"After releasing my album Portrait: Philip Glass in 2008, I wanted to take a deeper dive into the vast œuvre of this composer, an icon of our era and one whose work has and will long continue to have impact. For many years now his fascinating and captivating music has been nourishing me intellectually and musically. Glass being one of the most prolific of composers, there was no shortage of works to include on this my 48th album. My selection approach remains the same; I choose those works I find significant and compelling. Like Glass’ work as a whole, the content of this album is very diverse: music for theatre and for cinema, for chamber and for symphony orchestra, and recent works as well as some written almost 50 years ago! Thank you for giving me carte blanche to revisit these works with my ensemble." (Angèle Dubeau)

This release—the Taylor Festival Choir’s second album for Delos—features original Christmas works by two distinguished American composers: Brian Galante, whose choral works and arrangements have met with worldwide acclaim; and the late, great Stephen Paulus, whose many choral and orchestral compositions have been performed by America’s leading choirs and orchestras. The two multi-movement works presented in this album—Galante’s So Hallow’d the Time and Paulus’s Christmas Dances—are heard here in world premiere recordings. Based in Charleston, SC, the Taylor Festival Choir (Robert Taylor, founder and conductor) has gained international recognition since its inception in 2001 as one of America’s finest professional choral ensembles; and proudly claims Brian Galante as its regular Composer-in-Residence. They deliver truly transcendental performances in this lovely recording.

The Orchestre symphonique de Montréal and its Music Director Rafael Payare make their Pentatone debut with Mahler’s 5th Symphony. The album is also the first recording under Payare’s tenure, and the beginning of a longer recording relationship with the label. For Payare, the Fifth is the last symphony that shows Mahler still looking forward to what the future might bring, unlike his subsequent, much darker and existential works. Despite that optimism, there is enough tragedy and struggle along the way, resonating with Mahler’s life at the time of creation. Payare’s proficiency in late-Romantic repertoire coupled with the matured, distinctive sound of the Montréal players make this a collaboration to look out for.

REVIEWS:

Throughout, Payare applies subtle but meaningful touches of rubato, creating a consistent feeling of tension and release. Everything holds together as one unit; every passage connected to what came before and what comes next. Expressively, what impressed me most is that the music does not come off as sectionalized. Orchestral execution is at a very high level as well.

-- Fanfare

This was, first and last, a superlative Mahler performance with the type of energy and spirit that caresses and screams with the same commitment, and moves easily between the two qualities. Beyond that, this was playing at the edge of control, something Mahler often demands and no more so than in this work.

Beyond Payare’s in-the-moment direction, his preparation came through in the excellent pace, dynamics, and balances within and through the orchestra. There are so many opportunities to pick and choose details to highlight, and the playing shone a spotlight on the wonderful wind colors in this orchestra, especially the unusually nasal double-reeds and a dark trumpet sound. The articulation of details in the strings, things like quick 16th-note rests toward the end of phrases and moments of portamento, were superb.

The tempest in the “Stúrmisch” second section melted away into a rich, dark interpretation of the cello line, no solace but only devastation. The extremes of light and dark with and across the forms were heightened. The first two sections alternately emotionally wrenching and fulfilling.

In the Scherzo, Payare had horn soloist Catherine Turner stand, and her playing was brilliant and unerring, and even more impressive was the perfect blend as she passed off her sustained, decaying notes to her seated stand-mate. The Adagietto was slow in the contemporary manner, almost nine minutes, but the internal pace and tempo modulations made it flow forward, leading directly into the finale.

-- New York Classical Review (Reviewing the 3/8/23 Carnegie Hall performance)

The international award-winning octet, VOCES8, has established itself at the forefront of British a cappella. Performing a repertoire ranging from Renaissance polyphony to unique Jazz and Pop arrangements, the group has been praised for stunning performance, exquisite singing and creating a sound that spans the entire range of vocal color.

REVIEW:

Voces8 offer polished and well-nigh flawless singing. The tone, however, seems rather ‘white’; frequently I found myself longing for a bit less studied technical perfection and a bit more by way of grit and feeling; much of this disc seems too smooth and effortless.

-- MusicWeb International

This brand new Christmas album from The King’s Singers features 25 tracks covering everything from contemporary choral gems and folk songs through to well-loved carols. Dotted throughout the album are several of the most famous English church carols, which take The King’s Singers right back to their earliest singing days, and which also reflect the group’s heritage at King’s College, Cambridge. In Christmas Carols with The King’s Singers, the group bottle that frosty, moonlit, fireside Christmas wonder and pour it into their sound.

The King’s Singers have represented the gold standard in a cappella singing on the world’s greatest stages for over fifty years. They are renowned for their unrivalled technique, versatility and skill in performance, and for their consummate musicianship, drawing both on the group’s rich heritage and its pioneering spirit to create an extraordinary wealth of original works and unique collaborations.

REVIEWS:

If you love a capella men’s ensembles in Christmas music the King’s Singers are for you. This new album has some of the most beautiful ensemble singing I’ve heard in a long time. The arrangements are all tasteful and the singing, both in solos and ensemble, exquisite. These are not the same singers that recorded some truly ugly arrangements in some truly ugly albums several decades ago. Back them there seemed to be an attempt by their producers to make the King Singers more “withit” by recording them in arrangements that someone deemed funny or original. Since then someone brought the group back to what they do best. There are a number of familiar carols here (`Ding! Dong! Merrily on High!’, `Tomorrow Shall be my Dancing Day’, etc.), but also some newer carols that are really lovely (`The quiet heart’, `The little road to Bethlehem’, `O, do not move’). What a suitable disc for a wintry evening by the fire! Notes, texts, and translations.

-- American Record Guide

First, you need to play this recording at a higher than normal level because it's got a very realistic dynamic range--which means that the opening's soft string chirpings won't register fully at a low level. But then, watch out (I said it's a realistic dynamic range): when the orchestra rips, you'll be abruptly transported to Minneapolis' Orchestra Hall. Okay, so what's all this state of the art 24-bit digital technology bringing to us? Namely one of the best Rachmaninov Symphonic Dances on disc! The playing by the Minnesota Orchestra is simply stupendous: tremendously unified ensemble, immaculate balances that let you hear all the important lines, and a palpable sense of enjoyment from the players (those trumpets rule!).


Eiji Oue sets an ideal tempo for the first movement and employs perfectly timed rubato in its lyrical central section. The second movement flags a bit, lacking the snarling sexuality of Jansons with the St. Petersburg Philharmonic, which remains the most gripping performance of recent years; but with the finale Oue gears up again for a blockbuster reading of tremendous excitement and bracing virtuosity. And yes, he lets the final tam-tam stroke reverberate uninterrupted, as (confusingly) indicated in the score.


A gently passionate performance of the ubiquitous Vocalise functions as an interlude (with serenely singing strings) before the Études-tableaux, where Oue again exploits his orchestra's radiant sonorities to fully flesh out Respighi's brilliant orchestrations of these mysterious, sensuous, and evocative pieces. Reference's recording renders all the music's color, irony, and drama in true high fidelity. An excellent conclusion to an excellent disc, one you are wholeheartedly urged to investigate.
--Victor Carr Jr., ClassicsToday.com

Watch our interview with Lara Downes on Love at Last!

Love at Last is pianist Lara Downes’s first Pentatone album, inspired by the poem Sachki, Sachki by the Odessa-born Jewish writer Shaul Tchernichovsky. Downes presents 24 pieces, many of them in world premiere recordings, of works by living composers around the globe. Spanning generations, continents and cultures, these diverse voices are united in a stubborn belief in the possibility of humanity, brotherhood, peace, and compassion, and in the everlasting power of love.

An iconoclast and trailblazer, Lara Downes’s dynamic work as a sought-after soloist, a Billboard Chart-topping recording artist, a producer, curator, arts activist and advocate positions her as a cultural visionary on the national arts scene. She was honored as 2022 Classical Woman of the Year by Performance Today.

Hear Downes's appearance on NPR's Morning Edition, discussing Love at Last!

This selection is HDCD (High Definition Compatible Digital) recording.

Napoléon Coste was the most eminent French guitarist of the 19th century and a creative innovator. Fantaisie symphonique shows the range of his ambition with its quasi-orchestral textures, swift mood changes and virtuoso flourishes. Le Départ is one his most popular extended pieces, full of liquid transitions. Volumes 1–5 can be heard on 8.554192, 8.554194 and 8.554353-55.

Kevin Puts is one of America’s most exciting and important composers. His first opera, Silent Night, with a libretto by Mark Campbell, was commissioned by Minnesota Opera. It premiered in 2011 and went on to win the Pulitzer Prize. A work profound and sweeping emotional power, it has since entered the modern operatic repertoire with remarkable speed, enjoying world-wide performances. The opera is based on Christian Carion’s screen-play for the 2005 French war film Joyeux Noël, and its fictionalized subject is the series of Christmas truces on the Western Front in 1914.

REVIEWS:

American composer Kevin Puts’ first opera, Silent Night, with a libretto by Mark Campbell, was commissioned by Minnesota Opera, the house where this live recording was made. The opera's subject is the Christmas truce on the Western Front in 1914.

Various languages are used in the opera, German, French, English, Italian, and even Latin.

Puts and Campbell have packed the serious theme into a complex score, very colorful and modern in style, with painfully dissonant and wonderfully lyrical moments. Overall, the opera is good for an impressive musical experience, though the question is whether the visuals of the theatrical experience are missing from the audio recording. On the other hand, with just the audio there is more focus on the music, and it is, after all, quite expressive and convincingly performed in this live recording.

-- Pizzicato

As we have already heard in his orchestral works, Puts is a highly compelling and innovative orchestrator, and here he is equally compelling in the field of opera where he works within the conventions of solos, duets and choruses. They are then brought together by the British-born conductor, Courtney Lewis. It is not the type of story you can enjoy, but the opera, which takes two hours, must rank amongst the most outstanding staged in recent times. Add to this the ideally balanced recording, and it becomes self-recommending. The twin disc comes with English. This, and the slim two disc jewel case with notes on the artists, is then presented in a cardboard box.

– David's Review Corner (David Denton)

This is Naxos’s fifth album devoted to the music of leading American composer, Jonathan Leshnoff. He was GRAMMY-nominated for his album Violins of Hope (Naxos 8.559809) and is among the most frequently performed of living composers. The themes of these recent works are remembrance, memorialization, and hopefulness. Elegy addresses ideas of harmony and discord through contrasting thematic ideas. The Violin Concerto No. 2 follows the ‘symphony-concerto’ model with a resonant and lyrical slow movement inspired by Jewish mysticism at its core. Pulsating harmonies eventually subside into serene and hopeful writing in Of Thee I Sing, written in an act of creative transcendence to commemorate the 1995 Oklahoma City bombing.

Learn more in this Roundtable Discussion, which Arkiv co-hosted with Naxos! 

 

...and learn more about the release on the Naxos Classical Spotlight podcast!

REVIEW:

Listening to Jonathan Leshnoff’s hauntingly beautiful Elegy, and then going on to listen to the superbly inventive Violin Concerto, one is again reminded that Leshnoff occupies a special niche among solidly established contemporary American composers: he inhabits a world of tonality and yet manages to say something unheard before with each note of music he pens.

The sterling violinist Noah Bendix-Balgley delivers an elegantly energetic reading of the concerto, supported by Alexander Mickelthwate at the helm of the Oklahoma City Philharmonic.

The orchestra and maestro Mickelthwate again excel in the emotionally charged Of Thee I Sing, accompanied by the highly accomplished vocal ensemble Canterbury Voices. Leshnoff sets the text of Samuel Francis Smith’s 1831 poem America to now anguished, now healing music that depicts the impact on the country following the tragic Oklahoma City bombing.

Many composers have rightfully refused to burden their art with any moral function. Inversely shunning art for art’s sake, Jonathan Leshnoff keeps company with some composers of the past by providing music that illuminates the human condition with art that compassionately heals the spirit. This listener cannot think of a higher calling.

-- All About the Arts (Rafael de Acha)

Even a cursory listen of Leshnoff's music reveals why his music resonates so powerfully with musicians and audiences. He's no iconoclast but rather someone who builds upon established traditions with works rich in harmony, lyricism, melody, and structural poise. His is an oft-eloquent music characterized by directness of expression, rhythmic propulsion, and introspection, and all such elements are accounted for in the recent works featured on the release. It also holds the distinction of being the Oklahoma City Philharmonic's first full-length album recording since its 1988 formation. It goes without saying that their superb presentation of Leshnoff's material flatters both composer and performer.

-- Textura

Nominated for a GRAMMY® Award!

Tenor Karim Sulayman and guitarist Sean Shibe present Broken Branches, a conceptual album with music ranging from Dowland, Monteverdi, Britten, Rodrigo, Takemitsu, Harvey, and Chaker to traditional songs from the Middle East, scrutinizing the close cultural and musical ties between East and West. This musical exploration ties in with the artists’ personal experience of a dynamic, in-between identity, as they grew up in the West having ethnic roots in the East (Lebanon and Japan respectively). Broken Branches explores the wood of the guitar and its relatives, as well as the splintering of history known as diaspora. Karim Sulayman has garnered international attention as a sophisticated and versatile artist, and won a Grammy Award for Classical Solo Vocal in 2019. Multi-award-winning guitarist Sean Shibe brings a fresh and innovative approach to the traditional classical guitar, while also exploring contemporary music and repertoire for electric guitar. He continues his exclusive collaboration with PENTATONE after his well-received Camino (2021) and Lost & Found (2022).

REVIEWS:

It’s a thoughtful and idiosyncratic project, one carried through in several arrangements and realizations by the two musicians that blur the line between song and art song into something broadly ‘folkish’.

-- Gramophone

This is an eclectic album, built on friendship, which explores the performers’ own sense of identity, memory, diaspora, often in their own arrangements. Sulayman, a Lebanese-American singer, light-voiced and flexible, brings intensity to traditional Sephardic song, and new inflections to John Dowland, Claudio Monteverdi and Benjamin Britten (his six songs from the Chinese).

-- The Observer (U.K.)

In this spellbinding new album, Abel gives sensitive listeners food for thought, stimulates the ear with his signature fusion of classical, rock, and jazz, and makes you feel, with his gut-grabbing epressions of potent emotion. Grammy-winning soprano Hila Plitmann brings her full emotional range to three Abel works, including “Those Who Loved Medusa,” – a powerful story and evocative musical setting that connects ancient Greek legend with our present day’s “Me Too” movement. “In the Rear-View Mirror Now” resonates with anyone reflecting upon life’s myriad twists and turns from past to present. Warmth fills “The Ocean of Forgiveness” cycle sung by mezzo-soprano Janelle DeStefano. The affecting “Benediction” expresses a range of profound emotion as it laments tragic elements in our society while offering heartfelt wishes for our future. This is hard-hitting music and text that stimulates the ear, intellect, and emotions, retaining Abel’s trademark lyricism while demonstrating a remarkable degree of prescience in pinpointing effects of long-standing societal flaws.

Another classic from the John Rutter and the Cambridge Singers, whose recordings have become a tradition of Christmas around the world.

REVIEW:

Christmas Star is an entertaining collection of familiar holiday tunes and carols, all professionally performed by the Cambridge Singers. This is good, straight a cappella holiday mus­ic and should satisfy fans of that style[.]

­– All Music Guide (Stephen Thomas Erlewine)

Lyric Opera of Chicago presents The Three Queens, a program that brings together the finales of Gaetano Donizetti’s Tudor trilogy, showcasing three of the most fascinating heroines of opera history. These extraordinary women are interpreted by soprano star Sondra Radvanovsky, who performs them together with an excellent ensemble of soloists under the baton of Donizetti specialist Riccardo Frizza. Singing these three breathtaking roles on one night is an enormous challenge for any soprano, and this live recording captures all the excitement of this exceptional achievement.

Lyric Opera of Chicago is one of the world’s biggest and most prestigious opera houses. Riccardo Frizza is among the most sought-after conductors for nineteenth-century Italian opera, while Sondra Radvanovsky is one of the most in-demand singers of her generation on both sides of the Atlantic. All three make their PENTATONE debut with The Three Queens.

REVIEWS:

This document may be the finest work I’ve ever heard of Radvanovsky, in what may be her crowning achievement. It is evident that she has not only put in the hard work and constant refining to achieve this, but it should be noted that the soprano is 50 here, and the voice is still in its prime, full, unblemished, and more secure than ever.

A few minor quibbles aside, the Mad Scene from Anna Bolena shows Radvanovsky consummately responsive to the shifting moods in the recitative, with a splendid high C on ‘infiorato,” and with more rhythmic impetus to the emotions of the text than I heard in the past.

The “Al dolce guidami” is gorgeous, long-lined, and exquisitely shaded, and she fines down the tone most impressively without it turning white and core-less.

Here also is one of the best performances of Maria Stuarda’s last half hour on record. Radvanovsky has the true dramatic soprano and grandeur of tone to fill out the Scottish queen’s 3 scenas: the prayer “Deh! Tu di un’umile preghiera—beautifully poignant, with some lines excitingly raised; the penitent “Di un cor che muore,” and most of all the concluding “Ah, se un giorno ritorte,” where the soprano effortlessly unleashes the fullness of her voice, which abets Maria’s mounting urgency with awesome, majestic power.

The conductor, Riccardo Frizza, leading the Lyric Opera of Chicago forces, is a true ally to his star soprano: he accompanies and accentuates her singing in the most positive of ways, providing Radvanovsky with unerring support.

The gatefold, 2 CD set is truly luxurious packaging. The overtures to all three of the operas and choral introductions are included, which may not interest everyone, but it does capture the sense of a complete evening occasion. The booklet contains a welcoming introduction by the general director Anthony Freud, and a very warm, sincere one by Radvanovsky herself; and Roger Pines provides an engaging, fascinating history of the operas. Full texts and translations are provided.

Highly recommended. Radvanovsky is very special here!

-- Parterre.com (Niel Rishoi)

Sondra Radvanovsky is essentially a lyric-spinto soprano, but one capable of summoning the lung power for the kind of long-lined legato singing required to effectively deliver in Roberto Devereux the aria Vivi, ingrato and the many messa-di-voce demanded throughout the role’s range. On the other hand, she can surmount climactic moments with total aplomb. Her coloratura technique is inexhaustible. Her musicality, her elegant phrasing, her intelligent choice of embellishments, her idiomatic understanding and delivery of the text define Sondra Radvanovsky as one of the great singers of our time.

-- Rafael's Music Notes

Christophers elegantly mixes traditional carols, 20th century British standards, and contemporary works, and at every turn, there is something new.

The Sixteen contrasts traditional with contemporary in this choral feast of festive music. Bob Chilcott's sumptuous Advent Antiphons based on plainsong melodies anticipate the coming of Christmas and feature alongside Mykola Leontovich's much-loved Carol of the Bells, Richard Rodney Bennett’s stunning Susanni and Eric Whitacre’s shimmering Lux aurumque. Interspersed with the beautiful simplicity of traditional carols, this is a Christmas collection to savor.

Harry Christophers stands among today’s great champions of choral music. In partnership with The Sixteen, the ensemble he founded almost 40 years ago, he has set benchmark standards for the performance of everything from late medieval polyphony to important new works by contemporary composers. His international influence is supported by more than 150 recordings and has been enhanced by his work as Artistic Director of Boston’s Handel and Haydn Society and as guest conductor worldwide. The Sixteen’s soundworld, rich in tonal variety and expressive nuance, reflects Christophers’ determination to create a vibrant choral instrument from the blend of adult professional singers. Under his leadership The Sixteen has established its annual Choral Pilgrimage to cathedrals, churches and other UK venues, created the Sacred Music series for BBC television, and developed an acclaimed period-instrument orchestra. Highlights of their recent work include an Artist Residency at Wigmore Hall, a large-scale tour of Monteverdi’s Vespers of 1610, and the world premiere of James MacMillan’s Symphony No. 5, ‘Le grand Inconnu’; their future projects, meanwhile, comprise a new series devoted to Purcell and an ongoing survey of Handel’s dramatic oratorios.

REVIEW:

The title Carol of the Bells might suggest a greatest Christmas hits collection, and that Ukrainian standard is indeed present, but most of the material is a good deal less familiar. Christophers elegantly mixes traditional carols, 20th century British standards, and contemporary works, and at every turn, there is something new. Some of the traditional carols come from an old Oxford publication; Christophers notes that several, such as All in the Morning, have fallen out of use, and his case for their revival is persuasive. The Sixteen's reading of Eric Whitacre's much-recorded Lux aurumque is top-tier, and from the opening Pilgrim Jesus of Bob Chilcott, the program just flows unusually naturally. This is a holiday album that adds new subjects to the conversation even as it upholds some long traditions.

-- AllMusic.com (James Manheim)

All World Premiere Recordings!

Featured in the New York Times' "5 Classical Albums You Can Listen to Right Now"

William Grant Still, the “Dean of Afro-American Composers,” was part of the Harlem Renaissance and wrote nearly 200 works including nine operas and five symphonies. Still’s many awards included three Guggenheim Fellowships and eight honorary doctorates. His work combines Classical forms with jazz and blues idioms and was inspired by the rich tradition of African American spirituals. Still hoped that his music would serve a larger purpose of interracial understanding, and this joyous, moving and hauntingly beautiful program –featuring all world premiere recordings – is infused with Still’s love of God, country, heritage, and even his mischievous dog Shep.

REVIEW:

William Grant Still's music evokes the melting pot that makes up the American experience, incorporating sounds and textures from many genres, including blues, African-American spirituals, French impressionism, and more.

The three movements of the Violin Suite of 1943 fall in the traditional fast-slow-fast format, but the styles of each vary dramatically, with the second movement, "Mother and Child," a beautiful, passionate lullaby bordered by two dance movements. The final work, Threnody: In Memory of Jean Sibelius, was commissioned for a celebration concert marking the composer's 100th birthday. This work displays Still's adaptability, infusing aspects of the Romantic symphonic sound with mid-20th century modern American.

--Allmusic.com (Keith Finke)

All the items on this program are world premiere recordings, so I think it would not be amiss if some information were to be forwarded for the benefit of all those interested in this very special music.

Can’t You Line ‘Em (1940) captures the rhythm and spirit of the construction gangs, particularly those lining up railroad tracks. A CBS commission, this piece was premiered on 17 February 1940 with the CBS Radio Orchestra on their network program American School of the Air.

Originally composed as the second movement of three Visions for solo piano, Summerland (1936) is Still’s delicate description of the serenity and purity of Heaven.

Another work originally written for solo piano, Quit Dat Foolnish (1935) conjures up a jazzy romp with the composer’s mischievous dog, Shep. Still also wrote a version for solo saxophone and orchestra, transposed for this recording by Dana Paul Perna.

Pastorela (1946) is a tone picture of a Californian landscape, peaceful but exciting, arousing feelings of languor in some of its aspects, and of animation in others, presenting an overall effect of unity in its variety.

American Suite (circa 1918) is the composer’s first symphonic work. Still sent the parts of the American Suite to Chicago Symphony conductor Frederick Stock. In 1998, Still’s daughter Judith Anne shared the orchestral parts with Dana Paul Perna, who created the present score.

Fanfare for the 99th Fighter Squadron (1945), which resonates with pride, courage, and patriotic resolve, was composed in honor of the Tuskegee airmen who during WWII gave everything for the cause of peace and justice. This work was premiered by Leopold Stokowski and the Los Angeles Philharmonic on 22 July 1945 in commemoration of the end of war and the valiant service of those Airmen.

Serenade (1957) was originally intended as material for a cello concerto proposed by Still’s friend, the famous cellist Gregor Piatigorsky. Instead, it became a commission by the Great Falls, Montana High School Orchestra, with its lush cello writing hinting at its conception.

The Violin Suite (1943) is a musical impression of three works of art. African Dancer is a stunning bronze statue by Richmond Barthe (1901-1989). Mother and Child is a poignant colored lithograph by Sargent Johnson (1888-1967). Gamin is a sassy bronze bust by Auguste Savage (1892-1962). These works were featured in The Negro in Art, a book published in 1940 by Still’s friend and champion Alain Locke (1885-1954). The book so impressed Edith Halpert (1900-1970), a Russian-Jewish refugee, visionary and art promoter, that she contacted Locke to promote an exhibition in her Downtown Gallery in New York. The exhibition opened on 8 December 1941, the day after the Japanese attack on Pearl Harbor, but despite the deep sadness that engulfed American society, this first major commercial showing of African American art in New York was a great success. Still rose to the occasion and translated the artists’ imagination into music full of verve, tenderness and very often charm.

The beautiful Threnody: In Memory of Jean Sibelius (1965) was commissioned for a concert in memory of Finland’s national hero, composer Jean Sibelius (1865-1957), on the one hundredth anniversary of his birth. Still’s tribute is a noble and haunting farewell, channeling the spirit and mystique of Sibelius the man and the composer.

This is a marvelously exciting hour of music by a composer of substance whose recorded catalog is still only average. Hopefully, Naxos’s advocacy for Still’s oeuvre will induce more labels and listeners to turn to this uplifting repertoire which is as moving as it is entertaining. Do not remain still to Still’s sound world. You will be missing an experience and you might come to regret that. A peach of an issue, superbly performed, recorded and annotated.

--Classical Music Daily (Gerald Fenech)

The trumpet has had many concertos written for it by composers from the Soviet era and beyond. Appealing in its unabashed melodies and colorfully nostalgic feel, Arutiunian’s Trumpet Concerto became popular in the West, while Weinberg’s emotive Trumpet Concerto in B flat major was summed up by Shostakovich as a ‘symphony for trumpet and orchestra’. Shostakovich’s own playful Concerto No.1, Op. 35 is recorded here with Timofei Dokschizer’s extended trumpet part, bringing it closer to the Baroque ‘double concerto’ model that the composer may initially have intended.

Saint-Saens wrote five symphonies between the years 1850 and 1886. The cycle began with the Mozart-influenced Symphony in A but as a precocious composer of 17 he wrote his first numbered symphony, a work much admired by Berlioz and Gounod. He progressed to his most popular piece in the genre, the ground-breaking Symphony No. 3 with its inclusion of organ and piano. This critically admired cycle includes a sequence of atmospheric and dramatic symphonic poems, including Phaeton and the ever-popular Danse macabre.

REVIEWS:

The standard reference versions for these works have been Martinon’s EMI (now Warner) recordings, but Soustrot’s are different enough to justify duplication. In the First Symphony, particularly, Soustrot adopts a very slow, dreamy tempo for the Adagio, but it works very well, particularly in contrast to the bold and brassy finale which follows without a break. Soustrot correctly highlights the adventurous writing for the harps, but never tastelessly, and some listeners may feel that the interpretation finds additional expressive depth in music often denigrated as merely sentimental. It’s good to hear it played with no apologies.

In the Second Symphony Soustrot comes closer to Martinon in terms of timing, but there’s no denying the extra clarity and nimbleness of the Malmö ensemble as compared to the old French National Radio and Television Orchestra for EMI. Soustrot’s exciting and rhythmically sharp reading of Phaéton makes a welcome bonus. This is unquestionably one of the best recordings of the piece, with an especially effective thunderbolt as Zeus hurls the hapless chariot (of the sun) driver from his seat. Attractively natural sonics round out a very promising start to this new series.

– ClassicsToday.com (David Hurwitz; in an earlier review of the CD release of Symphonies 1 & 2)

Marc Soustrot has some very good ideas about how the music should go. Soustrot prefers urgency even at the expense of some occasionally blurred articulation. The very slow tempo for the introduction followed by that agitated allegro highlights the broad range of contrasts typical of the performance more generally. The organ, excellently played by Carl Adam Landström, is very well balanced by the Naxos engineers. All told, this is a very fine performance of the Thrid.

– ClassicsToday.com (David Hurwitz; in an earlier review of the CD release of Symphony No. 3)

This recording represents a survey of American music composed for violin and piano between 1980 and 2010. These masterpieces are by four American composers distinguished by the highest honors of their profession, and whose international careers and creative voices have been shaped by major political, social, and cultural events during the last 50years. From the ethereal electronic sounds that surround the players in Sebastian Currier's Digital Mist to the Chinese evocations in the complete violin and piano works of Chen Yi, this collection has been made in close collaboration with the composers and includes three world premiere recordings.

Over the past couple of decades, the Christmas recordings of John Rutter and his Cambridge Singers have claimed such a solid and widely enjoyed presence among choral music fans that we have to say that this group and its director/composer/arranger have long ago passed from phenomenon to tradition. This new release, which contains 19 previously issued but newly re-mixed tracks along with four never-before released selections, is both a celebration of that legacy and a re-affirmation of Rutter's uniquely influential contributions to a special genre that began years ago with his acclaimed carol arrangements and his now-classic anthem "What sweeter music". While this disc does not feature Rutter's own compositions--those can be found on an earlier companion disc, The John Rutter Christmas Album (type Q5895 in Search Reviews)--it does offer many of his carol arrangements (notably the infectious "Somerset Wassail") along with some of the finest by such masters as David Willcocks, H. Walford Davies, and Healey Willan (whose rarely-heard setting of "What is this lovely fragrance?" is happily included rather than the fine but ubiquitous Willcocks version).

The program also provides a very healthy dose of original pieces, from Victoria's O magnum mysterium, Handel's For unto us a child is born, Kenneth Leighton's Lully, lulla, thou little tiny child, and Britten's A New Year Carol, to Sweelinck's double-choir Hodie Christus natus est, John Tavener's The Lamb, and Peter Warlock's Balulalow and I saw a fair maiden. The disc ends with Vaughan Williams' rousing Fantasia on Christmas Carols. As you might expect, there's not a dull moment during this very generously filled 77-plus-minute CD, and there's so much joy and beauty in these well-chosen, perfectly sung pieces that a simple numerical rating doesn't do it justice. The sound is appropriately full, vibrant, clear, and dynamic. Add this to your list. [11/8/2003]

--David Vernier, ClassicsToday.com

The Choral Scholars is an internationally acclaimed chamber choir of gifted student singers led by founding Artistic Director, Dr. Desmond Earley, based at University College Dublin College of Arts & Humanities. Scholars come from various academic disciplines and commit to an intensive programme of choral study. Be all Merry is one of three new pieces especially composed for the Choral Scholars. This lively carol for choir, orchestra and violin by Irish composer Eoghan Desmond evokes the joyful play of Christmas in the lines ‘Be all merry in this house/Exultet celum laudibus!’. The recording contains a remarkable setting of the Advent plainsong hymn Christe Redemptor Omnium for tenor solo, chorus, violin and violoncello by Ivo Antognini, crafted for Choral Scholars with the kind support of the Swiss Embassy in Dublin. The Adoration of the Magi by American composer Timothy Stephens is a breathtaking setting of W. B. Yeats’ poetry. A beautiful Irish-language lullaby – Cró na Nollag – set by father and son, Adhamhnán and Uinseann Mac Domhnaill, and the much-loved Scottish tune simply titled Suantraí, are also included. The Irish Chamber Orchestra are also featured on a number of tracks including The Wexford Carol and Carol of the Bells. The choir closes the album with the song most associated with friendship, hope and the promise of a new year, Auld Lang Syne. The post-production phase of this recording project took place as the world grappled with the outbreak of COVID-19. American composer Linda Kachelmeier’s piece – We Toast the Days – serves as a reminder of the strength, love and hope that resonates throughout the world not simply at Christmastide but also during periods of hardship.

REVIEW:

Like the Winchester Quiristers, the Choral Scholars of University College Dublin are unique – a relatively new group of collegiate singers who trade a chapel for an intriguing commercial instinct. Be All Merry is a slick album of new, largely unrecognisable settings of old carols woven through with the sound of Gaelic folk song, much of it from the fiddle of the Irish Chamber Orchestra’s concertmaster. It provides that one thing we badly need from Christmas albums – something different that’s still consistent and festive – and only occasionally edges into processed cheese despite every track being suitable for a TV chat show’s play-out. If you can take a degree of Gaelic mistiness there is plenty to enjoy. The jagged arrangement of the Carol of the Bells by conductor Desmond Earley caught my ear, sung by a choir very well trained with an idea of its own sound.

-- Gramophone

Since its founding in 2003, the Poulenc Trio has established itself as one of the world’s finest ensembles in the lesser-known domain of double-reed chamber music. The Trio’s members are not only first-rate ensemble players but are also prominent virtuosos of their respective instruments. In the group’s second release on Delos, the idiomatic qualities of double-reed instruments are particularly well-served by the pair of trios by Francis Poulenc and Jean Francais. Both works are delightful models of spare neoclassical structure, spiced with piquant French flavors, lending the music an urbane and witty effect.

In contrast, the album offers winning arrangements of music by Dmitri Shostakovich and Giaocchino Rossini, topped off by an effervescent world-premiere piece, ‘Trains of Thought,’ from contemporary composer Viet Cuong, who originally conceived it as part of a multimedia work combining music and an animated film.

REVIEWS:

Since its founding in 2003, the Poulenc Trio has established itself as one of the world’s finest ensembles in the lesser-known domain of double-reed chamber music. On “Trains of Thought,” the qualities of these instruments are particularly well-served by the trios from Francis Poulenc and Jean Francais. The album also offers winning arrangements of music by Shostakovich and Rossini, topped off by a world-premiere piece from contemporary composer Viet Cuong, who originally conceived it as part of a multimedia work combining music and an animated film.

-- WFMT Chicago

There is musical fun a-plenty in the Françaix Trio, Wang managing to make his oboe positively laugh at one point in the first movement, with Young and Lande ready to follow suit. This is a bubbling, light-hearted work which, as with so much of Françaix’s writing for winds, masks an immense understanding of the potential of the individual instruments with music of such attractiveness and joviality that one forgets the enormous skill involved in bringing it all to life.

These are superbly performed works for oboe, bassoon and piano by the talented Poulenc Trio. I’m delighted to have the opportunity of adding this Delos recording to my chamber music collection.

-- MusicWeb International

A rare jewel among the piano repertoire, Dvořák’s Poetic Tone Pictures, a cycle of piano solo works, is mostly unknown to the public.

Following the great success of his Sibelius album in 2017, Leif Ove Andsnes once again brings lesser known piano music into the spotlight, delivering a treasure chest of accessible and romantic tunes performed with artistic brilliance. With his commanding technique and searching interpretations, Leif Ove Andsnes has won worldwide acclaim, performing in the world’s leading concert halls and with its foremost orchestras. An avid chamber musician, he is also the founding director of Norway’s Rosendal Chamber Music Festival.

John Burge is a JUNO Award-winning composer and a passionate advocate for Canadian music who has a strong affinity with writing for string instruments. All of the works in this recording were commissioned and premiered by the Thirteen Strings Chamber Orchestra. Opening with the joyous and celebratory Sinfonia Antiqua, the mood shifts to an evocative and impressionistic atmosphere in Forgotten Dreams, while One Sail captures the compelling power of poetic imagery. The Upper Canada Fiddle Suite blends tradition and nostalgia with entirely original inventiveness, and concludes an album that perfectly represents Burge’s eloquent and deeply expressive compositional style.