Avie Records
298 products
Uno + One: Italia Nostra
Homage to Schubert
Bel Canto Paganini / Rachel Barton Pine
For example, she observes all of the repeats. That might prove deadly in the lengthy No. 4 C minor Maestoso caprice or the No. 6 G minor trill study, yet Pine’s wide expressive and coloristic palette keeps the music alive and meaningful. What is more, she does this without resorting to exaggerated phrasings or dynamic swells.
Her slow and serious No. 13 bypasses the surface humor of the descending “laughing” chromatic thirds while emphasizing the composer’s dolce marking in figurative red ink. The fanfare-like gestures that open the E-flat Caprices Nos. 19 and 23 become provocatively wistful themes, while No. 18’s arpeggiated C major proclamations become softer, more questioning than usual, followed by descending scales that sound more like music than exercises. However, don’t expect scintillation and surface bravura, which James Ehnes serves up in tandem with sound musical values.
Interestingly, Pine lets loose and catches fire in her own Paganini-inspired Variations on “God Defend New Zealand”, proving that she could very well match Perlman, Rabin, Ricci, and Midori at their ebullient peaks. Whether or not Pine’s Paganini will suit all tastes, she unquestionably commands the ways and means to make the best possible case for her conceptions.
– ClassicsToday (Jed Distler)
Pine is principally interested in the musical qualities of these extraordinary, endlessly inventive miniatures, and there’s hardly a moment here where you get any sense of technique taking precedence over expression.
She finds a wonderfully rich range of colors. Double-stopped octaves can almost vanish into the melody (as in No 7), give a fanfare figure a heroic echo (Nos 19 and 23) or throw an eerie shadow like some operatic mad scene (No 15)—as the music demands. Her characterisation is beguiling: Pine lets minor-key melodies droop to a finish, plays teasingly with the rhythmic sideslips of No 13 and makes the famous left-hand pizzicato in No 24 burst like popping candy.
– Gramophone
Fantasia / Anne Akiko Meyers, Jarvi, Philharmonia Orchestra
"A simply outstanding CD." - The Whole Note
Superstar violinist Anne Akiko Meyers is one of today’s most in-demand classical performers. Beloved by audiences around the world, with a reputation for groundbreaking recital programs and important commissions, Fantasia marks her 35th studio album and is one of her most important projects to date. Meyers has been Billboard’s Top Selling Classical Instrumentalist of the year and has had numerous albums reach the Number 1 spot on Billboard’s Traditional Classical Chart. Her latest album captures the rare combination of incredible virtuosity and poetic color with iconic works by Ravel, Einojuhani Rautavaara’s last major work, written for Meyers, and Karol Szymanowski’s sensuous Violin Concerto No. 1. The title track, Fantasia is legendary Finnish composer Einojuhani Rautavaara’s premiere posthumous recording and last major work for violin and orchestra. Ms. Meyers traveled to Finland and worked with the composer on it shortly before he died. Karol Szymanowski’s sensuous Violin Concerto No. 1, dedicated to Polish virtuoso violinist, Paul Kochanski, is a dazzling display of exotic melodies, and Ravel’s iconic Tzigane is a virtuoso showpiece that conjures Hungarian gypsy music, and premiered almost a century ago.
REVIEW:
Meyers also seduces the senses in Ravel’s Tzigane, emphasising the magical essence of its blazing inspiration without the slightest whiff of empty, showpiece bravado. Yet the star item here is Rautavaara’s Fantasia (2015), one of his last works and composed especially for Meyers, who soars aloft with its tender cantabile, shaping its shimmering melodic lines with a profound sensitivity that exerts irresistible pressure on the tear ducts.
– The Strad
Conversazioni II: Duelling Cantatas
Karpman: Ask Your Mama (Poetry by Langston Hughes) / Manahan, SF Ballet Orchestra
Ask Your Mama: 12 Moods For Jazz is the most modernist, defiant work by Langston Hughes, an icon of the Harlem Renaissance known as the pre-eminent voice of the African-American experience. It gives voice to the outrages and the joys of African-American life through the eyes of a child and the man he becomes, alternating between the fury of indignation and wild comedy, taking us on an odyssey from Africa to the Americas, high art to low art, from south to north, from cities to suburbs, from opera to jazz – and in Hughes’ own words, “from shadows to fire.” Hughes conceived his epic 12-part poem as an interdisciplinary creation, including in the margins suggestions for types of music including hot jazz, German lieder, cha-cha, patriotic songs, post-bop, Arabic and more.
Laura Karpman’s composition is the first musical setting of Hughes’ complete masterpiece. Her score takes its cue from Hughes’ boundary-exploding text and musical notations. Integrating 21st century technology, Hughes’ words are brought to life with orchestral music, live singers, rap artists, and recorded voices of African-American icons from Louis Armstrong to Leontyne Price to Pigmeat Markham. The result: an exhilarating tapestry of jazz, carnivale, tent revival, film, opera and poetry slam.
Ask Your Mama premiered to a sold-out Carnegie Hall in 2009 and has since played from Harlem’s Apollo Theater to the Hollywood Bowl, and has reached millions more through media coverage by National Public Radio, PBS, NBC TV, The New Yorker and the Huffington Post. The release appropriately comes in the wake of Independence Day: as Hughes says in his poem, “your country is your mama.”
Tracklist:
Ask Your Mama
Music by Laura Karpman
Poetry by Langston Hughes
CD 1
DEDICATION (4:20)
CULTURAL EXCHANGE (12:53)
RIDE, RED, RIDE (4:16)
SHADES OF PIGMEAT (7:42)
ODE TO DINAH (10:37)
BLUES IN STEREO (5:12)
HORN OF PLENTY (7:39)
GOSPEL CHA-CHA (11:00)
Total time CD 1: 62:15
CD 2
IS IT TRUE? (2:52)
ASK YOUR MAMA (6:51)
BIRD IN ORBIT (12:12)
JAZZTET MUTED – SHOW FARE, PLEASE (17:04)
Total time CD 2: 38:19
Vocal Soloists:
Janai Brugger
Blackthought, The Roots
Nnenna Freelon
Angela Brown
Medusa
Taura Stinson
Monet Owens
Tesia Kwarteng
Erin McGlover
Langston Hughes
Instrumental Soloists:
Questlove, The Roots drums
Ben Wendel tenor saxophone
David Loeb piano
M.B. Gordy world percussion
Bart Samolis bass
Firaz Hussein Arabic percussion
Featuringa:
Jelly Roll Morton
Cab Calloway
Lucky Millinder
Mahalia Jackson
Blind Lemon Jefferson
Ella Fitzgerald
Bo Didley
Shirley Temple
Bill Bojangles
Jessye Norman
Marian Anderson
Leontyne Price
Charlie Parker
Louis Armstrong
Pete Seeger
Pigmeat Markham
Testament: Bach - Complete Sonatas & Partitas for Solo Violin / Pine
Rachel Barton Pine’s ‘Testament’ is one of the best of this set of peerless works to have been released since Isabelle Faust’s definitive volumes of 2010 and 2012.
There is in her interpretation a surprisingly striking contrast between its crystalline voicing, clear articulation, and warm tone that makes the listener feel that it is concerned with the plain and simple beauty of the music as much as with the genius of its counterpoint and relationships between movements. All this is further supported by the sensible combination of Baroque bow and metal strings on a period instrument in modern set-up – the tuning is unfailingly accurate and the strength of the bowing means there is never any interference with the musical line by a squeak or break.
These are thoughtful and generous performances amplified by great maturity and depth.
– Gramophone (Editor's Choice; June 2016)
Bonds: The Ballad of the Brown King & Selected Songs / Merriweather, The Dessoff Choirs & Orchestra
A WQXR-FM Best Classical Recording for 2019
Twentieth-century African American composer Margaret Bonds receives long overdue recognition with the world premiere recording of her crowning achievement, The Ballad of the Brown King. With an expressly written libretto by Bonds’ friend Langston Hughes, this Christmas cantata which focuses on Balthazar, the dark-skinned king who journeyed to Bethlehem to witness the birth of Jesus Christ, is beautifully interpreted by New York City-based The Dessoff Choirs and Orchestra, outstanding soloists soprano Laquita Mitchell, mezzo-soprano Lucia Bradford and tenor Noah Stewart, under the baton of their charismatic conductor, Malcolm J. Merriweather. Bonds authority Dr. Ashley Jackson contributes the inspired liner notes. This unique seasonal album also includes a selection of specially arranged songs, including a setting of Hughes’ seminal poem I, Too, Sing America, performed by baritone Merriweather and Jackson on solo harp.
REVIEW:
Nearly 60 years after its premiere, conductor Malcolm J. Merriweather and the phenomenal New York-based Dessoff Choirs have at last provided a way experience Margaret Bonds’ genius cantata, The Ballad of the Brown King. After luxuriating in this sumptuous setting of the Nativity story (with a libretto by Langston Hughes), be sure to listen to Bonds’ heart-rending Three Dream Portraits, sung forcefully by Merriweather himself.
–WQXR-FM (105.9 FM, NYC - Zev Kane)
The Italian Job / Chandler, La Serenissima
REVIEW:
The Italian Job' has all of La Serenissima's hallmarks: a fresh, zinging tone alive with vitality and enjoyment, an effortless easy panache from both ensemble and soloists, and the whole underpinned by a scholarly attittude to programming and performance style which is yet worn with a light grace.
– Gramophone
Brahms & Rózsa: Music for Clarinet and Piano
Piano Nocturnes
The Edge of Silence / Narucki
Susan Narucki has worked closely with Kurtág on the interpretation of these songs, and her readings may be regarded as definitive.
American soprano and Latin Grammy-nominee Susan Narucki, one of today’s most committed advocates of the music of our time, has a deep and lasting working relationship with Hungarian composer Gyorgy Kurtag which dates back to 1986. Susan’s luminous tone and distinctive artistry and Kurtag’s idiosyncratic fusion of poetry and music come together in this quintessential recorded collection of some of the composer’s most iconoclastic vocal works. In Susan’s words, “I have spent much of my life immersed in this repertoire, and it has become essential to the way I understand music; it is the heart of my practice as a musician.” Equally appreciative, Kurtag acknowledges Susan, “who sang so warmly, purely, so ‘integer’ these songs- with thanks and love.”
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REVIEWS:
Susan Narucki has worked closely with Kurtág, in Hungary, on the interpretation of these songs, and her readings may be regarded as definitive. She puts across how Kurtág's songs, more than embodying a relationship between text and music, constitute a heroic attempt to weld the two, through the use of extremely detailed instructions in the score, into a single unit. Small though they are, they may be regarded as virtuoso works. Recommended, although not to everyone's taste.
– All Music Guide (James Mannheim)
These seven songs, a highlight in this album of Kurtag’s vocal works, pass in just over nine minutes: dark little pools of fervor, articulated by Ms. Narucki with precision and tenderness and accompanied by just the percussive cimbalom, played here with richly pianistic resonance by Nicholas Tolle.
– New York Times (Zachary Woolfe)
Penderecki, Kurtag, Schnittke, Weinberg / Ensemble Epomeo
Following their critically acclaimed debut recording of the complete string trios of Hans Gál and Hans Krása, which garnered a Gramophone Editor’s Choice, Ensemble Epomeo turns to music by Eastern European and Russian composers written in the latter half of the 20th century. Each work bears a distinct personal compositional stamp, providing for captivating listening and enlightening contrasts: the Polish Penderecki’s dramatic and lyrical String Trio of 1990 – 91, the Russian compositional giant Schnittke’s String Trio of 1985, the haunting Trio of the increasingly recognised and respected Weinberg from 1950, and the ever-enigmatic Hungarian Kurtág, whose continuously evolving signs, games and messages represent a collection of highly individual miniatures.
Vivaldi: The Four Seasons / Fullana, Sorrell, Apollo's Fire
Grammy Award-winning baroque orchestra Apollo’s Fire and its founder-director Jeannette Sorrell have blazed trails in the world of historically informed performance with pioneering programming, presentational flair and an entrepreneurial spirit, qualities that have earned them eight Billboard chart-topping albums and more than 7 million views on YouTube. Their latest release, which launches the ensemble’s 30th anniversary season, is destined to soar to similar heights: the ensemble’s first recording of the perennial audience favourite, Antonio Vivaldi’s The Four Seasons, featuring the phenomenal Spanish-born fiddler Francisco Fullana. Frequently performed at Apollo’s Fire home base in Cleveland, Ohio and on their international tours, “Sorrell’s vivid approach to the pictorial elements make these familiar works seem freshly minted, full of astonishing incident”, according to Seen & Heard International. Fullana, winner of the 2018 Avery Fisher Career Grant, has been dubbed a “rising star” by BBC Music Magazine, and an “amazing talent” by conductor Gustavo Dudamel. The Four Seasons is the first of five releases spread throughout the season celebrating Apollo’s Fire’s milestone 30th anniversary.
Tyler Nickel: Symphony No. 2 / Mitchell, Northwest Sinfonia
Vast, deep and emotional are apt descriptions of the single-movement, 53-minute-long Symphony No. 2 by Christopher Tyler Nickel. The award-winning Canadian composer elaborates, “One can think of this music as consisting of mirrors between ideas that equally disturb yet entice. Each side of the reflection is in itself conceivably valid, but when facing each other friction and dissonance are created. The exquisitely alluring and the grotesque exist simultaneously. Perhaps another way to understand the symphony is as a meditation on the state of cognitive dissonance.” The entrepreneurial Clyde Mitchell conducts the Seattle-based Northwest Sinfonia on this world-premiere recording.
Prokofiev: Flute Sonata / Franck, C.: Violin Sonata (Arr. fo
Cassadó & Kodály / Meneses, Cruz
Following the success of Capriccioso, a solo spectacular of works written by cellists for cellists, Antonio Meneses' brilliance is demonstrated again, with the rarely recorded Suite for Solo Cello by the Spanish cellist-composer Gaspar Cassadó. Alongside two early works by his Hungarian contemporary Zoltán Kodály - the Duo for Violin and Cello, with violinist Claudio Cruz, who was the conductor on Antonio's Grammy-nominated recording of the Concertos by Elgar and Gál; and the Sonata for Solo Cello, which was written in 1915 and is released in celebration of the 100th anniversary of the work.
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REVIEWS:
In Cassado's dark, sensuous Suite, inspired by Kodaly but infused with Spanish undertones, he exudes a mesmerising, Zen-like calm: tenderly shaped curlicues, ornate arabesques, and complex harmonic accompanying figurations never disturb his long, arching lines or the sense of easy, improvisational charm. You can almost forget you're listening to a virtuoso display; in his refreshingly self-effacing, idiomatic approach musical substance is always to the fore.
– BBC Music Magazine
Meneses gives a performance that has been crafted down to the tiniest detail, the swirling finale in particular confident and polished, with every technical trick in the cellist's book pulled off with panache.
– Gramophone
Brahms: String Sextets / Bailey, Shiffman, Cypress String Quartet
The legacy of the Cypress String Quartet, which celebrated its 20th anniversary and valedictory season in 2016, is sealed by the ensemble’s final recording – the two String Sextets by Johannes Brahms in which they are joined by long-time collaborators, violist Barry Shiffman and cellist Zuill Bailey. True to form, the Cypress String Quartet applied innovation to its last recording: live in front of a studio audience at Skywalker Sound Studio. "A tender, deeply expressive interpretation" - The New York Times
A Violin's Life, Vol. 2: Music for the "Lipinski" Stradivari / Almond, Wolfram
c. 1817: The violin is bequeathed to Polish virtuoso violinist Karol Lipinski who inspired many works for the instrument.
2008: After passing through many countries and collections, the "Lipinski" Strad arrives in the hands of Frank Almond, through an anonymous donor.
2013: Frank Almond releases "A Violin's Life", an album that traces the provenance of the "Lipinski" Strad, with music by Schumann, Tartini, Julius Rontgen, and Lipinski himself.
January 2014: Following a concert, walking towards his car, Frank Almond is tasered by an assailant and the "Lipinski" Strad is stolen. An FBI pursuit results in the recovery of the "Lipinski" Strad a few weeks later. International media coverage goes viral, including international TV coverage, a feature in Vanity Fair, NPR, BBC, and much more.
May 2016: Frank Almond releases "A Violin's Life, Vol. 2", featuring more music associated with the "Lipinski" Strad, including works by Beethoven, Amanda Maier-Rontgen, and Eduard Tubin, poised to create another classic release.
The "Lipinski" Strad lives on.
Schumann: Papillons - Kinderszenen - Brahms: Opp. 117, 118
STRING QUARTETS
Christmas on Sugarloaf Mountain / Sorrell, Apollo's Fire
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
Carols From Queen's
Chopin: The Mazurkas / Sherman
REVIEW:
Awe-inspiring: in some of the most difficult works in the piano repertoire, he exhibits the kind of impeccable perfection that is the hallmark of players like Pollini and Michelangeli.
- All Music Guide
Handel: Messiah / Sorrell, Apollo's Fire
Jeannette Sorrell and Apollo’s Fire celebrate the holiday season with a unique release of Handel’s Messiah: a three-disc set presenting a dramatic approach that explores the work as the theatrical entertainment Handel intended—an oratorio being a dramatic work, and Handel’s bold declaration that Messiah was “A Sacred Oratorio.” The DVD includes footage from rehearsals, concerts, and recording sessions as well as interviews with soloists, principal players, and Sorrell.
“The Messiah we’ve been waiting for.” — Pittsburgh Post-Gazette
“A blend of scholarship and visceral intensity.” — Gramophone
