickname of the Venetian Republic and specializing in its music, are breaking new ground. Give this one a try if you haven’t heard the group before: it’s wonderful.

– All Music Guide (James Manheim)

These musicians represent one heck of a crack team when it comes to the music of Vivaldi. Bravissima, La Serenissima.

– Gramophone

Cellist Inbal Segev’s debut release for Avie features the lush and romantic sonatas by Chopin and Grieg, and the Fantasiestucke by Robert Schumann. She is joined by Finnish pianist Juho Pohjonen, a fitting partner for the pianistic Chopin and the virtuosic Grieg. In Schumann’s own transcription of his “Fantasy Pieces,” originally for clarinet, the lyrical quality shines through on Inbal’s 1673 Ruggieri cello. Inbal Segev reaches thousands of people across continents through her influential YouTube video masterclass series Musings with Inbal, teaching core repertoire, cello technique and new works. Her many honors include top prizes at the Pablo Casals, Paulo and Washington International Competitions. She began playing cello in Israel at five and at sixteen was invited by Isaac Stern to continue her studies in the US. She holds degrees from The Juilliard School and Yale University. “first class… richly inspired… very moving indeed…” (Gramophone) “Her playing is characterized by a strong and warm tone…delivered with impressive fluency and style.” (The Strad) “This young artist is, beyond doubt, a star in the making- her tone golden and unstrained in the high positions, her phrasing that of a born musician.” (Musical Opinion)

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REVIEW:

In the late 2010s, cellist Inbal Segev teamed with the young pianist Juho Pohjonen in recitals, and the pair has a good, confident rapport.

In the first movement of Chopin's Cello Sonata in G minor, Op. 65, Segev strikes a nice balance between the bel canto melody and the dense construction.

The virtuosic Grieg sonata is expertly done, and it is likely that this release will satisfy her many fans.

– All Music Guide (James Manheim)

The Brook Street Band has produced attractive recordings of Handel’s chamber music for Avie, and this newcomer is no exception. There are nine Handel violin sonatas, theoretically, and all of them are included here. Of course, with Handel you never really know. Five sonatas exist in verifiable manuscripts, four were printed without any demonstrable input from the composer, and all of them may well use music by others, as was Handel’s wont. But none of it matters because, as Tovey perspicaciously observed, every note added by Handel annihilates the rest.

The first sonata (in G, HWV158) dates from Handel’s days in Italy, and it’s the only work in three movements. I was a bit worried here because in the central slow movement violinist Rachel Harris adopts a “period instrument tone” that has soft, sustained notes on the verge of disappearing entirely. Of course, a decent vibrato would have helped, but as the saying goes, if the basic timbre is unattractive that’s like trying to put lipstick on a pig. Happily, once past the Sonata in G, Harris shows that her sound in sustained music, while slender, is mellow, touching, and sensitively varied.

The remaining sonatas are all in “church” style, that is four movements, slow-fast-slow-fast(ish). Three are in minor keys, smartly dispersed within the broadly chronological ordering of the set, and they provide welcome contrast to the general predominance of charm and cheer. Of course, all of the music is charming, with an abundance of melody that suggests, as the booklet notes state, that Handel’s authorship even in the four doubtful works is more likely than not. If eighty minutes of less than familiar Handel, elegantly presented and naturally recorded sounds appealing, then by all means give this disc serious consideration.

– ClassicsToday (David Hurwitz)

A New York Times 25 Best Tracks Selection for 2018 - Fanfare

Following acclaimed albums devoted to Britten, baroque lute songs and German lieder, Grammy Award-nominated tenor Nicholas Phan continues to spread his wings with Illuminations, an album featuring compositions by Benjamin Britten, Claude Debussy and Gabriel Faure who were each inspired by the poetry of two nineteenth century French literary titans, Paul Verlaine and his protégé and eventual lover Arthur Rimbaud. The intertwined lives of the French poets and composers manifested themselves in Faure’s impassioned Verlaine-inspired ‘La bonne chanson’ and Debussy’s ‘Ariettes oubliees’ drawn from Verlaine’s ‘Romances sans paroles.’ Just decades later Britten was inspired by Rimbaud’s influential prose-poetry ‘Les Illuminations.’ Critical acclaim for Nicholas Phan has been widespread.



REVIEW:

Britten captures the blend of bizarre, beautiful, decadent, and courtly elements in Rimbaud's symbolist poems. These mingled emotions enliven Mr. Phan’s singing on this recording, starting with the opening “Fanfare,” in which, in trembling voice, he declares that he alone holds the key to this savage parade (of life).

– New York Times

2019 Grammy Award Winner - Best Classical Solo Vocal Album

Lebanese-American tenor Karim Sulayman’s neat encapsulation of the Orpheus myth infuses his solo recording debut, ‘Songs of Orpheus.’ Orpheus, the greatest singer of all time, famously followed his deceased beloved Eurydice to the gates of Hades in an attempt to bring her back to life. He was thwarted by the gods who forbade him to gaze at her during their journey back to earth. he could not resist, and the tale has been told in numerous musical interpretations including those of Monteverdi and his 17th-century compatriots who are represented on this imaginative album, performed with leading baroque interpreters Jeannette Sorrell and Apollo’s Fire. Acclaim for Karim Sulayman and Apollo’s Fire has been widespread: “the soloists and instrumentalists are first class” (BBC Music Magazine) “an absorbing collection of early music, beautifully performed by the Cleveland-based instrumental-choral ensemble and vocal soloists” (Chicago Tribune)

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REVIEW:

Sulayman’s approach tends more towards the lyrical than the rhetorical – his lucid, velvety tenor and pop-star charisma best suited to melodious arias rather than the text-driven stile recitativo. Under the spirited direction of Jeannette Sorrell, Apollo’s Fire provides slick and stylish continuo realisations.

– BBC Music Magazine

The Ariel Quartet, distinguished by its virtuosic playing and impassioned interpretations, makes its debut recording pairing two giants of the string-quartet world, Bela Bartok and Johannes Brahms. Both composers stand as significant pillars of the youthful Quartet’s two-decade-long journey. The Ariel Quartet earned its glowing international reputation early on, having formed in Israel when its members were students in middle school. The Ariel now serves as the Faculty Quartet-in-Residence at the University of Cincinnati’s College-Conservatory of Music Debut. This release is the first in a projected series pairing the quartets of Bartok and Brahms. “…a blazing, larger-than-life performance…” (The Washington Post) “…the sum of the quartet is indeed greater than its parts…”(The Strad)

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REVIEWS:

The Ariel can enchant, as they do in the Quasi minuetto movement of the Brahms, with its nostalgic, Old World melancholy. And their confident unanimity allows them to convey ferocity without ever seeming to break a sweat – listen, say, to how neatly and nimbly they spring through the Bartok’s final pages. I’m not convinced such sleek virtuosity is what this music demands, mind you.

– Gramophone

Fierce, fiery Bartók that engages from the start and Brahms that has real shape and drive.

– BBC Music Magazine

For Guggenheim Fellow composer Elena Ruehr the appeal of the string quartet lies in the ability of four instruments to express an infinite range of emotional possibilities, to communicate across time. Her six string quartets attest to her enthusiasm for musical time-travel: echoes of Perotin, Bach, Mozart, Beethoven, Dvorak, Schoenberg and jazz are there, but the musical language is purely her own. Elena’s Six String Quartets are a magnum opus, three of them commissioned by the Cypress String Quartet, two by the Rockport Chamber Music Festival, and one an ASCAP Award winner. “…sumptuously scored and full of soaring melodies and piquant harmonies.” (The New York Times) “Music with heart and a forceful sense of character and expression.” (The Washington Post)

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REVIEW:

The structure of each quartet is unique to itself, having little in common with the conventional form, even when nominally in the four movements of classical design. There is a tangible community of spirit in these six works, even with the more notionally abstract Fourth (2005) and Sixth (2012). Stephen Salters, something of a Ruehr specialist, is in fine — occasionally falsetto — voice, nimbly accompanied by the Borromeo Quartet. The Cypress Quartet, for whom Nos 4–6 were written, play the remainder with authority and complete assurance. Avie’s sound—mastered by Mark Wilsher—is beautifully clear.

– Gramophone

Bringing to light another of Hans Gal’s gorgeously melodic and finely crafted scores, AVIE presents the world premiere recording of the Austrian émigré’s Concertino for Cello and String Orchestra with Matthew Sharp supported by Gal aficionado Kenneth Woods conducting the English Symphony Orchestra. Gal’s compositional output was vast, varied and consistent, from his early success in 1920s Germany, through internment during World War II, to his days in Edinburgh where he settled, became a respected academic and lived out his long life. His vivacious Cello Concertino was written in 1965, when he was 75 years old. The two spirited solo cello works were among his last, written at the age of 92. “hats off to conductor Kenneth Woods for making a case for Gal’s elegantly built orchestral pieces… Here’s hoping this is the beginning of a substantial Gal revival.” (National Public Radio’s All Things Considered)

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REVIEW:

Cello soloist Matthew Sharp plays outstandingly throughout, with deep concentration and a telling blend of artistry and control. Striking are the vivid colors and glorious tone he produces on his cello. In the Cello Concertino one senses the calm assurance of Kenneth Woods conducting the English Chamber Orchestra who play with vibrancy and a convincing feel for the idiom.

– MusicWeb International

Billboard chart-topping violinist Rachel Barton Pine releases her 36th album and fourth for AVIE with her first recordings of two repertory staples, violin concertos by Edward Elgar and Max Bruch. The two works – Elgar’s only concerto for violin and Bruch’s first – straddle the turn of the 20th century but have in common a Romantic hue which Rachel probes with her rich, soulful tone.

The album is dedicated to “the memory of a musical hero and generous friend, Sir Neville Marriner,” who was to have reunited with Rachel on this album. She was fortunate to work with him on the scores, with Sir Neville vividly relating accounts of his teacher Billy Reed, former leader of the London Symphony Orchestra, who collaborated with Elgar on the creation of his violin concerto. Grammy Award-winning conductor Andrew Litton brings his own Romantic pedigree to the recording, as does the BBC Symphony Orchestra and celebrated producer Andrew Keener who himself has overseen award winning versions of the Elgar and Bruch concertos.

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REVIEW:

Pine’s interpretation of the Elgar is as emotionally satisfying as it is dazzling. The slow movement is mysteriously veiled and luminous, providing a palpable sense of the music’s darker undercurrents. She is most impressive, perhaps, in the finale, where her easy virtuosity sends sparks flying, though never at the expense of the long line.

Her performance of the Bruch is wholly persuasive in its mittel-European heartiness. The outer movements abound with snap and spice, and the Adagio has a warm solemnity that, one might argue, offers a foretaste of Elgarian nobilmente. The recorded sound is glorious, with a near-ideal balance between soloist and orchestra.

– Gramophone