New York City-based The Dessoff Choirs, instrumental in re-establishing the music of 20th-century African American composer Margaret Bonds with the world-premiere recording of her Christmas oratorio, The Ballad of the Brown King, present two more Bonds premieres: new orchestrations of her cantata, Simon Bore the Cross, created with long-time collaborator and friend Langston Hughes, and the large-scale Credo set to prose by W.E.B. Du Bois. Akin to The Ballad of the Brown King, which centered around the dark-skinned king Balthazar who journeyed to Bethlehem to witness the birth of Jesus Christ, Bonds' and Hughes' North African Simon carried Jesus's cross on the way to Calvary, giving African American audiences an opportunity to see themselves within the biblical canon. Credo bears Bonds' evocative vocal writing style infused with elements from various black musical genres. The first complete performance of the work was given in 1973, to rave reviews: "Credo verified her talent, her sensitivity, her proficiency as orchestrator and her concern for the Negro spiritual" (Los Angeles Times). Written during the last decade of Bonds' life, neither work was performed in its entirety during the composer's lifetime. With this release – coinciding with Black History Month – conductor Malcolm J. Merriweather, The Dessoff Choirs and Orchestra and soloists, soprano Janinah Burnett and bass-baritone Dashon Burton, bring Margaret Bonds' beautiful and spiritual music back to life, conveying a powerful message that remains poignant and relevant for music lovers today.

REVIEWS:

The Dessoff Choirs have been at the center of New York cultural life since 1924 and they have done us a service with this release. Bass Baritone Dashon Burton and soprano Janinah Burnett don’t so much sing this music as champion it, turning that noun into a verb with every note of every phrase. (Ms Burnett sounds like a young Leontyne Price.) Malcolm Merriweather, who also conducts the New York Philharmonic Choir, brings all the moving parts together nicely...I am envious of their experience and would have been proud to add my voice to theirs.

-- American Record Guide

The youthful sounding choir is actually very good indeed singing with good ensemble and attack but also sensitivity when required. The recording was made for/by the choir and licensed to Avie for distribution...

...I can imagine the second work – Simon Bore the Cross – being popular amongst choral societies of every country and continent. This is written for organ, strings and harp alongside the choir and is a substantial work in eight sections running just shy of 40 minutes. This tells the story of the crucifixion from Jesus’ trial through to his death and in a Postlude, the Resurrection. For the text Bonds turned to Langston Hughes who was the source and guiding influence for many of her works. In the fourth and fifth sections; Who is that man? And Don’t you know, Mary? Langston explicitly underlines the belief that Simon of Cyrene [a city in Northern Africa] was Black – the latter movement includes the text; “black men will share the pain of the cross, black men will share the pain, in a world… that’s filled with trials and troubles.” The following Walkin’ to Calvary has rather moving echoes of the meditative chorales in the great Bach settings of the Passions with Burnett joining the chorus to touchingly sing; “Thank you, brother Simon, Thank you for helping brother Jesus”. This culminates in penultimate movement The Cruxifixion a powerful setting of an existing Spiritual. Here and throughout the work the organ makes a rather thunderous but impressive contribution and the simpler instrumentation of strings and harp alone alongside the organ works rather well.

Whilst the influence of popular music in general and spirituals in particular is very evident there is something in the vocal writing; lyrical lush and grateful to sing that brought to mind John Rutter’s style of communicative composing. In essence this is not complex music but neither does it intend to be – it carries an extra-musical message that is best conveyed in direct, intelligible and engaging music. Again the committed singing of the Dessoff choirs adds to the overall impact of the work. The liner lists conductor Malcolm J. Merriweather as having edited and arranged Simon Bore the Cross but there is no further elaboration as to exactly what or how much he had to do to bring the work to the performance we hear here. But again it is a good indication of the level of engagement and belief in this music by the performers.

Full texts in English only are provided along with the usual artist biographies and performer lists of both choirs and orchestra. Overall this is an impressive presentation of two major scores by a composer who is gradually becoming recognised for her contribution to both the field of music and social equality – the liner quotes a letter from Bonds to Langston Hughes; “Together Simon Bore the Cross and Credo encourage all to embrace the true concept of Brotherhood toward people of color throughout the world”.

-- MusicWeb International

With the support of the American State Department, the Dave Brubeck Quartet, including new members Joe Morello and Eugene Wright, began a major tour of Europe early in 1958. Their first concert in the Netherlands was held on 26 February in the legendary Concertgebouw Hall in Amsterdam. The concert inaugurated a triumphant career in Europe. It announced, loud and clear, the communicative enthusiasm that was the lasting hallmark of these four exceptional musicians.

Work began on the basilica of Saint-Clotilde in 1846, and only three years later, construction of the organ began under the supervision of the doyen of French organ builders, Aristide Cavaillé-Coll. The instrument as it comes down to us is one of the most magnificent surviving examples of his art and craft – and crucially for the purposes of this album, influenced in its construction by César Franck, who played the dedicatory recital on the new organ in 1859, a decade after Cavaillé-Coll had begun work. Thus the Saint-Clotilde instrument can be definitively acclaimed as the Franck organ par excellence, the ideal home of his organ output. And who better to make a new recording of it than the current holder of the organ’s titular post, Olivier Penin?

Penin himself is thoroughly schooled in the lineage of French organ-playing. Born in 1981, Olivier Penin began playing the piano at the age of five and in 1987 he joined the Schola Cantorum in Caen. In 2004, he was appointed co-titular at Sainte Clotilde, and became the sole holder of the post in 2012. Thus he brings decades of experience to the recording of both this music and this instrument, each of which was designed for the other, as it were. In making this album of Franck at Saint-Clotilde, Penin follows in the footsteps of distinguished forebears such as the composer-organist Jean Langlais. Nevertheless, he brings his own, 21st-century appreciation for the composer’s elusive idiom, which relies on the gradual accumulation of mood and intensity in long, rhapsodic pieces such as the three Chorales and the Grand Pièce symphonique, and then rhythmic grip in the unstoppable momentum of the Pièce Héroïque and the Final Op.21.

The dance permeated every layer of Romantic society. From popular dance halls to courtly salons, people showed their public face, enjoyed themselves and met one another in waltz time or to the rhythms of the quadrille or the polka. At the same time, ballet gained unprecedented fame on the stage of the Paris Opéra. The music that accompanied this frantic round in France has long been neglected, whereas the Viennese have never ceased to celebrate their waltzes. Under the expert baton of François-Xavier Roth, the orchestra Les Siècles has set out to rediscover this French repertory using historical instruments. Their album explores the output of both established composers – Camille Saint-Saëns, Ambroise Thomas, Charles Gounod, Jules Massenet – and their colleagues who specialized in Terpsichorean entertainment, including Philippe Musard, Isaac Strauss, Émile Waldteufel and Hervé.

REVIEWS:

Beautifully recorded and with Bru Zane’s customary excellent booklet notes, this is a disc to delight Francophiles, especially sweet-toothed ones like myself.

 -- Gramophone

There is a blowsy joie de vivre in these performances by Roth’s French Orchestra Les Siecles that is hard to resist.

-- The Sunday Times (UK)

It’s all very French, and presented with great flair and warmth by Roth and his orchestra.

-- The Guardian (UK)

Carlo il Calvo – ‘Charles the Bald’ – was first performed in 1738 at Rome’s leading opera house, the Teatro delle Dame. Porpora’s opera is based on a Venetian libretto dating from 1699 which, under various titles, has been set to music by composers such as Vinacessi, Keller, Alessandro Scarlatti, Orlandini and Telemann. The score has been preserved at the Conservatory in Naples. The plot is set in that period of the early Middle Ages when Charlemagne’s Europe was disintegrating at the hands of his quarrelling heirs. Its distinctive feature is that the titular hero is a child. In contrast to his colleagues, Porpora even gives him some verses to sing. Louis the German, Charles’ half-brother and Charlemagne’s grandson, abducts the legitimate heir to the throne in order to rob him of his sovereignty. This provides Charles’s mother with the opportunity for heart-wrenching scenes of despair and breathtaking outbursts of felling. On the stage of the premiere were acclaimed singing stars of baroque Europe. The vocal demands are correspondingly exorbitant: in this premiere recording sovereignly and first-class interpreted by Franco Fagioli (Adalgiso), Max Emanuel Cencic (Lottario), Julia Lezhneva (Gildippe), Suzanne Jerosme (Giuditta), Petr Nekoranec (Asprando), Bruno de Sá (Berardo) and Nian Wang (Eduige) with Armonia Atenea under George Petrou.

The baroque trumpeter Josh Cohen is among the most sought-after clarino specialists in North America. A native of the Washington, DC area, he performs regularly with most of the leading early music ensembles in North America and has appeared as principal or solo baroque trumpet with ensembles such as Tafelmusik (Toronto), Washington Bach Consort, Studio de musique ancienne de Montréal, Arion Orchestre Baroque (Montreal), The Bach Sinfonia (Washington, DC), Seraphic Fire (Miami), Apollo’s Fire (Cleveland), and the Sebastians (New York) to name but a few.

The development of historically informed trumpet playing has come a long way since the very early days of the movement, from coiled trumpets – first produced by Steinkopf-Finke, and played by Walter Holy in a 1962 recording of the Second Brandenburg Concerto under Harnoncourt – to the first modern baroque trumpets of Meinl & Lauber. Devoted to a broad cross-section of trumpet repertoire from the late seventeenth century through the mid-eighteenth, this recording shows how far the art of playing the baroque trumpet has advanced.

REVIEW:

This release by Baroque trumpeter Josh Cohen and the small Ensemble Sprezzatura features sounds from a natural valveless trumpet that are not often heard. Cohen is one of a group of players, at first mostly American, who have cultivated not only the playing technique but the repertory that goes with this instrument, much of it German and most of it unknown. For the full effect, sample the high Cs in several movements of the Sinfonia à 7 of Johann Samuel Endler. Another highlight is Telemann's Concerto in D major, TWV 43:D7, where the continuo group includes a bassoon, and Telemann gets delightful sonorities out of this rather unwieldy group. The backing from Ensemble Sprezzatura under director Daniel Abraham is lively and sensitive to the soloist's challenges. Brass players may be especially alert to the technical rigors involved in Cohen's playing, but any Baroque enthusiast will find this a diverting release that brings home just how far trumpet playing has advanced over the last 50 years.

-- AllMusic.com (James Manheim)

The two leading operatic composers of their time were Rossini and Auber, one now fêted, the other largely overlooked. In 1831 Auber and his long-standing librettist Eugène Scribe produced Le Philtre, which took the concept of petit opéra to the extreme, even outdoing Rossini’s Le Comte Ory in depicting a rural setting peopled not with Arcadian shepherds but with ordinary country folk. Auber’s Franco-Italian style can be heard in the work’s ensembles, while elsewhere the opera shimmers with rich arias, buffo elements and delightful cavatinas. Le Philtre was an unalloyed success receiving 243 performances and inspired Donizetti’s L’elisir d’amore.

REVIEWS:

The sonorous lyrical tenor Patrick Kabongo as Guillaume achieves a great artistic achievement in every respect. His elegant phrasing, the tones set freely from above, his dramaturgically precise, word-creative ability: all this shows great class.

The Mexican baritone Emmanuel Franco as the dashing militarist Joli-Coeur and the Italian bass Eugenio Di Lieto as the cunning businessman with a weakness for the right medical diagnosis Fontanarose remain sonorous and full of humour, and take advantage of the abundant situational comedy they offer. All three male protagonists succeed in stylistically exemplary fashion in both the French and the Italian influences of the score, influenced by Rossini, with all the rondeaus, cavatinas, cabalettas, strophic airs and brilliant couplets.

-- Merker Online

Venus, irritated by the young mortal Psyché whose beauty radiates all across the world, dispatches Cupid to impose a thousand trials upon her, which the young victim triumphs over to the point of becoming immortal. In this mythological fable, which is his sixth tragédie lyrique (1678), Lully shows off his immense talent and takes revenge on Molière, for whom he had written the music of a monumental Psyché in 1671, and which had been the cause of their falling out. A connoisseur of Lully, Christophe Rousset conducts a sumptuous cast that gives his Psyché all the luster of the great French operas!

Sir Arnold Bax wrote his seven symphonies between 1921 and 1939, embracing a prolific period that drew inspiration from a variety of sources. From the dramatic impact of the Second Symphony through to the seascapes of the Fourth and hints of Sibelius in the later works, Bax’s powerful symphonic world is one of surprising and at times stormy vigor contrasting with the most intense lyrical expressiveness and serenity. The selection of additional orchestral works evoking nature and atmospheric landscapes fascinates and rewards in equal measure, providing an essential overview of Bax’s music in critically acclaimed recordings.

REVIEW:

Listeners should come away mightily impressed by David Lloyd-Jones's clear-headed conducting of this intoxicating repertoire.

-- Gramophone

Past praise of previously released individual volumes included in this set:

Symphony No. 1 - In the Faery Hills - Garden of Fand

This first disc in the Naxos Bax series offers warmly idiomatic readings of two early symphonic poems, as well as the First Symphony…finely detailed. In the two symphonic poems, more specifically inspired by Irish themes, Lloyd-Jones draws equally warm and sympathetic performances from the Scottish Orchestra, bringing inner clarity to the heaviest scoring. First-rate sound...

-- Penguin Guide

Symphony No. 4, Nympholept, Picaresque Comedy Overture

The RSNO handle the difficulties of these scores well, with some wonderful solo playing from oboes and horns. The conductor David Lloyd-Jones allows those refulgent textures time to breathe, without letting the music sprawl.

-- Times of London

Symphony No. 5 - The Tale the Pine-Trees Knew

Lloyd-Jones's intelligent, meticulously observant and purposeful direction pays handsome dividends, and that a well-drilled RSNO in turn responds with sensitivity and enthusiasm. In short, another terrific coupling within what is turning out to be one mightily rewarding enterprise.

-- Gramophone

Véronique Gens’s version of La Voix humaine has been eagerly awaited! This ‘lyric tragedy in one act’ might have been written for her, so ideally suited are her feeling for language and her dramatic intensity to Poulenc’s monologue on a text by Jean Cocteau, composed in 1958. This is a far cry from the ‘light’ Poulenc of the 1920s. Cocteau paid him the highest compliment: ‘Dear Francis, you have fixed, once and for all, the way to speak my text.’ Véronique Gens confesses that she had always wanted to perform and record this piece; now she has achieved her ambition, in close partnership with the Orchestre National de Lille under its music director Alexandre Bloch. Also featured on the album is the Sinfonietta: this is in fact a genuine symphony, but, as Nicolas Southon writes, ‘there is no denying that the work – commissioned by the BBC in 1947 – has a freshness and a freedom of tone that justify its title’.

REVIEW:

La voix humaine is a monodrama. Gens had long wished to sing and record the piece, and was asked to perform it many times. She waited till she was ready for such a demanding piece, a work she must carry for forty minutes of, at times, very intense solo singing. Poulenc’s favourite soprano Denise Duval performed it first. She almost co-composed the piece.

It is clear that Madame Gens has really thought through the work and what it requires. Her decision to wait to be certain before she was ready to tackle this piece would seem to have paid off handsomely. This is an outstanding interpretation, the right artist recording the right work at the right time. That top C is nailed alright, and at the few other moments of “real singing” her familiar sound and line are as eloquent as usual. But the rest, the ‘heightened talking’, is equally persuasive, realistic and moving. Of course, that realism is also distressing, as we eavesdrop on deep personal anguish. At one point, Elle confesses to a suicide attempt. Some listeners will surely find the work rather harrowing, not one for everyday listening. But if one of the duties of art is to portray life in all its grimness as well as all its glory, then La voix humaine should be heard.

-- MusicWeb International

There is no piece of music that the Patricia Kopatchinskaja cannot play in a way that unwinds your expectations and forces you to hear it anew.

This new recording marks the reformation of the legendary duo of Patricia Kopatchinskaja and Fazil Say. The Moldovan violinist says the Turkish pianist ‘is a volcano, with an indomitable strength and energy’, while he emphasizes the ‘freedom’ that her ‘spontaneous playing’ exudes: ‘At each concert, she creates a different character and tells a new story.’ The explosive duo presents a program devoted to Bartók’s Violin Sonata no.1 (‘a marvel from start to finish, one of his finest works’, says Patkop), Brahms’s D minor Sonata (‘I imagine a feather in flight at the opening of the sonata’) and Janáček’s Sonata, ‘an extreme work, wounded and heart-rending’.

REVIEW:

There is no piece of music — works by Tchaikovsky or Schoenberg, or an old folk tune — that the violinist Patricia Kopatchinskaja cannot play in a way that unwinds your expectations and forces you to hear it anew. So it is with the latest chapter in her partnership with the intrepid Turkish pianist and composer Fazil Say. The Janacek sonata that opens this recording and the Bartok Sonata No. 1 that closes it clearly play to the duo’s strengths: curiosity, an impatience with convention and exceptional technique. They pounce, almost too eagerly, on each of the Janacek’s lightning-quick mood changes; and in the Bartok, a piece in which the two instruments work virtually at cross purposes, they achieve an ESP-like mutual responsiveness.

Their rendition of Brahms’s Violin Sonata No. 3 in D minor, however, is the paramount achievement here. Resisting the urge to swath this wistful music in a big luxuriant tone, Kopatchinskaja adopts a timbre that’s sometimes bristly, sometimes gossamer-light. She and Say push the music to extremes: The quiet moments seethe and the outbursts approach violence, but it’s all done with impeccable control. The piece sounds bereft and heartbroken even as it avoids the clichés of Romanticism. It’s not the way I’d want to hear it played every time, but it’s invaluable for offering a glimpse deep into a work you might have thought predictable, which is exactly what these imaginative musicians are after.

-- New York Times (David Weininger)

The symphonic oeuvre of the Polish composer Grazyna Bacewicz has never before been recorded in its entirety "from one source", so that the series beginning here represents a pioneering act. The Third Symphony for large symphony orchestra was written in early 1952 and the monumental and pathetic music shows a hitherto unknown face of the composer. One of its characteristics is the use of large instrumental blocks, although fragments also appear that hint at the lighter expressivity of the neoclassical tradition. It is a masterfully constructed work and the overt formal schemes of the Classical period are complemented by the subtle use of elements that were characteristic of music between the wars - in particular the timbres of the French tradition. Nevertheless, this work is not about setting new accents. The same applies to the Fourth Symphony. The orchestra of this work from 1953 is larger than in the previous symphony - among other things, English horn, E-flat and bass clarinet, contrabassoon and harp are now also called for. In both works, the composer achieved an excellent balance between the music of the past (form referring to tradition) and new sources of inspiration (folklore) as well as a new approach to traditional elements (rhythm). As a result, she managed to reconcile the autonomous, artistic qualities of her music with the expectations of the cultural policy of the time. We are very happy to have found congenial interpreters for this project, which sets new standards in the WDR Symphony Orchestra and the Polish conductor Lukasz Borowicz.

Rumon Gamba leads the BBC Philharmonic in this collection of lesser-known pieces by the British composer Sir Malcolm Arnold.

Born 1921, Arnold was inspired by Louis Armstrong to take up the trumpet at the age of twelve. Following study at the Royal College of Music, in London, he became Principal Trumpet of the London Philharmonic, in 1943 – a post he held (bar one season at the BBC Symphony Orchestra) until he moved to composing full time, in 1948.

Arnold was active in many genres, writing nine symphonies, two operas, five ballets, and more than 100 film scores, including The Bridge on the River Kwai for which he won an Oscar.

This album features music from across his compositional career, from Larch Trees (1943) to the Philharmonic Concerto (1976) – both works written for the London Philharmonic. His Divertimento was written for the newly formed National Youth Orchestra, whilst the BBC commissioned the Commonwealth Christmas Overture for the twenty-fifth anniversary of King George VI’s first Christmas Broadcast, in 1932. The Clarinet Concerto No. 1, expertly performed here by Michael Collins, was written for Frederick (‘Jack’) Thurston who gave the première, in 1949, at the Edinburgh Festival. The album concludes with Philip Lane’s orchestration of The Padstow Lifeboat, originally composed for brass band to celebrate the launch of a new lifeboat in Padstow in 1968.

REVIEW:

What better way to start the New Year than with a bumper disc of Malcolm Arnold at his most entertaining. The program of this recording has been somewhat dictated by music missing from the extensive Chandos catalogue of the composer, so the result is something of a seeming hotch-potch albeit a very engaging one.

Conductor Rumon Gamba and the ever-reliable BBC Philharmonic are old hands at Arnold and this style of repertoire which they play with genuine flair and engagement throughout. While none of the repertoire is new to the catalogue, four of the works are receiving only their second commercial recordings, and, with one exception, all the other recordings of these works are over twenty years old. Furthermore, most of those older recordings appear to be out of print. So even if this new disc were not as fine as it is, it would pretty much have the field to itself.

The most recorded work on this disc is the Clarinet Concerto No. 1 Op.20. The soloist here is Michael Collins, who recorded it as part of the Conifer survey back in 1988. Collins’ playing is simply superb; expressive and humorous, articulate, virtuosic. Conductor Ramon Gamba is most imaginative with his phrasing and attention to dynamics and accentuation.

The Divertimento No. 2 Op.24/75 is a great example of unaffected, unbuttoned Arnold. The flair and brio of this present recording is undeniable and affords great listening pleasure.

Near the other end of Arnold’s compositional career is the Philharmonic Concerto, Op.120 written in 1976. This is Arnold at one of his very darkest times rather desperately trying to make out that everything is just fine while the music tells a different story. Again this new performance is simply excellent – unflinchingly muscular and dynamic with an aggressive edge that seems wholly, if somewhat uncomfortably, appropriate.

The disc ends with a collective sigh of relief – the utterly brilliant Padstow Lifeboat in its orchestral transcription by Phillip Lane. The original Brass Band version is incomparable and utterly “right” but Lane’s orchestration is a delight.

So an uplifting conclusion to a disc guaranteed to raise spirits in the dank winter months with performances and recordings to match or supplant any in the catalogue. Recording dates show sessions split by the pandemic but the sound and playing is superbly consistent. A top-notch Chandos release to start the year right down to the cover photograph of the RNLB James and Catherine Macfarlane – the eponymous Padstow Lifeboat itself. Certainly a disc to show the range and quality of Arnold’s mercurial genius in all its glory.

-- MusicWeb International

Hugo Alfvén’s music has always been close to the hearts of the Swedish people, and ranks among some of the most significant and representative of the spirit of the country. Alfvén is known as a cheerful entertainer in compositions such as Den forlorade sonen (‘The Prodigal Son’), but his symphonies reveal a different, more elegiac and often more dramatic side. The success of Alfvén’s symphonies fundamentally changed Sweden’s musical climate and, with a substantial collection of further orchestral music representing his gloriously rich and varied style, these recordings sweep us into the remarkable world of Scandinavian landscape and culture.

Past praise for previously released volumes included in this set:

Symphony No. 5; Andante Religioso / Willén, Norrköping Symphony

The Norrköping Symphony plays with confidence and fervor. Alfvén was nothing if not expansive, and if his formal touch was never all that deft, he did know how to fill up time with arresting ideas, glowingly scored. A serenely lovely Andante religioso makes a perfect encore, one that puts the finale of the symphony’s straining for heroic effect in its proper perspective in the gentlest and most affecting way. Naxos’ sonics for this production are also excellent. Very enjoyable indeed.

-- ClassicsToday.com (David Hurwitz)

The Prodigal Son, Symphony No. 2 in D major, Op. 11 / Willén, Ireland NSO

Listen as Niklas Willén teases the skittish polka from “The Prodigal Son” ballet suite, or steers his players through the vehement fugue that rounds out his Symphony No. 2, and you’ll appreciate why this release commands unreserved praise. These works come to life in Willén’s hands.

Willén’s reading of the Symphony's Andante conjures a huge range of textures and sonorities, with the dark-hued horns and sombre lower winds particularly impressive. The players give all they have in music that’s probably new to them, and that extra effort is just one of the factors that makes these performances so compelling.

-- ClassicsToday.com (10/10; David Hurwitz)

Symphony No. 3; Skerries; Dalecarlien Rhapsody / Willén, RNSO

If you haven’t heard these charming, folk-music-inspired gems of late Romantic music, then here’s an excellent place to start. The Symphony also sounds consistently fresh and lively, though it’s hard to shake the impression that the composer was happier writing programmatic works in free form than in indulging the more intellectual rigors of symphonic development. In Willén’s sympathetic hands, however, none of its four movements outstays its welcome. In any event, the Royal Scottish National Orchestra plays with confidence and evident enjoyment, and the recorded sound is very good.

-- ClassicsToday.com

This legendary concert of Luciano Pavarotti in Hyde Park, 1991, was held to mark the 30th anniversary of the start of Pavarotti's operatic career. The Guardian wrote that there had not been "such a brouhaha for a free concert" since the concert given by The Rolling Stones in 1969. Attended by 120,000 fans, including Lady Diana, Prince Charles, Andrew Lloyd Webber, Michael Caine, and premier John Major, this concert by Luciano Pavarotti thrilled the electrified audience with a popular program from Verdi to Puccini (Nessun Dorma), from Mascagni and Leoncavallo to Bixio (Mamma) and Di Capua (`O sole mio), which is now available for the first time available here, digitally remastered!

Billboard chart-topping and Grammy-winning Jeannette Sorrell, baroque orchestra Apollo’s Fire, soprano Amanda Forsythe and the music of J. S. Bach create a divine musical partnership. Heavenly Bach pairs two of the composer’s most popular cantatas, interspersed with two sublime arias from the St. John Passion. In Jauchzet Gott in allen Landen! (“Shout to joy for God in every land!), Forsythe’s dazzling virtuosity hits the high notes – she “sets arias on fire” according to BBC Music Magazine – whilst the secular “Wedding Cantata” exudes a joyous and evocative marriage in springtime, for a result that is heavenly indeed.

REVIEW:

Soprano Amanda Forsythe is among today’s most delightful vocalists and a fine, dedicated musician. Her sparkling Baroque performances with specialist groups and leading orchestras have brought contented smiles to many listeners. She has a bright, clean timbre that can execute rapid passagework and sustain long phrases with remarkable aplomb, and she never seems to stray from pitch. I have friends in Boston I can interest in attending a performance with the words, “Amanda Forsythe’s in it.” Here, she collaborates with another extraordinary artist, the conductor Jeannette Sorrell, who deployed the soprano in her 2021 New York Philharmonic debut, an arrestingly theatrical Messiah.

Sorrell’s Cleveland-based period instrument ensemble Apollo’s Fire, twenty-five in strength, here accompany Forsythe with delectable precision and tonal appeal in two of Bach’s most popular cantatas, plus two arias from the St. John Passion. The recordings, all technically first-rate, date from different sessions—the arias from 2016, the so-called Wedding Cantata from two years later and Jauchzet Gott in allen Landen! from 2021. Forsythe’s fresh-timbred singing proves a joy throughout.

In the Johannes-Passion, the contemplative “Zerfliese, mein Herz” finds the lamenting vocalist encircled by oboe and flute, a contrast in tone to “Ich folge dir gleichfalls,” with its delightful pair of flutes following the resolute if challenging soprano line. Forsythe and Sorrell’s instrumental soloists limn well the shifting moods of the five-aria Weichet Nur, Betrübte Schatten, a secular cantata evoking spring as well as Classical deities (Amor, Flora and Phoebus). Steven Marquardt is the excellent trumpeter in the bravura BWV 51, the title aria and famous concluding Alleluja movement, which Sorrell and Forsythe take at an enjoyably bracing clip. René Schiffer’s cello continuo aptly receives major billing in Avie’s helpful booklet.

-- Opera News

The first time I heard soprano Amanda Forsythe was on a CD of Handel arias. Searching for virtuosity, I found it and much more: a creamy, clear, lyric soprano, pinpoint coloratura, and enough color in the voice to delineate character and take me through adventures. The voice, the artistry remain the same on this new Bach recital, but the program feels less fulfilling.

Opening with Cantata No. 51, everyone’s madcap duel between soprano and trumpet at breakneck speed, you almost feel concern for articulation, pitch, and, well, everything but speed. But it’s a razzle-dazzle run-through, and it’s great fun. The Chorale “Sei Lob und Preis” disappoints somewhat; Forsythe and conductor Jeanette Sorrell seem to miss the strutting rhythm, but Forsythe’s middle octave, featured here, is as smooth as silk. The “Alleluia” made me want to dance.

I suspect no one’s favorite Bach cantata is No. 202, the so-called Wedding Cantata. The sweet text revolves around nature, then more nature, then flowers, then the sun, then Cupid on the prowl, and finally, good wishes to a couple. No religion, no depth, no tension, just plenty of room for Forsythe’s gorgeous middle voice, so smooth, so easily produced. And a fine oboe obbligato early on; later a nice cello, and a solo violin.

The two arias from the St. John Passion present two moods. “Zerfliesse, mein Herze”, featuring a combination of oboe da caccia and flute, with the voice used, often, as a third woodwind, is an emotional reaction to the death of Jesus: heartfelt and moving, with repeated notes signifying weeping. “Ich folge dir gleichfalls” finds the soprano following Jesus, with two lovely flutes as backup.

Jeannette Sorrell accompanies handsomely, only once or twice covering the voice. This is a release that will enchant, but at 49 minutes will also leave you hungry. Amanda Forsythe remains a star.  

-- ClassicsToday.com

The Symphony in C was conceived in Paris in the late 1930s, but completed in America in 1940, and is dedicated to the Chicago Symphony Orchestra on the occasion of its fiftieth anniversary. Commissioned by the New York Philharmonic and premièred in 1946, the Symphony in Three Movements presents us with movements that also manifest different ways of moving: a march, a slow dance, and a march-jog-race. The Greeting Prelude was written as an eightieth birthday tribute to Pierre Monteux, conductor of the premières of Pétrouchka and The Rite of Spring, and was first performed by the Boston Symphony Orchestra on the very day: 4 April 1955. The other two pieces on the album reflect Stravinsky’s lifelong involvement with ballet. The Divertimento is an orchestral piece extracted by Stravinsky from his ballet The Fairy’s Kiss. The ballet was a homage to Tchaikovsky, based on songs and piano pieces by him, stitched together and orchestrated with Stravinskian cool. The Circus Polka was a commission from Stravinsky’s long-time collaborator George Balanchine, who had been asked by the Ringling Bros. and Barnum & Bailey Circus to create a dance for elephants. The version heard here is the composer’s own orchestral version; the original was scored for circus band and organ by David Raksin, and performed by fifty elephants and fifty female dancers!

REVIEW:

It’s easy to underestimate the depth and breadth of Andrew Davis’s repertoire and indeed his sterling qualities as a conductor – his ebullience, robust sense of rhythm and razor-sharp ears. All of which are much in evidence in this generous compendium of Stravinsky.

-- Gramophone

Anthony McGill, New York Philharmonic principal clarinet and 2020 Avery Fisher Prize winner, and the multiple Grammy Award-winning Pacifica Quartet join forces on an album illuminating the diversity of the American experience through works by Richard Danielpour, James Lee III, Ben Shirley (all three world-premiere recordings), and Valerie Coleman. McGill describes it as a project driven by the desire to “expand the capacity for art and music to change the world.” Clarinetist McGill and the Pacific Quartet’s previous collaboration on Cedille Records, Mozart & Brahms Clarinet Quintets, garnered widespread critical acclaim and continues to be a staple of classical radio programming. “The pure, gorgeous tone and expressive musicianship of the clarinetist Anthony McGill meshes with the talents of the excellent Pacifica Quartet for thoroughly enjoyable readings” (The New York Times).

REVIEWS:

The stories in question here are wide-ranging, often concerned with issues of social justice and racial intolerance which, however noble in concept, can’t really be expressed in absolute musical terms–never mind as works for clarinet and string quartet. Fortunately the music works perfectly well on its own, and it’s stunningly played and recorded, so you can either ignore the externals entirely or take them for what they’re worth.

Richard Danielpour is a composer whose ambition often exceeds his grasp, never mind his titles, but Four Angels is a sensitive, single-movement piece that would have been better had it simply been called “Elegy for Clarinet and String Quartet,” or words to that effect. James Lee III’s Quintet makes reference to Native American music and history in its four concise movements, which you may or may not notice and which makes little difference one way or the other. The music is fresh, appealing, and extremely well-crafted. Ben Shirley’s High Sierra Sonata does exactly what its title suggests: this is music about nature, wide-open spaces, and interior reflection. Heard in the context of the program as a whole, it constitutes a moment of relative repose, even though it has a central movement marked “Angry Secrets.”

Last, but certainly not least, Valerie Coleman’s “Shotgun Houses” is the first in a triptych of works inspired by the life and legacy of Muhammad Ali. Its third movement, “Rome 1960” features a musical boxing match, no less, and does it rather well. Again, it’s not really necessary to know any of this to enjoy the music, and Coleman deserves credit for avoiding any suggestion of parody or silliness. Of course, much of the credit for the success of this program belongs to the performers. McGill, with his colorful range of timbres and effortless virtuosity, brings his instrument to life in the most expressively direct way, while the Pacifica Quartet plays as well as any chamber group active today. Cedille’s sonics are positively luminous, and every work (Coleman’s aside) is a world premiere recording. In short, a remarkable achievement by all concerned.

-- ClassicsToday.com (10/10; David Hurwitz)

Here is an interesting album of contemporary American music played by veteran clarinetist Anthony McGill, who has worked as a soloist with various American orchestras as well as being an active chamber musician. He is paired on this album by the well-known Pacifica Quartet.

First up is the best-known composer of the four, Richard Danielpour, who tends to write in a tonal, accessible style yet who always seems to include in that music elements of subtle yet advanced harmonies to make it interesting. Four Angels, composed specifically for McGill and the Catalyst Quartet, is no exception: a lyrical, melodic theme that suddenly morphs a couple of minutes into the piece as edgier harmonies and rhythms suddenly erupt. Yet the music always seems to return to its lyrical roots as it continues to develop.

I was not previously familiar with James Lee III (b. 1973), who studied both composition and conducting. Lee’s music is rather interesting, using unusual rhythmic and harmonic figures including a fair amount of syncopation (but not really jazz syncopation). It is a joyous work in the end, but in a quirky, irregular meter as if danced by someone with wobbly legs!

Shotgun Houses by Valerie Coleman, another composer I was not previously familiar with, is described as the first of “three installments that celebrate the life of Muhammad Ali. The three movements, titled “ShotGun Houses,” “Grand Ave.” and “Rome 1960” refer to places and incidents in his early life. Coleman’s music...struck me as some of the most creative in the entire album—creative in the sense that it sounded much more the product of inspiration and not merely working out themes in one’s mind. Coleman captures her moods as well as Danielpour and Lee, but the musical progression is more varied and unusual. It’s quite an inventive as well as a thrilling piece!

This, then, is a very nice album, the kind one can use to take a mental break from the more convoluted modern music out there. McGill has a rich, luscious tone and outstanding musicianship. The sound is also outstanding, giving a bit of natural room reverb to the instruments without having them wallowing in an echo.

-- The Art Music Lounge (Lynn René Bayley)

Following its Gramophone Editor’s Choice album Echoes of an Old Hall, Medieval expert Gothic Voices has recorded The Splendour of Florence, a collection of Franco-Flemish music that was found in or associated with Florence. Occupying pride of place, Dufay’s motet Nuper rosarum flores is widely thought to reflect the proportions of the newly completed dome of Florence cathedral, for which it was written at the cathedral’s consecration in 1436. The other works – by Franco-Flemish composers Ockeghem, Busnois, Tinctoris, van Ghizeghem and others – are taken from a couple of Florentine chansonniers, which in turn document the wide dissemination of their music in the thriving Tuscan city. This album thus showcases Florence in all its splendour and lavishness, a city that proved a creative magnet for the highly-skilled and inventive compositional work of the outstanding composers of the Burgundian tradition.

To watch a live Q&A with pianist Eleonor Bindman discussing the recording of her transcriptions of Bach's Orchestral Suites, click here.

Eleonor Bindman’s new arrangement of Bach’s Orchestral Suites for piano duet follows her widely admired recording of the six Brandenburg Concertos (GP777–78). Once again, the transcription reimagines Bach’s writing using the modern piano, in this case a Bösendorfer. Bindman and her Duo Vivace partner, Susan Sobolewski, draw upon the suite’s dance movements to suggest how Bach might have distributed the material, ordering them for maximum contrast, and succeeding in conveying the music’s vitality and beauty in a new medium.

REVIEW:

This is the world premiere recording of Eleonor Bindman’s arrangement for four hands at one piano of Bach’s four Orchestral Suites. Much like Bindman’s arrangements of the Brandenburg Concertos, this is not a small undertaking. Bindman’s partner for the Brandenburgs was Jenny Lin, and here Susan Sobolewski fills that role admirably. The pianists trade places on the piano bench, so each gets two suites playing the upper part and two playing the lower.

Nothing I heard in these arrangements seemed out of place, and the phrasing and dynamic shaping of the lines were exceptional. This new set is satisfying and very musical. It will give you a fresh look at some of Bach’s greatest works in piano arrangements that work quite well.

-- American Record Guide (James Harrington)

Cherubini’s Les Abencérages, premiered in 1813, heralds the spectacle and extravagance of Romantic grand opera. From the Alhambra gardens to the battlefield, the action skillfully intertwines political conspiracies with a love story. Underpinned by the energy and timbres of period instruments, this recording demonstrates the work’s modernity and its musical qualities. Anaïs Constans valiantly tackles the demanding role of Noraïme, while Edgaras Montvidas displays his lyric tenor voice in a series of sublime airs whose beauty was already hinted at by none other than Roberto Alagna in a recital disc released in 2003. Around this couple, a plethoric cast of soloists (Dolié, Sargsyan, Williams, Martin, Lavoie, etc.) achieves the same high standards of French diction and style. The Hungarian conductor György Vashegyi, flanked by the Purcell Choir and Orfeo Orchestra, reveals here another key milestone of French Romantic opera.

REVIEWS:

Unstaged in Paris for over two centuries Les Abencérages, a kind of ‘missing link’ in the history of French opera, has been disinterred by Bru Zane. The overture with its two warring themes – romantic passion versus battlefield chivalry – announce a changed sensibility where the political is properly personal.

György Vashegyi and the Orfeo Orchestra find Beethoven – drums and trumpets and driving rhythms – in Cherubini’s score, and hints at the start of Act III of the Romanticism to come with Mendelssohn. While Étienne de Jouy’s libretto is set in the exotic Alhambra of late-15th century Moorish Grenada, its spectacle and masterly use of the chorus suggests the coming French Grand Opéra. Its story presents two warring factions within the last Spanish caliphate ready to be reconciled through the warrior Almazor’s marriage to Princess Norïme. That is until the villainous Vizier Alémar starts to plot!

Cherubini’s vocal line is free of Italian decorative thrills. Anaïs Constans handles Norïme’s high tessitura with grace, and Edgaras Montvidas’s Almanzor is a worthy heir to Louis Nourrit, the tenor who created the role in 1813. His farewell when exiled from Grenada having ‘lost’ the kingdom’s sacred standard on the battlefield is properly affecting.

Yet it’s the Purcell Choir who steal the vocal honours, with magnificent singing by the women in Act I as they prepare for the wedding, and the men rattling their vocal sabres handsomely as the plot thickens in Act II. For all that, the musical history is perhaps more striking than the opera itself.

-- BBC Music Magazine

Despite being eccentric and at odds with his fellow human beings for most of his life, Danish composer Rued Langgaard was convinced that his time would come – and so it did. In Langgaard’s Symphony No. 1, we find its teenage composer celebrating his love of beauty and harmony in the most hedonistic terms. With this recording the symphony sees it return home, performed by the Berliner Philharmoniker, the first orchestra that understood what a masterpiece perhaps the greatest talent that had ever been seen in Danish music had created.

REVIEWS:

Unjustly misunderstood, and at times even ridiculed or dismissed as an eccentric kook by critics of his day, Danish organist and composer Rued Langgaard (1893-1952) deserves to be ranked alongside Wagner, Richard Strauss, Bruckner, Mahler and the like.

Brilliantly orchestrated for large orchestra, with motivic and thematic development on par with the music of Gustav Mahler [the First Symphony's] final movement alone is a revelry of ideas brought together to great effect. Seriously, if the five or so minutes near the end don't capture your full attention, and the final minute doesn't leave you slack-jawed in amazement, maybe you should check your pulse. In this live recording of the world premiere recording of the 2010 critical edition by Bendt Viinholt Nielsen, conductor Sakari Oramo and the members of the Berlin Philharmonic certainly seem to be having the time of their lives.

-- Classical Music Sentinel

After their exciting interpretations of Haydn, Beethoven and Schubert, the Chiaroscuro Quartet now turns to Mozart’s Prussian Quartets, his last compositions for this formation. These quartets were written for Friedrich Wilhelm II, King of Prussia and amateur cellist, and offer that instrument an unusually prominent role. The first of the three was composed fairly quickly, in June 1789, but the next two were not completed until the following year, and in the end Mozart’s plan for a set of six came to nothing. The writing of quartets was never an easy matter for Mozart. However, one would hardly guess that the Prussian quartets were the product of ‘exhausting labor’ (his own words), such is their beguiling ease of workmanship. No. 21 in D major stands out as one of the most melodious chamber compositions of Mozart’s mature period, emanating something of the sensual Mediterranean warmth of the opera Così fan tutte composed shortly afterwards. No. 22 in B flat major also emphasizes the importance of melody and gives the ‘royal’ cello some beautiful solos. As for No. 23 in F major, while it is tempting to hear a melancholy, autumnal quality in Mozart’s later works, there is, however, no sense of farewell in this his final string quartet: the spirit of Haydn is everywhere, especially in the finale with its effects borrowed from Hungarian folklore.

A New Yorker Notable Recording of 2022!

A feast of poetry, song, and visual art animated by a surprisingly Zen-like philosophy, Guillaume de Machaut’s Remede de Fortune tells the tale of a woebegone lover who is counseled by Lady Hope on how to be happy and persevere in the face of the ups and downs dished out by Fortune and her Wheel.

Machaut was at once the greatest poet and composer of 14th-century Europe, and the Remede is a narrative poem or dit, around 4000 lines long, with interpolated lyrics set to music. This live recording of a concert production of the Remede—a collaboration between two outstanding American ensembles, Blue Heron and Les Délices—includes all seven musical items from the Remede as well as a selection of other motets, songs, and dances, which take the place of the narration, express the emotions and thoughts of the Lover, and convey Hope’s teachings in lyric form.

Four singers are joined by a delightful ensemble of medieval instruments (recorder, douçaine, fiddle, lute, harp, hurdy-gurdy, and percussion) in performances which are both spirited and deeply informed by the study of historical performance practices. The album booklet contains complete texts and translations, an interspersed synopsis of the story, and numerous full-color reproductions of the pictures that grace the lavishly illustrated first manuscript copy of the Remede, prepared c. 1350 under Machaut’s supervision.

REVIEW:

What is “Remede de Fortune?” Nothing less than a multi-media work of art – created in 1350. Guillaume de Machaut was one of the greatest poets of his time. And one of the greatest composers. But Remede is more than just a combination of Machaut’s words and music. Machaut personally supervised the creation of an illuminated book.

The early music vocal group Blue Heron staged a live performance of “Remede” with Les Délices. Their performance includes all the music contained in the story. The narration was replaced with motets, songs, and dances of the period. It’s a great performance and one that can be enjoyed on several levels. I first listened to the recording cold. The recording works as a pure listening experience. There’s enough variety between the combination of instruments and voices to hold interest.

Blue Heron is still one of the finest vocal ensembles around, and they didn’t disappoint. The music was sung with pure, clear tones of incredible expressive beauty. Les Délices provided subtle accompaniment, supporting the vocalists without detracting from them. The release comes with the complete text for Remede (and thankfully English translation). It also includes several full-color reproductions of the artwork. So one could, as in Machaut’s time, follow along with the text and art as the music played.

It was an extraordinary work of art, and it’s an extraordinary realization. Highly recommended.

-- WTJU 91.1 FM

When we recorded this album, in March 2022, no-one could have imagined that it would be Bramwell Tovey’s last recording. Chandos Records would like to dedicate this recording to the memory of Bramwell Tovey, with whom the company had collaborated for over a decade; a versatile musician highly accomplished as both a composer and a conductor, immensely personable and humorous, who possessed an innate understanding of the qualities of his fellow orchestral musicians and quickly earned their respect and devotion. He shall be very sorely missed. Tovey and the BBC Concert orchestra capture the wit and charm of Poulenc’s music perfectly. Each piece sizzles with excitement, and the well-known pieces (the Sinfonietta and ballet Les Animaux modèles) are beautifully complemented by less frequently heard miniatures: ‘La Baigneuse de Trouville’ and ‘Discours du général’ from Les Mariés de la Tour Eiffel and ‘Pastourelle’ from L’Éventail de Jeanne.

REVIEWS:

Les Animaux modèles, in its complete version, is a real rarity… this score is an absolute masterpiece with an enchanting beauty of melodies, a finesse of orchestration and a poetic evocation of animals through an intelligent and subtle narration. In 40 minutes, this music is a marvel. Bramwell Tovey at the podium of a sharp and precise orchestra delivers a thoughtful and finely musical rigorous reading of content and form… The Sinfonietta is the ideal complement. Bramwell Tovey takes care of the lines and contours of this beautiful neo-classical tone score[.]

-- Crescendo

[Tovey] seems to gaze into the soul of the Sinfonietta … a deliciously refined account of Les animaux modèles… Astonishingly vivid Chandos engineering on a 'big-screen' soundstage.”

-- Hi-Fi News

Chandos collaborated with Bramwell Tovey for more than a decade and the music-making has his trademark naturalness and good humour. Not the most obvious farewell, perhaps, but in its avoidance of pomp and solemnity none the worse for that.

-- Gramophone

This is one of the most enchanting discs of Poulenc’s orchestral music that one could wish for. It is also a fitting tribute to the fine musicianship and inimitable style of the conductor Bramwell Tovey…The BBC Concert Orchestra are on sparkling form and respond unfailingly to Tovey’s direction with alert and characterful playing throughout this SACD. In all respects this release is an absolute winner – 74 minutes of captivating music performed with finesse and recorded in state-of-the-art sound. Who could ask for more?

-- HRAudio.net

…here the late Bramwell Tovey has the full measure of these pieces, finding every ounce of their piquancy and weight – and in a recording in which in its forensic detail registers with total faithfulness. Tovey and the BBC Concert Orchestra revel in the charm, wit and humor of some of Poulenc’s finest orchestral pieces…

-- CDChoice.co.uk

An excellent disc of some lesser-known Poulenc, very well performed and splendidly recorded.

-- MusicWeb International