Keyboard legend, Rick Wakeman, famous the world over for his hugely successful and high-profile rock career - most notably with leading bands Yes and The Strawbs and for his sought-after collaborations with top artists of the day such as David Bowie and Black Sabbath - is pleased to celebrate the festive season with a brand-new album, 'Christmas Portraits'. With all tracks personally chosen and arranged by Wakeman himself, this special holiday album celebrates Wakeman's favourite time of the year as he performs familiar and favourite festive music, arranged for solo piano, all performed on his beloved Granary Steinway Model D grand piano. A former student and Fellow of the Royal College of Music, Wakeman has covered much musical ground during his wide-ranging career and here with 'Christmas Portraits', he brings his classic Wakeman twist to traditional Christmas classics, arranging some evergreens into fresh new medleys. Of this brand-new album, Rick Wakeman commented: "Christmas is my absolute favourite time of the year. I love every aspect of it, especially traditional Christmas music and songs which have wonderful simplistic melodies that are perfect for adaptation to produce variations on the piano. That is something I love to do and that is exactly what this album is".

Virtuoso percussionist Evelyn Glennie collaborates with RSC Artistic Director Gregory Doran to create a satirical futuristic vision of a world resounding with the rhythm of battle, a form of incidental music suited to this Shakespearean rarity.

“Lechery, lechery, still wars and lechery: nothing else holds fashion.” Love, rivalry and war are a-plenty in this new production. Troilus and Cressida swear they will always be true to one another. But in the seventh year of the siege of Troy their innocence is tested, and exposed to the savage corrupting influence of war, with tragic consequences. “Sweeping and confident production of Shakespeare’s rarely performed tragedy.” (The Standard)

REVIEWS:

Adjoa Andoh memorably brings out the manipulative monstrosity behind Ulysses’s beguiling rhetoric, literally loading the dice when it comes to the choice of a Greek champion to fight Hector. Oliver Ford Davies is a classic Pandarus, brimming over with senile prurience so that even a line such as “I’ll go get a fire” gains a lurking suggestiveness. The central lovers are also well played, with Amber James’s spryly intelligent Cressida provoked beyond endurance by the naive insistence of Gavin Fowler’s Troilus on her fidelity.

-- The Guardian

“It has been almost 50 years since I met Yo-Yo in the cafeteria at the Juilliard School… We became friends very quickly and a couple of years later played a benefit concert for a children’s orchestra... I believe that in the life and career of a musician, luck plays an enormous role. The great piece of luck in my musical life has been my partnership with Yo-Yo. I learned most of the standard cello repertoire with him, but through our work together I also learned an enormous amount about all the other music that I was playing – and about sharing my love of music with audiences. Our approaches to learning a new work together started at opposite ends quite often. Yo-Yo always saw the big picture, he thought first about the emotional impact. I often started by asking why the third eighth note in bar 2 had a dot, and the fourth one didn’t. Gradually, we met in the middle. For me, it was revelatory to work in his way, and I hope I did not annoy him too much with my persnickety questions!

"Our first recordings were the Beethoven Sonatas. We had played them in concert a number of times and thought that we could do a creditable performance on disc. I remember so well the thrill of seeing those LP covers; the pianist is now a white-haired old gentleman, and the cellist looks as young as ever! I am a great lover of Russian music, but never felt that I could play it properly. The albums of Shostakovich, Rachmaninoff and Prokofiev are very special to me as they represent my attempts at music that I adore… When I look at the list of recordings that Yo-Yo and I have done together I feel enormously privileged to have shared in the journey of this unique artist. It was happenstance and great good fortune that gave me this gift, and I am grateful beyond measure for the time we have had together. I hope there are still some years left for me to keep learning from him, and that we continue to have fun exploring together.” (Emanuel Ax)

Irish by birth, John Field gained an international reputation as one of the finest pianists of his time, with delicacy and nuance in his playing that is expressed in his innovative and poetically lyrical ‘Nocturnes.’ Field’s earlier ‘Sonatas’ are more classical in feel, but their sense of flow and dramatic narrative exhibit qualities that are developed and given added virtuoso panache in his fine ‘Piano Concertos,’ works admired by Liszt, Chopin, and Schumann. “Benjamin Frith has done a stellar job in bringing these concertos into the sunlight, brilliantly supported by the Northern Sinfonia under David Haslam.” (Pianist Magazine) “Played with effortless fluency…” (Gramophone) “Benjamin Frith plays with the freshness of discovery and wit.” (Audiophile Audition)

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

Field: Piano Music Vol 1 - Nocturnes and Sonatas

These "night" pieces are primarily characterized by a dominant, gracefully flowing melody, with most of the harmonic activity in the pianist's left hand. Although other pianists have recorded at least some of Field's Nocturnes--most notably John O'Conor (Telarc) and Miceál O'Rourke (Chandos)--Benjamin Frith's own uniquely inflected, poetic readings have a satisfying aura of intimacy cast in the warm colors of his well-tempered, expertly recorded piano.

– ClassicsToday.com

Field: Piano Concertos No 1 & 3

Both works are played with the effortless fluency we know from his Mendelssohn series - plus all the immediacy and freshness of new discovery.

– Gramophone

This fruitful collaboration by three eminent chamber musicians, Christian Tetzlaff, Tanja Tetzlaff and Lars Vogt, brings together two Piano Trios by the Czech master, Antonín Dvořák (1841–1904). During the last eight years, artists forming this unique trio have recorded eight albums of chamber music for Ondine with great acclaim, including some of the Romantic standard works. These two chamber music masterpieces by Antonín Dvořák express great emotional depth and dark passion.

The two piano trios by Dvořák featured in this album have remarkable similarities as well as differences. Piano Trio No. 3, nearly symphonic in its character, hints to the world of Johannes Brahms, while the Piano Trio No. 4 includes folkloric elements. The third piano trio might not only be considered as an homage to Brahms; it was written by the composer in 1883 shortly after the death of his mother which might well explain the sorrowful musical expression in the slow movement of the work. The ‘Dumky’ trio has a very unusual structure in its six movements. This intense and intimate work was written just prior to the composer’s departure to New York in 1891 and serves as a great climax for Dvořák’s series of piano trios.

REVIEW:

The Dumky really takes the plaudits here. Without question, it is the best I’ve heard, and the third movement is simply astonishing in its melancholic beauty.

These are two giants of the piano trio repertoire that is dear to my heart, and while this new recording enters a very crowded field, the presence of the three performers who are considerable soloists in their own right, means that the release demands attention.

Let’s get one thing out in the open straight away: these are the most dramatic and intense performances of these works I’ve heard. If your preference is for elegance such as those of the Beaux Arts and Florestan Trios, you may not be too keen on these big-boned and raw performances. Pianist Lars Vogt really hammers the keyboard at times, but don’t let that give you the impression that there is a lack of subtlety: the slow movements are meltingly beautiful. The booklet notes, which are in the form of a conversation between the three performers, emphasise the Bohemian folk music that inspired so much of Dvořák’s pre-American music. The raw intensity of the performances can be seen as a way of expressing these folk roots.

This is the only version of the Brahmsian F minor trio that I have in my collection to go beyond 40 minutes. I have no doubts that there are others, but it is to the credit of the performers that at no time is there a sense of dragging. Everything feels just about right. However, it is the Dumky that really takes the plaudits here. Without question, it is the best I’ve heard, and the third movement is simply astonishing in its melancholic beauty. If you love these works, and if you are reading this, you almost certainly do, you owe it to yourself to hear the Tetzlaffs and Vogt.

If I have a reservation about this otherwise marvellous recording, it is that the tone of the violin on occasions, generally at moments of fortissimo and above, becomes quite shrill. This is a something of a personal peeve, and I suspect most listeners will not be bothered by the sound. Perhaps the miking is a little close, though there is no extraneous noise.

Perhaps the intensity of the performances means that this is not a recording for every day, just Sunday best, but it is certainly special.

-- MusicWeb International (David Barker)

Sony Classical is pleased to announce another ten releases in its increasingly comprehensive series of Classical Masters. These new budget-priced releases contain classic recordings, many of them newly remastered, by some of the most celebrated musicians of the 20th century. “Claudio Abbado and the Berlin Philharmonic once again defy the inexorable progress of period performance in exhilarating accounts of Mozart using modern instruments,” opined Gramophone. The new reissue of these recordings from the early 1990s includes several favorite symphonies, the Sinfonia Concertante for violin and viola, the Masonic Funeral Music, a serenade and divertimento as well as the C minor Mass, of which “Abbado’s performance is wide-ranging, delivering most satisfyingly on every aspect of this hugely varied score. He has an impressively unified team at his disposal, with a superb quartet of singers: in fact Bonney and Auger are as well matched as you could reasonably expect to find in the impossibly demanding Domine Deus duet” (Music-Web International).

Vintage Christmas Trio is David Ian’s long-awaited full-length follow up to his debut success Vintage Christmas. His purest release to date, this album features instrumental-only jazz trio interpretations of Christmas favorites using the most minimal elements--highlighting Ian’s craft as pianist and arranger. David Ian’s delightful performances transport you to an era that birthed the most sentimental songs of this season. The opener, “Deck the Halls” welcomes in the Christmas spirit with a swinging trio. David Ian’s signature sound shines throughout the album as he transforms the often stately “Joy to the World” into a jazz/blues injected festivity and then carries the listener into a dreamier state with the ever-loved classic “White Christmas.” The lyrical bass solos of Jon Estes tastefully splash their way on numerous tracks supported by the clever drumwork of Josh Hunt, who together comprise a perfectly ornamental rhythm section. “We Three Kings” takes on a new form with a reflective mood; an unexpected arrangement of a Christmas classic, more forgotten in recent years. In “Silver Bells,” Ian masterfully and fluidly switches back and forth from swing to straight time. The close of the album is a solemn “O Come, All Ye Faithful,” stripped down to just piano and percussion. If you listen closely, your ears might catch the chirps of a winter bird complementing this moving musical performance.

Fusing a modern-day pop sensibility with sleek and timeless jazz chops, singer, trumpeter and songwriter Bria Skonberg returns with her second album for OKeh Records, With a Twist. The album is a collection that pays tribute to legendary ladies of song while offering her take on songs by Leonard Cohen and Ed Sheeran, along with three of her own compositions.

Vaughan Williams withdrew or destroyed many works from his earliest period, but with its haunting opening and luminous polyphonic textures he considered The Solent as amongst his ‘most important works’. The Fantasia is his earliest known piece for solo instrument with orchestra and contains some of his most bravura writing, contrasting with the graceful geniality of the Suite. Depicting a sublimely pastoral scene and now one of the best loved pieces ever written, Vaughan Williams called The Lark Ascending a ‘romance’, a term reserved for his most profoundly lyrical utterances.

Sony Music and Madison Gate Records proudly announce the release of the soundtrack for season 1 of The Crown, the Netflix original series, available on November 4, 2016. All 10 episodes of the first season of the series will premiere the same day on Netflix. The album features Hans Zimmer’s main title theme for the series as well as Rupert Gregson-Williams’ original score.

REVIEW:

The contents of this set are identical to RCA’s previous Previn RVW reissue, and the discs do not appear to have been remastered. André Previn’s Vaughan Williams symphony cycle arguably is the best such offering on the market today, particularly given the difficulty of finding the similarly fine Handley and Slatkin sets domestically (or at all!). In contrast to Boult’s famous EMI set, where his all-knowing conducting (he was a lifelong friend of the composer) occasionally takes on a relaxed and autumnal air, Previn’s consistently vibrant renditions reflect his fresh encounters with the music.

Not to say that he’s always faster–Boult is noticeably quicker in many instances–yet, especially in the case of Nos. 3 and 5, Previn sounds more energized and involved despite his slower tempos. Previn also has at his disposal the London Symphony, which provides exceptionally robust playing throughout. Case in point: compare the LSO’s playing in Previn’s potent and dramatic No. 6 with Boult’s generally listless London Philharmonic in the same work.

Previn’s gripping Sinfonia Antarctica and his profoundly atmospheric A London Symphony rank among the finest versions available. However, Previn must yield to Boult in A Sea Symphony, where Boult’s grandiose vision and EMI’s ravishing recording make a tremendous impression. RCA’s sound, except for a dry and edgy No. 8 (did the master tape deteriorate?) is generally clear and well-balanced, with plenty of impact. Factor in the bonus works–the Violin concerto “Concerto accademico”, the Tuba Concerto, and the “Three Portraits” from The England of Elizabeth–and you’ve got a handsome package of memorable, recommendable performances. The bargain price makes it all the more irresistible.

-- ClassicsToday (Victor Carr, Jr.)

The 1921 musical comedy, Shuffle Along, was a soaringly successful Broadway show. Contained inside this show are songs that would eventually become staples in the repertoire, such as “I’m Just Wild About Harry” and “Love Will Find A Way.” This musical also served a civil purpose. As an all black musical, the show desegregated theaters all across the country. This album is being release alongside the April 2016 revival of the show, and features Tony Award-winning stars such as Brian Stokes Mitchell and Audra McDonald.

REVIEWS:

This fascinating release combines original recordings made in the acoustic era by members of the Shuffle Along company in conjunction with later performances, primarily by Noble Sissle and Eubie Blake, who wrote all the music and lyrics. It is, of course, by no means perfect, but it is representative of what was considered a landmark show in the history of black theater and the first “jazz” musical to hit Broadway...

Singer and lyricist Sissle was originally a drum major and vocalist for Lieutenant Jim Europe’s “Hellfighters” 369th Infantry Band in World War I...not even the Original Dixieland Jazz Band had yet made an appearance in New York. To them, jazz was what we now call “hot ragtime.”

Nevertheless, Shuffle Along remains a vitally important historical moment in the history of black entertainment. It was the first all-black show to have a wide appeal to white audiences, first gaining attention at the Howard Theatre in Washington for two weeks, then moving to the 63rd Street Theater in New York City in May before racking up 504 performances(!) at the Cort Theater on 48th Street. The cast included several names that would become famous over the next few years such as Adelaide Hall, Florence Mills (who replaced Gertrude Saunders after the first year), Fredi Washington and Paul Robeson—none of whom recorded anything from the show!—and a very young Josephine Baker in the chorus line.

-- The Art Music Lounge

Hearing a composer conduct their own work offers the potential for fascinating interpretive insights and comparisons, all the more so when the composer in question is one of the most-influential names in 20th century music. Presented in this 3 CD boxed set are some of the composer’s most important works, including the Symphony of Psalms, Symphony in C, Dumbarton Oaks, Violin Concerto in D, and more. The collection also features a number of world renowned soloists, including Charles Rosen, Isaac Stern, Benny Goodman, and Philippe Entremont.