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In any case, there is an unmistakable magic in his works: at times it is delightful melodies, at others dramatic energy build-ups or rhythmically urgent episodes that give his music such an appeal that it is worth recording all of his surviving symphonies (nine, after all) and garnishing them with a few smaller pieces - in the present program, for example, with the Overture to Shakespeare's Tempest and with the original Concertante for piano and four strings on the popular theme La Follia, which Potter animates to a veritable outburst of temperament.","brand":"CPO","offers":[{"title":"CD","offer_id":46012477407466,"sku":"0761203550029","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4383568-3298135.jpg?v=1778212147"},{"product_id":"alberga-works","title":"Alberga: Works \/ Bowes, Pearse, Swensen, BBC National Orchestra of Wales","description":"\u003cspan data-mce-fragment=\"1\"\u003e“Eleanor Alberga was born in 1949 in Kingston, Jamaica. Her mother founded, and subsequently ran, her own high school in Jamaica and believed passionately in the Arts. Consequently, Eleanor was introduced to classical music at an early age. As a teenager she had piano lessons at the Jamaica School of Music and in 1968 she won the biennial Royal Schools of Music Scholarship for the West Indies, which she took up two years later at the Royal Academy of Music in London, studying piano and singing. 2001 was a turning point when she was awarded a NESTA Fellowship and chose to give up her career as a concert pianist and concentrate full-time on composition. Her distinctive creative output encompasses instrumental, chamber and orchestral pieces, as well as works for stage and film. With its vibrant rhythms, rich harmonies and idiomatic writing for every instrument, her music has the authentic stamp of an experienced performer and an accomplished executant.” (Paul Conway)\u003c\/span\u003e","brand":"Lyrita","offers":[{"title":"CD","offer_id":46012478947562,"sku":"5020926040527","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4046118-2791218.jpg?v=1778267762"},{"product_id":"british-piano-concertos","title":"Benjamin, Maconchy, et al.: British Piano Concertos \/ Brabbins, Callaghan, BBC National Orchestra of Wales","description":"\u003cspan data-mce-fragment=\"1\"\u003eSmaller concertos for piano and modest orchestral forces were a feature of British composition in the first half of the 20th century. Often they were written for a special occasion, and typically vanished into oblivion thereafter. During the COVID period we were looking for things to record with small numbers of players, and stumbled across this treasury: short concertos written for entertainment that don’t outstay their welcome. The works on this album travel from the innocent pastiche of Geoffrey Bush’s tribute to Arne, Edmund Rubbra’s student essay, through the ‘Blues’ of Arthur Benjamin, the serial language of Humphrey Searle, the drama of Elizabeth Maconchy, and the bold humour of film composer John Addison. It is all great fun, and has never been recorded - apart from the Benjamin recorded just once, back in 1959.  Simon Callaghan and Martyn Brabbins team-up to raise a smile, enjoying the lighter side of musical life.\u003c\/span\u003e","brand":"Lyrita","offers":[{"title":"CD","offer_id":46012480389354,"sku":"5020926040725","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4069357-2803909.jpg?v=1778241750"},{"product_id":"elgar-violin-concerto-salut-damour-delius-suite","title":"Elgar: Violin Concerto; Salut d'Amour; Delius: Suite","description":"'If you want to know who, for me, is the greatest living composer, I'll tell you without hesitation - it's Elgar, whom I place on the same level as my idols Beethoven and Brahms!' So said the great virtuoso Kreisler.' Nicolas Dautricourt continues: 'This Concerto, with it's unbridled lyricism and unique proportions, is an Everest for any violinist.' In this, his first recording for Channel Classics, the French violinist brings together three works by two English composers. In 1888, in the same year Elgar wrote the famous Salut d'amour for his fiancee Caroline Alice Roberts, Frederick Delius composed his Suite for Violin and Orchestra, one of his very first works. The Suite, which only received it's premiere in 1984, is heard here in this insightful arrangement by Frederic Chaslin for violin, piano and string quartet.","brand":"Channel Classics","offers":[{"title":"CD","offer_id":46012484157674,"sku":"723385487258","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4386536-3320962.jpg?v=1778211818"},{"product_id":"addison-jacob-rubbra-british-piano-concertos-vol-2","title":"British Piano Concertos, Vol. 2 \/ Callaghan, Bell, Vass, BBC Music NOW","description":"\u003cp\u003eGordon Jacob’s Piano Concerto no.2 in E flat was completed in 1957 and premiered on 11 July of that year at the Winter Gardens, Bournemouth by the soloist Edith Vogel. A Proms performance took place at the Royal Albert Hall on 9 August 1957 with the same soloist. A review in The Times of the 1957 Proms performance of Gordon Jacob’s Piano Concerto No.2 declared that ‘the composer’s masterly understanding of the orchestra enables him to express each idea economically and in the most clean and attractive colours’, while The Sunday Times’ critic wrote that, ‘having taught the craft of orchestration to a whole generation of composers, Dr. Jacob is himself a past master at clear and effective scoring’.\u003c\/p\u003e\n\u003cp\u003eAddison’s Variations for Piano and Orchestra was written in 1948 and revised the following year. According to Alan Poulton’s Dictionary-Catalog of Modern British Composers, It was first performed in a BBC broadcast in 1960 by Margaret Kitchin. The work is written for a small orchestra, comprising double woodwind, four horns, a pair each of trumpets and trombones, bass trombone, timpani, modest percussion and strings. Though the piano had played a prominent role in an earlier student piece by Rubbra, his Piano Concerto, Op.30 (1932) is the composer’s first fully-fledged, large-scale work for soloist and orchestra. The score features an elaborate solo part and requires substantial orchestral forces.\u003c\/p\u003e","brand":"Lyrita","offers":[{"title":"CD","offer_id":46012485959914,"sku":"5020926041623","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4235512-3141691.jpg?v=1778201084"},{"product_id":"blackford-la-sagrada-familia-symphony-babel-a-cantata-bbc-national-orchestra-of-wales-ikon-singers-ensemble","title":"Blackford: Sagrada Familia Symphony; Babel \/ Hill, Ikon Singers, BBC NO Wales","description":"\u003cp\u003eAntoni Gaudí’s monumental temple La Sagrada Familia is a universe within a building. Its mass of stone and metal is bathed in coloured light diffused from dazzling stained glass windows. The colossal structure is supported by great pillars inspired by the shapes of tree trunks that re-inforce the impression of a spiritual forest. Around the main access points to the basilica are three great facades; Nativity, Passion and Glory. Each is a visual world unto itself, stylistically apart yet united by Gaudí’s grandiose vision. These three facades are the inspiration of my three-movement La Sagrada Familia Symphony. The visual journey, from the representational to the abstract, is something I also tried to mirror in the music. When I visited La Sagrada Familia in October 2019 there was still scaffolding to support the work on the remaining towers. Whereas my symphony is inspired by that monumental building, I hope that my musical structure can stand alone as an homage to Gaudí in its own right. The two parts of the cantata begin similarly, presenting first the children of Seth - then in the second part, the children of Noah. Realizing that the aftermath of the destruction of the Tower of Babel could be anti-climactic, I left part of the Noah story unfinished at the end of Part I,  and concluded it as an Epilogue. I wanted God’s promise to be the note on which the work should end, a message of hope that the divinity would protect His creation throughout the seasons: “While earth remains, seedtime and harvest, cold and heat, summer and winter, and day and night shall never cease.” These beautiful words are taken up by the choir and soloists contrapuntally and lead directly to the hymn: Praise My Soul The King Of Heaven, whose melody was woven into the closing section of Part One. Following Britten’s inspiration in Noye’s Fludde and St Nicholas, I invite the audience to join in the hymn, celebrating creation and the world that has been entrusted to us. Babel uses the chorus extensively to narrate both stories, as well as to evoke the terror of the flood and the exuberance of the construction of the tower. In addition to set pieces, such as the Nimrod baritone aria, and the soprano aria, “Do not fear the largeness of the showers,” the three soloists often sing together in close harmony as the other-worldly voice of God. The instrumental forces are relatively modest, with the piano duet supported by the sustaining power of the organ, backed by two percussionists. This sound world is redolent of those Britten masterpieces for amateur choirs, ensembles and audiences, which have inspired many composers since, and to which I too am gratefully indebted.\u003c\/p\u003e","brand":"Lyrita","offers":[{"title":"CD","offer_id":46012488843498,"sku":"5020926043221","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4293821-3141693.jpg?v=1778202468"},{"product_id":"stanford-te-deum-elegiac-ode","title":"Stanford: Te Deum; Elegiac Ode \/ Partington, BBC National Orchestra of Wales","description":"By the time Stanford had received a commission from the Norfolk and Norwich Festival to write a choral work for them in 1884, he had, at the age of 32, already begun to assert himself as one of Britain's leading composers. The Elegiac Ode was, however, his first mature foray into the world of major British choral festivals. Some of the Elegiac Ode had in fact been sketched three years earlier in 1881, but after the Norwich commission was received, Stanford evidently grasped the opportunity to complete the work in it's entirety in July 1884. The words were taken from the last part of Whitman's elegy, 'When lilacs in the dooryard bloom'd', written in the aftermath of President Lincoln's assassination in 1865 (it was a text which Stanford's pupil, Holst, later used for his Ode to Death, composed in the wake of the war in 1919). Taking the seven verses of the burial hymn, Stanford divided his chosen text into four parts, thereby creating a four-movement musical structure more akin to a choral symphony with it's substantial (and thematically related) choral outer movements flanking two shorter inner essays. By the time Stanford had received a commission from the Norfolk and Norwich Festival to write a choral work for them in 1884, he had, at the age of 32, already begun to assert himself as one of Britain's leading composers. The Elegiac Ode was, however, his first mature foray into the world of major British choral festivals. Some of the Elegiac Ode had in fact been sketched three years earlier in 1881, but after the Norwich commission was received, Stanford evidently grasped the opportunity to complete the work in it's entirety in July 1884. The words were taken from the last part of Whitman's elegy, 'When lilacs in the dooryard bloom'd', written in the aftermath of President Lincoln's assassination in 1865 (it was a text which Stanford's pupil, Holst, later used for his Ode to Death, composed in the wake of the war in 1919). Taking the seven verses of the burial hymn, Stanford divided his chosen text into four parts, thereby creating a four-movement musical structure more akin to a choral symphony with it's substantial (and thematically related) choral outer movements flanking two shorter inner essays. Stanford's large-scale setting of the Te Deum Op. 66 was first sung at the Leeds Festival on 6 October 1898 and it's ambitious, opulent dimensions were clearly intended to be a fitting commemoration of the accession to the throne of Queen Victoria (it's dedicatee) sixty years earlier as well as a tribute to the full-bodied, well-trained Leeds chorus of 350 singers. A particular feature of the Te Deum is the grandeur of much of it's choral writing. Though also dramatic in it's impact, a dominating feature of the Te Deum is it's prominent use of the chorus, and the many fulsome sonorities Stanford was able to draw from the magnificent 'instrument' of the Leeds voices. � Jeremy Dibble","brand":"Lyrita","offers":[{"title":"CD","offer_id":46012491170026,"sku":"5020926043528","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4344162-3187705.jpg?v=1778199539"},{"product_id":"british-piano-concertos-vol-3","title":"British Piano Concertos, Vol. 3","description":"Philip Cannon's Concertino for piano and strings (1951) dates from his formative years. It was written for the Petersfield Festival, where it was premiered on 27 January 1951 by soloist Joseph Cooper, with the Petersfield Orchestra conducted by Kathleen Merritt. This lively, neo-classical piece has achieved over a thousand performances internationally. Though John Addison's Concertino for piano and orchestra is, for the most part, couched in a light-hearted language, it is the product of a serious, and unfailingly inventive, approach to keyboard and orchestral writing. Speaking of the work to Lesie Ayre of the London Evening News, the composer remarked that, 'it is a real concerto in the full sense of the word I would not be ashamed to show the work to any first-class pianist'. Francis Chagrin maintained an intensely practical and unpretentious attitude towards his own craft, observing that, 'My music is not for first performances - it is just to be played'. His Piano Concerto was first performed by soloist Franz Osborn, with the London Symphony Orchestra, conducted by the composer, at an SPNM Experimental Rehearsal held at the Royal College of Music on 4 February 1944. Conversation Piece by John Addison was written in 1958 to a commission from the BBC Concert Orchestra for that year's British Light Music Festival. John Addison felt that, by the late-1950s, too great a divide had opened up between serious and light music: 'Concertgoers think contemporary music is so alarmingly serious that when confronted with a mildly witty turn of phrase, they assume something has gone wrong. I remember the astonished sigh of relief when, in the course of introducing one of my chamber works, I told the audience I would not mind if they smiled'. In Conversation Piece, Addison exploits to the full his talent to amuse and divert.","brand":"Lyrita","offers":[{"title":"CD","offer_id":46012496675050,"sku":"5020926044426","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4410027-3332384.jpg?v=1778195031"},{"product_id":"grace-williams-violin-concerto-elegy-for-string-orchestra","title":"Grace Williams: Violin Concerto, Elegy for string orchestra,","description":"'When I'm composing, not only have I to create music, I must also search for the best way of putting it across. It means being on the alert the whole time; writing - then criticizing what I've written - and if it won't do, scrap it and start again - more criticism - and so on until I've done everything within my power to make the music live and flow naturally'. These insights from Grace Williams into her approach to the compositional process show her strong desire to communicate fluently and sincerely with her listeners. Also evident from this quotation is her professionalism, technical integrity and formidable capacity for self-criticism. She held herself and her art to the highest standards, withdrawing and destroying scores which failed to live up to her ideals. It can be inferred from this that she regarded the works which survived elimination as worthy of her musical legacy.","brand":"Lyrita","offers":[{"title":"CD","offer_id":46012498706666,"sku":"5020926044723","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4455030-3445150.jpg?v=1778211286"},{"product_id":"thomas-dream-catcher-0710357810923","title":"Thomas: Dream Catcher \/ Bevilacqua, Kaziboni, BBC N.O. of Wales","description":"\u003cp\u003eClarissa Bevilacqua writes: “Dear Listener, Welcome to Dream Catcher, an album that journeys through ten unique compositions, ten bewitching stories that lead us away from the constant Rush of everyday lives… As a new artist in the industry myself, I feel a certain calling to break this pattern by championing and performing works that reflect our present instead of our past, and by striving to surprise my audiences with music that they can discover and even relate to. This debut album is my first of hopefully many projects that strive to achieve this, and it is also my reply to all those people who believe classical music is a thing of the past. I met Augusta Reed Thomas by total surprise about five years ago in Chicago, where I was performing a recital that included her “Capricious Toccata: Dandelion Sky”. It was the first time that I had had the opportunity to discuss a piece of music with the actual composer, and I became absolutely fascinated with the world of possibilities that such a dialogue can lead to. I instantly started to study other works of hers, and began programming them in several of my recitals throughout the years. The more I performed these pieces and became familiar with Augusta’s compositional style, the more I felt myself wanting to create something tangible and long-lasting with these works. And thus, at the beginning of the global pandemic a few years ago, the idea for this album was born. This album features Augusta’s complete works for solo violin, as well as the world premier recording of her Violin Concerto No. 3 “Juggler in Paradise”…”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eThis first recording by violinist Clarissa Bevilacqua shows her desire to introduce new music to the public...Thomas studied with Oliver Knussen and Pierre Boulez. Among many other prizes, she has been awarded the Polar Music Prize. Her music is spirited, engaging and much focused. In other words, she knows how to express herself in small forms...The nine individual pieces, each lasting from two to six and a half minutes, nevertheless produce small narratives that appear to be a framed picture, but do not take on the format of imposing tapestries. The Third Violin Concerto is her most extensive work of this kind to date.\u003c\/p\u003e\n\u003cp\u003eRead Thomas knows how to always let the violin take the lead. She channels the many possibilities that arise from the instrumentation into small splinters and phrases. In doing so, she avoids covering up the solo instrument.\u003c\/p\u003e\n\u003cp\u003eAnd yes, all the pieces use a modern tonal language and yet are of such an appealing nature that listening is easy...The violinist Clarissa Bevilacqua knows very well how to bring out this light and descriptive character with elegant playing and nimble technique. She gives each movement its own character, making this collection a small gallery. For the Violin Concerto, BBC National Orchestra of Wales and conductor Vimbayi Kaziboni offer their delicately subtle support. With deliberate focus, they reveal aspects of the percussive elements as well, for example, setting painterly points of light.\u003c\/p\u003e\n\u003cp\u003e-- Pizzicato\u003c\/p\u003e","brand":"Nimbus","offers":[{"title":"CD","offer_id":46012538290410,"sku":"0710357810923","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4160817-2928686.jpg?v=1778250193"},{"product_id":"ernest-bloch-schelomo-hebraic-rhapsody-suite-for-viola-a","title":"Ernest Bloch: Schelomo - Hebraic Rhapsody, Suite for Viola a","description":"Schelomo: Rhapsodie Hebra�que is the most celebrated part of Ernest Bloch's Jewish Cycle, and although originally conceived for voice, Bloch determined that only the cello could adequately embody the character of Solomon. The Suite for Viola and Piano was composed between February and May 1919, and the cello version is the work of the pianist and composer Adolph Baller and cellist Gabor Rejto, who recorded their version in 1969. This album sees the World Premiere Recording of the cello version for orchestra, with cellist Parry Karp, who studied with Rejto \"getting to record these two masterpieces with conductor Kenneth Woods and the BBC National Orchestra of Wales is a dream come true\" - Parry Karp.","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012576727274,"sku":"635212093221","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4424633-3387825.jpg?v=1778211428"},{"product_id":"christopher-gunning-symphonies-nos-8-9","title":"Christopher Gunning: Symphonies Nos. 8 \u0026 9","description":"Four-time BAFTA winning composer Christopher Gunning, has composed twelve symphonies as well as concertos for the piano, violin, cello, flute, oboe, clarinet, saxophone, and guitar. Here the BBC National Orchestra of Wales and conductor Kenneth Woods, perform his eighth and ninth symphonies, recorded in Hoddinott Hall in March 2024. \"Each scored for a moderatelysized orchestra (the 8th has only one trumpet and no lower brass, while the 9th adds a second trumpet, a harp, and a small percussion section) and both [grapple], in Gunning's highly individual way, with the legacy of classical symphonic form\" - Richard Bratby.     [9th Symphony] \"I believe this piece has a strong emotional flavour but if you try and untangle the  story you're going to end up with your own story - and to me, that is absolutely perfect.\"    - Christopher Gunning.     \"Gunning's [...] symphonies, numerous concertos and sundry orchestral pieces are as meticulously wrought as they are powerfully conceived.\" - Gramophone","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012585672938,"sku":"635212094921","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4456900-3447453.jpg?v=1778196271"},{"product_id":"khachaturian-the-concertante-works-for-piano-sughayer-litton-bbc-national-orchestra-of-wales","title":"Khachaturian: Concertante Works for Piano \/ Sughayer, BBC National Orchestra of Wales","description":"\u003cp\u003eThe expressive immediacy of Aram Khachaturian's music, with its sensuous melodic writing, vibrant orchestration and rhythmic drive, resulted in a popularity equaled by few composers of his generation. Composed in 1936, the Piano Concerto was the work that established Khachaturian’s name. Cast in the customary three movements, it is scored for a sizable orchestra, with notable contributions from both side-drum and military drum in the percussion section. In the second movement there is also an extensive solo for a so-called ‘flexatone’; it is often put forward that Khachaturian in fact intended the part to be played on the musical saw, as it is on the present recording. Thirty years after the Concerto, the composer returned to the genre with his Concerto-Rhapsody for piano and orchestra. This time the score offers prominent roles for the xylophone, marimba and vibraphone, which contribute towards making this one of the composer’s most colorful works. The demanding solo parts are here performed by the young Jordanian-Palestinian pianist Iyad Sughayer, with spirited support from the BBC National Orchestra of Wales under Andrew Litton. Sughayer made his acclaimed début as a recording artist with an album of Khachaturian's piano works and sandwiched between the two works with orchestra he here presents the piano version of one of the composer's best loved pieces, the Masquerade Suite with its yearning opening Waltz and closing Galop.\u003c\/p\u003e","brand":"BIS","offers":[{"title":"SACD","offer_id":46012616048874,"sku":"7318599925868","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4118940-2867405.jpg?v=1778249765"},{"product_id":"schmidt-the-symphonies-berman-bbc-national-orchestra-wales","title":"Schmidt: The Symphonies \/ Berman, BBC National Orchestra of Wales","description":"\u003cp\u003e\u003cstrong\u003eFranz Schmidt 150 (1874-1939)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“In conversations about Franz Schmidt the recurring theme emerging for many is that listening to a performance of his music at a young age became the turning point in their lives the realization of how powerful music can be,” says Jonathan Berman, whose longtime love of Franz Schmidt’s work has its origins in a performance preparation for his Fourth Symphony.\u003c\/p\u003e\n\u003cp\u003eBerman’s passion for Schmidt’s work and the composer’s upcoming 150th birthday in 2024 were key reasons for the conductor to approach the BBC National Orchestra of Wales to record all four symphonies together – a major project that also marks Jonathan Berman’s CD debut.\u003c\/p\u003e\n\u003cp\u003eThe recordings were realized between 2020 and 2022 at BBC Hoddinott Hall, the home of the BBC NOW in Cardiff. In November 2023, Accentus Music releases all four symphonies in a high-quality box set that will also be made available across all digital platforms. BBC Music Magazine wrote about the digital pre-release of the first symphony in March 2021: “Jonathan Berman and the BBC National Orchestra of Wales deliver a terrific performance which provides a fine alternative to the excellent version from Paavo Järvi. […] What really makes this new recording so enticing is the sheer energy and enthusiasm with which conductor and orchestra communicate the vigour and optimism of the opening movement.”\u003c\/p\u003e\n\u003cp\u003eProduced in association with BBC Radio 3 and BBC National Orchestra of Wales.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eREVIEW\u003c\/b\u003e:\u003c\/p\u003e\u003cp\u003e Following their highly acclaimed streamed recording of his First Symphony, Jonathan Berman and the BBC National Orchestra of Wales have now completed their Franz Schmidt symphony cycle. Packaged together in this sumptuously designed and luxuriantly recorded set, the performances of all four symphonies, released in celebration of the 150th anniversary of his birth, pay worthy tribute to an undeniably major late-Romantic Austrian composer who, despite the passage of time, continues to divide opinion.\u003c\/p\u003e\u003cp\u003eWith almost evangelical zeal, Berman staunchly defends Schmidt from his detractors by providing some insightful personal observations in the booklet notes and by investing sufficient energy and dedication in his interpretations to allow the music to speak directly and fervently to the listener.\u003c\/p\u003e","brand":"Accentus Music","offers":[{"title":"CD","offer_id":46012638068970,"sku":"4260234833089","price":41.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4405866-3329931.jpg?v=1778205880"},{"product_id":"holloway-violin-concerto-solo-sonata","title":"Holloway: Violin Concerto \u0026 Solo Sonata","description":"Violinist Alda Dizdari presents two major works by Robin Holloway in this focused and thoughtful recording. 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Featuring violinist Abigel Kralik, and the BBC National Orchestra of Wales under the direction of Howard Griffiths, the program highlights romantic styles and lesser-known voices within the first half of 20th-century British music.","brand":"Evil Penguin","offers":[{"title":"CD","offer_id":46012691906794,"sku":"608917725926","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4449296-3432625.jpg?v=1778208095"},{"product_id":"bispickard-symphonies-2-6-verlaine-songs","title":"Pickard: Symphonies 2 \u0026 6; Verlaine Songs \/ Brabbins, BBC NoW","description":"\u003cp\u003eJohn Pickard is best known for his powerful orchestral and instrumental works, and his music has been widely praised for its large-scale sense of architecture and bold handling of an extended tonal idiom.\u003c\/p\u003e\n\n\u003cp\u003eThis recording brings together three works composed over a period of almost forty years, providing a glimpse of the composer's creative range.\u003c\/p\u003e\n\n\u003cp\u003eThe Second Symphony, completed when Pickard was 23, is an extremely impressive and concentrated work. Its starting point was John Hersey’s book Hiroshima, which describes how vegetation quickly reasserted its presence amid the city’s ashes.\u003c\/p\u003e\n\n\u003cp\u003eThe Verlaine Songs feature six poems by the French poet Paul Verlaine. Chosen for their broad range of expression, the poems were grouped in an order that provides dramatic contrast and an overall progression of mood. The cycle was composed for the soprano Emma Tring, with her particular vocal characteristics very much in Pickard’s mind.\u003c\/p\u003e\n\n\u003cp\u003eThe Sixth Symphony, which completes this recording, was composed at the height of the Covid-19 pandemic, and is dedicated to Robert von Bahr, founder of BIS Records. After a first movement dominated by a feeling of unease, the second offers relief from the darkness. This recording was the work’s first performance.\u003c\/p\u003e","brand":"BIS","offers":[{"title":"SACD","offer_id":46012693709034,"sku":"7318599927213","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4322752-3143338.jpg?v=1778232422"},{"product_id":"taylor-orchestral-music-vol-2","title":"Taylor: Orchestral Music, Vol. 2","description":"The music of the English composer Matthew Taylor (b. 1964) manages both to honour tradition and pull out some surprises. Clearly in the tradition that leads from Carl Nielsen through Robert Simpson, the works here observe Nielsen's fondness for dignity of expression, the occasional hint of power tempered by an almost Mendelssohnian lightness of touch - and, here and there, a note of levity: the Sixth Symphony, after all, is dedicated to the memory of Sir Malcolm Arnold. The three concertante works are performed here by musicians whose playing Taylor particularly admires.","brand":"Toccata","offers":[{"title":"CD","offer_id":46012792832234,"sku":"5060113447081","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4335183-3188772.jpg?v=1778206578"},{"product_id":"sibelius-symphonies-nos-1-6-sondergard-bbc-93114","title":"Sibelius: Symphonies Nos. 1 \u0026 6 \/ Sondergard, BBC National Orchestra of Wales","description":"\u003cp\u003eThis eagerly awaited recording is the second in Thomas Sondergard’s Sibelius series with the BBC National Orchestra of Wales. Their recording debut, Symphonies 2 and 7, revealed Sondergard to have a profound understanding of the great Finnish composer. Sibelius has been a major feature of Sondergard’s relationship with the BBC NOW since their debut eight years ago; their widely acclaimed Proms performance of the symphonies was a highlight. Symphony No. 1 combines the best of Russian romantic orchestration and melodic magic with a distinctive Nordic character and wonderful contrasts of texture and color. In the Sixth, Sondergard’s detailed reading highlights the many felicitous touches in Sibelius’ writing and conjures heavenly tones from the strings in the closing bars. This recording will cement their partnership as one of the great new Sibelius teams. Danish conductor Thomas Sondergard is Principal Conductor of BBC NOW and Principal Guest Conductor of Royal Scottish National Orchestra; a rare honor to hold titled positions with two major British orchestras. In recent years he has made successful debuts with the Gothenburg, Atlanta, Brussels, Oslo and Luxembourg Philharmonic and the Seattle and Houston and Symphony Orchestras.\u003c\/p\u003e","brand":"Linn Records","offers":[{"title":"CD","offer_id":46012845555946,"sku":"691062050227","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3204455-2472994.jpg?v=1778272668"},{"product_id":"violin-concerto-2-399373","title":"John Mayer: Violin Concerto No. 2 - Jonathan Mayer: Sitar Concerto No. 2","description":"\u003cp\u003eThe first true cross cultural fusion of Indian and western music was back in 1957 with John Mayer’s Raga Music for Solo Clarinet and through the sixties, seventies, eighties and nineties his musical output reflected his Indian roots. This release celebrates John Mayer’s orchestral work and sees the further development from his son Jonathan Mayer, including three premiere recordings and one first commercial release. Included in this album is John Mayer’s Second Violin Concerto, originally commissioned for the late Erich Gruenberg in 1978, is it played by Sasha Rozhdestvensky who has a long standing relationship with First Hand Records. Mayer’s Concerto for the Instruments of an Orchestra had its premiere performance in 1976 by The London Philharmonic Orchestra and Bernard Haitink. Jonathan Mayer’s Pranam for sitar, tabla and orchestra is inspired by the Indian dance form Kathak and was premiere in the Czech Republic in 2017, it features the composer on sitar and Shahbaz Hussian on tabla. His Second Sitar Concerto was premiered again in the Czech Republic in 2019 and all works are under the baton of the Indian conductor Debashish Chaudhuri.\u003c\/p\u003e","brand":"First Hand Records","offers":[{"title":"CD","offer_id":46012865216746,"sku":"5060216341088","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3920552-2668384.jpg?v=1778252738"},{"product_id":"maw-orchestral-works-mackenzie-boughton-bbc-national-290609","title":"Maw: Orchestral Works \/ Mackenzie, Boughton, BBC National Orchestra of Wales","description":"\u003cimg src=\"\/graphics\/features\/gramophone_choice.jpg\"\u003e\u003cbr\u003e Nicholas Maw’s most fervent desire was to communicate directly with his audiences and produce material which performers would enjoy playing and Spring Music, written with the express purpose of diverting and entertaining an audience, finds the composer at his most uninhibited and freely expressive. Fresh, colorful and vibrant, this score has the exotic, open-hearted spirit of a curtain-raiser by William Walton or Alan Rawsthorne. In its final, slimmed-down version, it rapidly became one of Maw’s favorite pieces among his own output and he once described the long-breathed cello-led melody as ‘one of the best tunes I think I’ve actually ever written’. In 1995 Maw was commissioned by the BBC to write a work commemorating the 300th anniversary that year of the death of Purcell. Maw soon came to the conclusion that he wanted to round off his tribute piece with an example of a chaconne, a form in which Purcell was pre-eminent. The theme which Maw chose to embellish is derived from the first of his Life Studies for 15 solo strings. Taking his lead from Tchaikovsky, Maw decided that the main title should reflect precisely the reference vocabulary of the piece and so the piece became known for a while as Romantic Variations. Later still the title was altered to its definitive form of Voices of Memory: Variations for Orchestra. Described by Andrew Burn as ‘a major contribution to the genre’, the Sonata for Solo Violin was requested by Jorja Fleezanis, to whom the work is dedicated. In Maw’s Sonata for Solo Violin, the constraints of writing for a single stringed instrument in a four-movement, large-scale work are deftly surmounted by the composer’s gift for melodic lines and rhythmic invention. Each movement has a vivid sense of color, formal logic and onward momentum so that the writing, however demanding it may be, never suggests an arid study or a shallow technical exercise.","brand":"Lyrita","offers":[{"title":"CD","offer_id":46012871803114,"sku":"5020926038524","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3770631-2536570.jpg?v=1778274922"},{"product_id":"standards-1","title":"STANDARDS","description":"Try something new is Simon H�fele's motto. Inquisitive, intrepid and full of passion for his instrument, on his new album \"Standards\" he turns to the trumpet in all it's many facets, sweeping his audience along with him with his audacious and clever programmes and thrilling playing. As a \"Rising Star\" of the European Concert Hall Organization and one of Konzerthaus Dortmund's \"young wild things\", Simon H�fele has centered his debut album on the Berlin Classics label around the key repertoire for trumpet and the quintessence of his time as a BBC Radio 3 New Generation Artist.","brand":"Berlin Classics","offers":[{"title":"CD","offer_id":46013026533610,"sku":"885470013145","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3797349-2753773.jpg?v=1778251778"},{"product_id":"gunning-symphonies-nos-2-10-12","title":"Gunning: Symphonies Nos. 2, 10 \u0026 12","description":"Christopher Gunning has composed twelve symphonies, as well as concertos for the piano, violin, cello, flute, oboe, clarinet, saxophone, and guitar; many of these have now been recorded. He has also composed many scores for films and television dramas, including Agatha Christie's 'Poirot', La Vie en Rose, Middlemarch, Cold Lazarus, Rebecca, Under Suspicion, Firelight, The Big Battalions, Wild Africa, When the Whales Came and Porterhouse Blue. With a career spanning 50 years, he has won 4 BAFTA and 3 Ivor Novello Awards, and BASCA's prestigious Gold Badge Award. Christopher studied composition with Edmund Rubbra and Sir Richard Rodney Bennett at the Guildhall School of Music and Drama. After a hugely successful career writing for the big and small screen he is now focused on his classical work and releases. Gunning's second symphony has been composed of a period of years, starting in 2003. Gunning struggled to finish the composition at first, but when the opportunity arose to record the symphony with the BBC National Orchestra of Wales, he uncovered the symphony in early 2018. He then worked towards the recording session, tightening the structure and rationalized the orchestration, preparing the composition for the final session, which can be heard on this record. Symphonies 10 and 12 were much simpler for Gunning. No. 10 was composed in a very natural way; the starting material of the symphony allowed Gunning to move from one section to the next with ease. Symphony 12 is the most tonal of the three symphonies. It begins with an uncertain feel, before rising to a climax, and then down to a feeling of mystery. The second movement was inspired for a friends funeral, beginning with a bell, calling people up to the chapel. It then takes influences from English music and countryside (both of which the friend enjoyed), before reverting back to the bell idea again at the end of the funeral.","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46013067657450,"sku":"635212059326","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3760297-2525100.jpg?v=1778250224"},{"product_id":"british-classics-davis-atherton-bbc-symphony-bbc-195923","title":"British Classics \/ Davis, Atherton, BBC Symphony, BBC Wales National Orchestra","description":"\u003cp\u003eThis release combines two much loved British classics: Elgar's seminal 'Enigma Variations' and Holst's orchestral masterpiece 'The Planets'. In an acclaimed BBC drama-documentary filmed in the rolling Malvern Hills, Sir Andrew Davis unravels the mystery of the famous musical puzzle contained in Elgar's work followed by a landmark performance of the complete score by the BBC Symphony Orchestra conducted by Sir Andrew Davis given in the cathedral in Elgar's home town of Worcester. The lavish visualization of Gustav Holst's orchestral masterpiece 'The Planets' and Colin Matthews' additional movement 'Pluto', the Renewer features spectacular images which enhance the symbolic meaning attributed to each planet by the composer. Directed by Rhodri Huw, this memorable audiovisual experience blends images filmed in many locations around the world, computer graphics, animatronics and a splendidly atmospheric performance by the BBC National Orchestra of Wales. \"Sir Andrew Davis's fine performance of the Enigma Variations, with Nimrod hushed, slow and steady, was recorded in the atmospheric surroundings of Worcester Cathedral, where Elgar said everyone should hear his music. Davis introduces a highly enjoyable documentary about the work and 'the friends pictured within'. In the documentary he suggests that each variation, as well as reflecting the character of a particular friend, reveals much about Elgar himself, 'like an actor playing many roles'.\" (The Penguin Guide - Elgar) \"As for the performance, this is not a run-of-the-mill Planets. Atherton recreates the score with both subtlety and aplomb, and with the necessary bravura when called for. It is difficult sometimes to pay too careful attention to the music given the sheer overwhelming beauty of the visual images, but the underpinning is very present, and one comes to a whole new appreciation of Holst’s masterpiece by having a visual element.\" (Musicweb International - Holst)\u003c\/p\u003e","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46013070278890,"sku":"809478012665","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3786466.jpg?v=1778261727"},{"product_id":"a-celebration-on-record","title":"A Celebration on Record","description":"As William Boughton celebrates his 70th birthday, we have put together this selection from his recordings for Nimbus and Lyrita. 'Every recording contains a story but, sadly, there is not the space to tell them all here so I've selected certain memorable, hopefully correct(!), experiences. Revisiting my early recordings reminded me of the joys and struggles that we encountered whilst developing the English String Orchestra (ESO), the development of our sound, our thinking and musicianship. Every recording is testament to a moment in time, to our responses and emotions during it's preparation and in the brief moment when the performance is created. Having been given this opportunity for a celebratory box-set I hope to avoid being too self conscious and remain objective in my comments and in the music I have chosen.' [William Boughton]","brand":"Nimbus","offers":[{"title":"CD","offer_id":46013110452458,"sku":"0710357171222","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3679559-3327891.jpg?v=1778273660"},{"product_id":"arwel-hughes-dewi-sant","title":"ARWEL HUGHES: DEWI SANT","description":"Arwel Hughes (1909-1988) was the tenth son of a Welsh coal miner, and his progress through life was a remarkable one. Along the way, he studied composition at the Royal College of Music where his tutors were Gordon Jacob, Gustav Holst and, importantly, Vaughan Williams. During WWII, he worked for the BBC, becoming Head of Music for BBC Wales. He actively encouraged and supported the music of his Welsh contemporaries who included Daniel Jones, Grace Williams, Alun Hoddinott and William Mathias. Arwel Hughes composed a symphony, two operas, three string quartets, a mass, much choral music and shorter orchestral pieces. The oratorio Dewi Sant (Saint David) was composed for the festival of Britain in 1951 as the main Welsh contribution. The text was written by his friend and colleague at the BBC, Aneurin Talfan Davies. The text is based on the life of the patron saint of Wales, David (c520 - 588AD). Davies drew inspiration from the 11th century Latin Vita, by Rhygyfarch who was the son of a Bishop of St Davids. The sound world of the oratorio has flashes of Wagner and Vaughan Williams, and, similar the latter composer, never looses sight of the fact that this music should be performed by amateur performers as well as professional choruses and orchestras. It is a work of great skill, and is both melodious and dramatic. 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Based on the famous Ode to Joy of Beethoven's final symphony, BEETHOVEN9 Symphonic Remix uses loops, grooves and musical transformations to create a contemporary tribute to Beethoven's universal message. This release contains world premiere recordings of three works that reimagine the music of Beethoven in differing and special ways: a brand-new 'symphony' in the style of Beethoven based on the Seventh Violin Sonata, an orchestral suite that captures the spirit of Fidelio, and Gabriel Prokofiev's unique take on Beethoven's Ninth Symphony featuring styles from minimalism to impressionism via Hip-Hop, African, Funk, Baroque and many others to create an eclectic but striking remix of some of the most famous movements in all music. Conductor Yaniv Segal is a versatile polymath who has appeared on stages as a violinist, actor, singer, composer, and conductor dedicated to bringing classical music of all types to a broad and mainstream audience, and has been spotlighted by Esquire Magazine as a rising star that is 'redefining classical music.'","brand":"Naxos","offers":[{"title":"CD","offer_id":46013130703082,"sku":"747313402076","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3789586-2551000_e4264b91-718f-4733-8be5-7f9f313bfecd.jpg?v=1778244823"},{"product_id":"jones-symphonies-nos-12-13-come-my-954265","title":"Jones: Symphonies Nos. 12 \u0026 13; Come, my Way, my Truth, my Life","description":"\u003cp\u003eA fine example of Jones at his most succinct and incisive, the Twelfth Symphony (1985) was commissioned by the Civil and Public Services Association as a farewell gift to their retiring General Secretary, Ken Thomas The Twelfth Symphony was first performed by the BBC Welsh Symphony Orchestra and conductor Erich Bergel at a gala concert at St David's Hall, Cardiff on 26 September 1985. The score bears a superscription consisting of a brief quotation from Pushkin, which reads 'Yet one last tale, And my chronicle is ended'. Daniel Jones's Symphony in memory of John Fussell (Symphony No.13) (1992) was first performed by the BBC Welsh Symphony Orchestra and conductor Richard Hickox at the Brangwyn Hall, Swansea on 17 October 1992 at that year's Swansea Festival. The work is a personal tribute to a friend of the composer, who was Swansea's Director of Music and City Organist from 1970 until 1990, the year of his death. The cantata Come, my Way, my Truth, my Life (1987) was written in memory of John Aeron-Thomas, whose widow Margaret commissioned the work. A devout Christian, John Aeron-Thomas had been a founder-member of the Swansea Festival, who commissioned Jones's First Symphony. among other works. The text is taken from poetry by George Herbert (1593-1633), which details his sacred journey.\u003c\/p\u003e","brand":"Lyrita","offers":[{"title":"CD","offer_id":46013155377386,"sku":"5020926039125","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4013056-2761065.jpg?v=1778267815"},{"product_id":"clytemnestra-hughes-steen-bbc-national-orchestra-289963","title":"Clytemnestra \/ Hughes, Steen, BBC National Orchestra of Wales","description":"\u003cp\u003eIn 2015, when Ruby Hughes discovered Clytemnestra by the Welsh composer Rhian Samuel, the work had not been performed since its première some 20 years earlier. Hughes describes the 24-minute score as ‘sun-scorched and luscious’ as well as ‘intensely visceral’, but in it she also heard echoes of Gustav Mahler and Alban Berg, two of Samuel’s influences. For her first album as soloist with orchestra, she has therefore devised a programme which brings together the three composers but which also spans a wide range of emotions and moods. For his Rückert-Lieder, Mahler selected five highly intimate and subtle poems by the great Romantic poet Friedrich Rückert, using his large orchestral forces sparingly in a chamber music style. Ten years later, in 1911, Berg found his texts closer at hand as he set contemporary poems by Peter Altenberg, one of the main proponents of Viennese impressionism. Berg's advanced harmonic language caused a scandal at the first performance in 1913, and the songs were only performed in their entirety in 1952, sixteen years after Berg’s death. For Clytemnestra, finally, Rhian Samuel assembled her own text, based on Aeschylus' tragedy Agamemnon and focusing Clytemnestra’s deep anguish at the death of her daughter and her need for revenge. Bringing this wide spectrum of human emotions to life, Ruby Hughes is supported by the BBC National Orchestra of Wales and conductor Jac van Steen.\u003c\/p\u003e","brand":"BIS","offers":[{"title":"SACD","offer_id":46013163012330,"sku":"7318599924083","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3760101-2534931.jpg?v=1778251828"},{"product_id":"glazunov-complete-symphonies-vol-1-otaka-bbc-135603","title":"Glazunov: Complete Symphonies Vol 1 \/ Otaka, Bbc Wales Nso","description":"Alexander Glazunov's Symphony No. 2 (completed in 1886, when the composer was 21) is distinguished by its quintessentially Russian thematic style, which like Borodin's juxtaposes \"oriental\" and \"occidental\" melodies. The Symphony's main theme, announced in a commanding unison statement at the first movement's opening, appears in all four movements in various guises, establishing the work's cyclic unity. Glazunov's motivic development technique stems directly from contemporary Russian practice (already he displays the mastery of orchestration and large forms that would characterize his later work), so any fan of 19th century Russian symphonic music will find much that is comfortably familiar here. However, even non-Russophiles will derive enjoyment from Glazunov's always ear-catching tunes, colorful orchestration, and dramatic sensibility (particularly in the outer movements). Tadaaki Otaka shows himself to be finely attuned to Glazunov's special sound-world and lavishes much care and affection on this music, leading the BBC Wales Orchestra in an enthusiastic and highly polished performance. \u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e Glazunov's Mazurka in G major (1888) actually is a self-contained suite of dances (the dance suite was a popular form of the Russian National school) and points the way toward the imaginative and vibrant style of his later ballet scores. The orchestral fantasy From Darkness to Light was dedicated to Busoni, and it displays (in the darkness section) some surprisingly advanced harmonic devices (Glazunov reportedly had no sympathy for any modernist tendencies, at least later in his career). Out of this pushed-to-the-edge chromaticism emerge the pure tonal harmonies of light, as the work follows a rather obvious path of \"transfiguration\". Otaka and his forces are just as convincing in these two filler works, making the whole program quite enjoyable. BIS' vivid recording presents a naturally balanced sound picture with a wide dynamic range.\u003cbr\u003e --Victor Carr Jr, ClassicsToday.com","brand":"BIS","offers":[{"title":"CD","offer_id":46013267542250,"sku":"7318590013083","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2263397.jpg?v=1778313248"},{"product_id":"philip-sawyers-symphony-no-4-hommage-to-kandinsky","title":"Philip Sawyers: Symphony No. 4 \u0026 Hommage to Kandinsky","description":"Sawyers's Fourth Symphony is scored for an orchestra of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals and strings. Structurally, it marks a departure from his First and Third Symphonies, which are both in the traditional four-movement form, and the one-movement Second. Sawyers says of the somewhat unusual structure that: My Fourth symphony is in three movements. \"Why?\" might be a reasonable question. The answer is that simply that by the time the third movement was complete, there was nothing more to say. The large-scale symphonic poem Hommage to Kandinsky was commissioned by the Grand Rapids Symphony in celebration of the tenure of their longstanding Music Director, David Lockington, who premiered the work in September 2014. Given the celebratory nature of the occasion, the orchestra encouraged Sawyers to employ the largest orchestra he had yet written for: 2 flutes and piccolo, 2 oboes and cor anglais, 2 clarinets and bass clarinet, 2 bassoons and contra bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani and percussion, harp and a large string section. The work's subject matter had it's origins in Sawyers's attendance at an exhibition \"Kandinsky: The Road to Abstraction\" at the Tate Modern in London in 2006. Although Sawyers took particular inspiration from several paintings in the exhibition, the resulting tone poem represents primarily an emotional response to Kandinsky's work rather than an attempt to respond literally to Kandinsky's images in music.","brand":"Nimbus","offers":[{"title":"CD","offer_id":46013283074282,"sku":"0710357640520","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3819969-2574794.jpg?v=1778256711"},{"product_id":"takemitsu-string-around-autumn-a-i-hear-the-water-dream-7318590013007","title":"Takemitsu: String Around Autumn (A) \/ I Hear The Water Dream","description":"Classical Music","brand":"BIS","offers":[{"title":"CD","offer_id":46013301096682,"sku":"7318590013007","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2263390.jpg?v=1778312435"},{"product_id":"sibelius-symphonies-nos-2-7-sondergard-bbc-112301","title":"Sibelius: Symphonies Nos. 2 \u0026 7 \/ Sondergard, BBC National Orchestra of Wales","description":"These performances of the Second and Seventh Symphonies are impressive–particularly the case with the Second. Despite the work’s popularity, or maybe because of it, no other Sibelius symphony has received so many disappointing recordings, some by very major conductors (think: Karajan, for example). Søndergård gets it right. The first movement moves swiftly and purposefully. Usually it’s taken too slowly, its pastoral freshness compromised. Not here. The second movement’s turbulent climaxes have plenty of the necessary ferocity, and the scherzo is simply stunning at the swiftest possible tempo. The BBC National Orchestra of Wales strings really do themselves proud. Søndergård paces the finale perfectly, and only a certain timidity in the trumpets prevents its heroic opening theme from projecting with sufficient brilliance. Otherwise, this is certainly one of the better recent versions. \u003cbr\u003e  \u003cbr\u003e As for the Seventh, there are no issues at all. At just twenty minutes, again, Søndergård reveals his understanding of the idiom and mastery of large scale architecture. The transitions, from the opening adagio to the initial allegro and back again, and then on to that sunny pastoral interlude, all proceed with the inevitability of fate itself. The orchestra’s woodwinds and solo trombone do some particularly excellent work throughout the symphony, and the closing pages have that warm glow of fulfillment that seems completely unique to the work. Again it’s a question of timing, particularly those final “amen” chords. Sonically the engineering is warm and well balanced, but the soft timpani and brass have a tendency to vanish into the texture and lose presence. Still, if this is the first disc in a planned cycle, it looks like it’s going to be a very good one.\u003cbr\u003e  \u003cbr\u003e -- David Hurwitz, ClassicsToday.com\u003cbr\u003e","brand":"Linn Records","offers":[{"title":"SACD","offer_id":46013312631018,"sku":"691062046220","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2850166.jpg?v=1778300600"},{"product_id":"rands-concerto-for-piano-orchestra-music-for-shoko-aub","title":"Rands: Concerto for Piano \u0026 Orchestra - Music for Shoko: Aub","description":"The international reputation of Bernard Rands as one of the leading composers of his generation rests on over a hundred well-crafted scores of notable formal cohesion, dramatic intensity and lyrical beauty. The Concerto for Piano and Orchestra (2013) was commissioned by the Boston Symphony Orchestra in celebration of Rands's eightieth birthday year and as implied by it's title, the piece is for piano and orchestra rather than a piano concerto. Hence, the solo part is primus inter pares and is not required to play the conventional role of a protagonist striving heroically for supremacy over the masses. Canti del Sole, for tenor and orchestra (1983) describes a day's progression from dawn to dusk through a continuous setting of fourteen poems about the sun. The poems are arranged into two groups of seven. Music for Shoko: Aubade is an atmospheric mini-tone poem for English horn and string quartet (2017). It is dedicated to Bernard Rands's friend Shoko Suzuki in appreciation of their many years of friendship and her devotion to the composer's music. The piece is a transcription of the central 'Aubade' movement from the Concerto for English Horn and Orchestra, which was written for the soloist Robert Walters. The solo part of the chamber piece is identical to that of the concerto movement, while the orchestral music is accommodated, with adjustments, by the string quartet.","brand":"Lyrita","offers":[{"title":"CD","offer_id":46013316071658,"sku":"5020926037923","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3912097.jpg?v=1778280915"},{"product_id":"rediscovered-british-clarinet-concertos-peter-cigleris","title":"Rediscovered - British Clarinet Concertos \/ Peter Cigleris","description":"\u003cp\u003ePeter Cigleris performs with the BBC National Orchestra of Wales in a programme of four ‘rediscovered’ clarinet concertante works of the first half of the 20th Century. Composed between 1930 and 1947, the works span a time of change in the musical landscape of Great Britain; Pre 1939\/40 the two predominant styles within British music were those of Post-Romanticism and Nationalism, whereas Post 1945, with the influence of the BBC, Modernism became the dominant style. By chance it also happens that two prominent British clarinettists tie these four works together; Fredrick Thurston and Reginald Kell were both involved in performances of the works at various points during their careers. A renowned soloist and chamber musician, Peter Cigleris has performed with the CBSO, BBCCO, ENB, Philharmonic, Royal Ballet Sinfonia and Orchestra of the Swan, as well as for a time holding the principal seat with the Symphony Orchestra of India in performances under Charles Dutoit and Rafael Payare amongst others. He has worked with musicians such as Martin Cousins, John Lenehan, Mark Bebbington, Julian Lloyd Webber and the Tippett Quartet, performing for various music clubs and festivals around the UK including the Windsor and Wooburn Festival, English Music Festival, Carlisle International Music Festival, Groba Festival in Spain and the ICA ‘ClarinetFest’.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\" id=\"ctl00_MainContent_gvReviews_cell0_12_ASPxPopupControl1_ASPxLabel2\"\u003eThis valuable disc results from an exploration of lost repertoire by the present clarinettist, Peter Cigleris. Two of these concerted works predate the Second World War and two post-date it. Only the Elizabeth Maconchy has appeared on record before.\u003c\/span\u003e \u003cspan class=\"dxeBase_PlasticBlue\" id=\"ctl00_MainContent_gvReviews_cell0_12_ASPxPopupControl1_ASPxLabel2\"\u003eThe performances of these four works for clarinet and orchestra are ideal. Clearly, the soloists Peter Cigleris and Deian Rowlands (Dolmetsch) have taken ownership of these concertos (notwithstanding Thea King’s 1992 disc) and the BBC National Orchestra of Wales under Ben Palmer have entered into the spirit of this music. The recording is great and the liner notes, presumably by Cigleris, are helpful; the CD cover design could have been a lot more appealing, though. This is an excellent CD. How often do reviewers conclude by expressing the wish that the music were more widely known? I would extend that to include the achievements of all the composers represented here. Finally, I hope that clarinettist Peter Cigleris keeps up the good work and “rediscovers” many more forgotten scores. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\"\u003e– MusicWeb International\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46013326721258,"sku":"635212065624","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3931722-2669902.jpg?v=1778260961"},{"product_id":"rachmaninov-the-piano-concertos","title":"Rachmaninov: The Piano Concertos","description":"Classical Music","brand":"Nimbus","offers":[{"title":"CD","offer_id":46025282453738,"sku":"710357172021","price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1894310.jpg?v=1778338744"},{"product_id":"holst-the-planets-2","title":"Holst: The Planets","description":"David Atherton conducts the BBC National Orchestra of Wales. The DVD features a spellbinding blend of animatronics and computer graphics.","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025474965738,"sku":"809478009160","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/716922_e42193fb-cdc9-40b9-a0a7-f429145bc825.jpg?v=1778188998"},{"product_id":"evocation-7318599923987","title":"Evocation","description":"Paul Frankenburger left his native Germany in 1933 in response to the National Socialists' rise to power. Up to that point he had been fully immersed in the German tradition and his compositions followed in the footsteps of the great German post-Romantics like Mahler. Yet after arriving to the British Mandate of Palestine, not only did he change his name to Paul Ben-Haim, but his compositional style underwent a profound change as well. Devised by the young violinist Itamar Zorman, this album tracks how the music of the region gradually became an integral part of Ben-Haim's compositions. Six works spanning four decades represent different stages in this process of synthesis between East and West, the transformation of Frankenburger into Ben-Haim. Zorman, a prize-winner in the 2011 Tchaikovsky Competition, is supported by the BBC National Orchestra of Wales and Philippe Bach in the opening Evocation (Yizkor) from 1942, and the Violin Concerto, as well as in the arrangement (by the father of the soloist) of a Toccata, originally composed for the piano. These are interspersed by Three Songs without Words and Berceuse sfaradite, one of Ben-Haim's most popular works, in which Itamar Zorman is partnered by pianist Amy Yang. Also part of the programme is Ben-Haim's last composition for the violin, the Three Studies for Solo Violin, written in 1981 for Yehudi Menuhin.","brand":"BIS","offers":[{"title":"SACD","offer_id":46025939681514,"sku":"7318599923987","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3905626.jpg?v=1778253425"},{"product_id":"pickard-symphony-no-5-16-sunrises-brabbins-240342","title":"Pickard: Symphony No. 5 \u0026 16 Sunrises \/ Brabbins, BBC National Orchestra of Wales","description":"\u003cimg src=\"\/graphics\/features\/gramophone_choice.jpg\"\u003e\u003cbr\u003e  \u003cbr\u003e Born in 1963, John Pickard is best known for a series of powerful orchestral and instrumental works and previous recordings on BIS of his music have received critical acclaim in reviews such as Gramophone (''simply stunning''), American Record Guide (''superb works in wonderful readings'') and BBC Music Magazine (''an absolute triumph''). The present album brings together some of Pickard's most recent orchestral compositions, in performances by two of his long-time collaborators: the BBC National Orchestra of Wales and conductor Martyn Brabbins. The opening work is Symphony no. 5, which was composed in 2014 with these performers in mind. Lasting some thirty minutes, the symphony is in a single continuous movement. It requires no less than three timpanists who are placed at the back of the orchestra to the right, left and centre, leading to some dramatic antiphonal exchanges. The symphony is followed by Sixteen Sunrises, the result of the composer's wish to compose a piece ''filled with light''. The title of the piece refers to the number of sunrises that can be observed during a twenty-four-hour period from the International Space Station, as it orbits the earth. Musical depictions of sunrises are normally gradual processes, but viewed from the ISS, a sunrise occurs in a matter of seconds, and it is the idea of suddenly shifting from darkness to light that formed the basis of the shape of Pickard's piece.","brand":"BIS","offers":[{"title":"SACD","offer_id":46025940140266,"sku":"7318599922614","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3676518_7cc013b1-ce5d-4007-9272-28c178678d47.jpg?v=1778280035"},{"product_id":"butterworth-orchestral-works-works-for-voice-orchestra-80722","title":"Butterworth: Orchestral Works \u0026 Works for Voice \u0026 Orchestra","description":"\u003cp\u003eEnglish composer George Butterworth (1885-1916) did not write a great deal of music. In fact, during the war he destroyed some of his works for fear he wouldn’t return from battle and wouldn’t be able to revise them. He is most known for his orchestral setting “A Shropshire Lad” which is the ‘orchestral epilogue’ to the original vocal settings of A. E. Housman’s poems. Also especially notable on this release is an “Orchestral Fantasia.” Butterworth began this composition before the war broke out, and a three and a half minute section was preserved. The conductor of this release, Kriss Russman, has picked up where Butterworth left off, adding around five minutes of music where he develops Butterworth’s original ideas and adds additional material.\u003c\/p\u003e","brand":"BIS","offers":[{"title":"SACD","offer_id":46025940730090,"sku":"7318599921952","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3394352.jpg?v=1778286286"},{"product_id":"ginastera-popol-vuh-ollantay-estancia-panambi-ben-161100","title":"Ginastera: Popol Vuh, Ollantay, Estancia, Panambi \/ Ben-Dor","description":"\u003cp\u003eFor the five works on this disc, Ginastera drew upon Argentine and other Meso- and South American subjects. Evocative of native influences, the life of the gaucho on the pampas, and influenced by the music of his time, they span the composer’s entire creative life, from his first acknowledged work, the ballet score Panambí, and the Inca-inspired Ollantay, to the Mayan mythological compendium Popol Vuh, which occupied him for about eight years and remained unfinished. These exciting, richly orchestrated works abound in the beauty and energy of dance.\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46025957245162,"sku":"747313099979","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1657841.jpg?v=1778328872"},{"product_id":"bloch-schelomo-voice-in-the-wilderness-caplet-94696","title":"Bloch: Schelomo; Voice In The Wilderness; Caplet: Epiphanie; Ravel: Kaddish","description":"\u003cbr\u003e \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eBLOCH \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eVoice in the Wilderness. Schelomo. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eCAPLET \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eÉpiphanie.\u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003e RAVEL \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003e2 Mélodies hébraïques: \u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eKaddisch \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e(arr. Ravel) \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Raphael Wallfisch (vc); Benjamin Wallfisch, cond; BBC Natl O of Wales \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e NIMBUS 5913 (75:13) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThis album holds deep personal significance for the performers. In a video interview released in promotion of it, Raphael Wallfisch discusses his conception of the program as a memorial to his family, particularly his four grandparents, who perished in the Holocaust. Having engaged his son, Benjamin, to conduct the recording, Wallfisch views it as both a musical and a familial statement. Additionally, Wallfisch emphasizes the vivid “cinematic” drama of the Bloch pieces, for which he considered his son’s close involvement with film music to be a natural fit. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eGiven these factors, it is not surprising that the Wallfisches’ performances on this disc are rhapsodic and dramatic. And that is what this music demands. The two Bloch pieces, when played well, can be shattering experiences for the listener: unremittingly grim, with the cello as tormented protagonist. The Ravel \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eKaddisch\u003c\/span\u003e \u003cspan\u003e, based on a traditional cantorial melody, captures the outermost depths of reverence and mourning. And Caplet’s rarely-performed \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eÉpiphanie \u003c\/span\u003e \u003cspan\u003eis an ecstatic portrayal of an Ethiopian telling of the Adoration of the Magi. There is no moderation of emotion in these works; this is music to captivate, move, and overwhelm the listener. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eBloch’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eVoices in the Wilderness \u003c\/span\u003e \u003cspan\u003ewas written in 1936, a period during which he produced some of his most substantial works. (The \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eSacred Service \u003c\/span\u003e \u003cspan\u003ewas composed in 1933 and the piano sonata in 1935.) It was originally conceived for cello and piano, and was reworked for piano solo as \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eVisions and Prophecies\u003c\/span\u003e \u003cspan\u003e, which presents the orchestral expositions to the first five pieces. Familiarity with both versions provides an intriguing contrast; the role of the cello in \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eVoices in the Wilderness \u003c\/span\u003e \u003cspan\u003eis one of commentator on the orchestral material presented in the first half of each movement. As evidenced by \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eVisions and Prophecies\u003c\/span\u003e \u003cspan\u003e, this material can succeed on its own; it is not simply introductory but traces a complete musical arc. Is the cello response therefore redundant? Some movements work better than others. The second, for example, is atmospheric and pensive in the orchestral section. It ends with an upward, questioning melodic gesture. Left here in the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eVisions and Prophecies\u003c\/span\u003e \u003cspan\u003e, the question lingers enigmatically. In \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eVoices in the Wilderness\u003c\/span\u003e \u003cspan\u003e, the cello begins its response with outraged scales. The orchestral accompaniment thickens and becomes more dissonant. In this movement, the second half constitutes a reassessment of the ideas presented in the first half rather than simply an elaboration of them. The third movement’s exposition, majestic with vivid coloration unavailable to a solo piano, feels like a public statement of triumph and benefits from the individual perspective offered by the cello response; moreover, it is brief enough that its restatement is not unwelcome. But the foreboding first movement achieves its full emotional impact and reaches a convincing full stop before the cello entrance, as does the idyllic fourth movement. Finally, the coda to the fifth movement ends in such eloquent silence as to render the boisterous sixth movement almost disruptive. Qualms about the composition’s structure aside, Wallfisch’s playing exhibits an impressive range of emotion, texture, and color. His cadenza in the fifth movement is especially effective in its bold, emphatic statements and its relentless build. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eRavel’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eKaddisch \u003c\/span\u003e \u003cspan\u003ewas composed in 1914 for piano and voice as one of the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003e2 Mélodies hébraïques\u003c\/span\u003e \u003cspan\u003e. Ravel orchestrated both songs in 1919–20. Wallfisch’s approach to the melody is appropriately improvisatory in its fluctuations of tempo and sudden shifts of dynamics. He even produces some strikingly vocal portamentos. But without the words, much of the emotional impact of the piece is lost. This is not simply because of the profundity of the text; rather, the articulation of specific consonants and vowels has a timbral effect that cannot be replicated instrumentally. Additionally, the orchestration obscures the insistent treble octaves that provide the focal point of the original piano accompaniment. Ravel was a masterful orchestrator, and this version of the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eKaddisch \u003c\/span\u003e \u003cspan\u003eis musically pleasing, but it does not have the impact of the original. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eAndré Caplet’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eÉpiphanie \u003c\/span\u003e \u003cspan\u003ehas been recorded only a handful of times—inexplicably for such an accessible and attractive work, and one that offers the soloist a true virtuoso spectacle. The piece is in two large movements connected by an extended solo cadenza. Though subtitled “Musical Fresco after an Ethiopian Legend,” the first movement is solidly in the sound world of Impressionism—perhaps closer to Roussel than to Debussy in its harmonic palette. The feeling is sunny and ingratiating throughout. The cello part features extended pizzicato passages and frequent harmonics. The cadenza is accompanied by a pedal tone in the double basses and by a quiet, steady drumbeat, which the program notes identify as “a characteristically Ethiopian element.” The cadenza itself sounds fairly European, despite some pentatonic material and occasional uses of the Semitic scale. This is not a complaint; the music is impassioned and colorful, and Wallfisch’s playing is commanding. The second movement, the “Danse des Petits Negrès,” takes a more exotic tone with a rapid, heavily-accented 5\/4 meter and a repeated whirling motif in the cello. Brief musical phrases, repeated in groups of two, create a “primitive” effect. The constant repetition becomes predictable, and the Orientalist subtext is highly dated. But the movement is generally exciting, especially in its final pages. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eBloch’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eSchelomo \u003c\/span\u003e \u003cspan\u003eis the most widely-performed work on the disc. It is here that the Wallfisches are most open to comparison. Were I not familiar with the Rostropovich\/Bernstein recording of the piece, I would be unreserved in my praise of the current performance. And indeed, it is a very fine performance: imposing, brooding, and highly effective. But where Wallfisch rages, Rostropovich thunders. Where Wallfisch sobs, Rostropovich wails. The same can be said of the conducting: Wallfisch’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eSchelomo \u003c\/span\u003e \u003cspan\u003eis dramatic but does not quite achieve the gripping immediacy of Bernstein’s. It is nonetheless a vivid and moving rendition of the piece, and the disc as a whole makes for very rewarding listening. Excellent, vivid sound engineering is a welcome bonus. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Myron Silberstein \u003c\/span\u003e\u003cbr\u003e","brand":"Nimbus","offers":[{"title":"CD","offer_id":46026116595946,"sku":"710357591327","price":20.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2508878_b7b6385d-59cc-4361-bf18-38b90312b607.jpg?v=1778297070"},{"product_id":"richard-blackford-the-great-animal-orchestra-saint-75358","title":"Richard Blackford: The Great Animal Orchestra; Saint-saens: Carnival Of The Animals","description":"Classical Music","brand":"Nimbus","offers":[{"title":"CD","offer_id":46026118398186,"sku":"710357627422","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2794990.jpg?v=1778346532"}],"url":"https:\/\/arkivmusic.com\/collections\/bbc-national-orchestra-of-wales.oembed","provider":"ArkivMusic","version":"1.0","type":"link"}