While Sam Phillips of Sun Records is known as one of the architects of rock and roll, he also dabbled in other genres - 1960's The Martini Set is a great example of his jazzy side. Featuring pianist Graham Forbes and his trio, this midcentury lounge music gem has interpretations of standards like "Autumn in New York" and "The Lady is a Tramp." Fans of romantic jazz can raise their glass to the shimmering version of "Adios" that provided the soundtrack to an episode of The Marvelous Mrs. Maisel.

When he moved away from serial techniques at the end of the 1960s, having undergone something of a spiritual and artistic transformation, Arvo Pärt turned to the choral tradition of the Middle Ages and the Renaissance for inspiration. From this period of intense study emerged the masterpieces inaugurating his now unmistakable style: the refined, timeless soundworld of "tintinnabulation." On this release Graham Ross and the Choir of Clare College, Cambridge perform a selection of music by Pärt, James MacMillan & Peteris Vasks.

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REVIEW:

Recordings of Arvo Pärt’s music continue to flourish, and no one seems to tire of hearing (or performing) Magnificat or The Woman with the Alabaster Box, Nunc dimittis, or Da pacem, Domine–all of which are included here and stand among the most frequently represented on disc (a couple of dozen instances for Magnificat). Yet, it’s no surprise as to why these works are so popular, their uniquely appealing qualities–of sound, of melody, of harmonic architecture and movement–effecting a sense of timelessness that confers on them a remarkable immunity from wear.

Pärt and his music also benefit from the fact that most of the recordings offer excellent performances, and this one is no exception. In fact, these are among the very best in the catalog: these young, exceptionally well-trained, expert choral musicians, recorded primarily in the special ambiance, tempered by stone, glass, and light, of Ely Cathedral’s Lady Chapel, leave nothing to be desired in their expression of Pärt’s unique, sensuous realizations of sound and silence. This was the venue for so many of the acclaimed recordings by John Rutter and his Cambridge Singers–and, guess who happens to be producer, engineer, and editor of this project: yes, none other than Rutter himself, and the sonic excellence on display here is the result of someone in command who knows the strengths and foibles of that large acoustic space (stand here, place the microphone there). And so, we need not worry at all about the recorded sound of the singing.

But while Pärt may be the “draw” (he gets top billing on the disc cover), it’s actually James MacMillan who likely will leave listeners with the more lasting impression–and induce many repeated hearings–with his Miserere, for mixed a cappella choir. Every now and then a modern choral work does a rare thing: it sets the listener on a path and–voilá–takes him or her just where it promises to take them. No set-up for sudden expectation-be-damned surprise. When you get to the end of this 12-minute-plus piece, you feel you’ve been respected, as an intelligent listener, with both knowledge and feeling, one who is aware of both the conventions and perversions of musical style, who loves beauty and truth in the expression, in whatever form, language, or context it may be presented.

In this case, MacMillan exploits his available musical material with free references to Pärtian style and in his inclusion of the famous Miserere of Allegri, quoting directly and indirectly, while creating a wholly original work that sticks to the path, occasionally goes off on its own seemingly diversionary trail, but always comes back, the “diversion” now realized as an integral bridge to the very satisfying conclusion. And, I have to say that rather than hear the zillionth performance of the Allegri–endless, often vocally tedious, difficult to stage–I am happier to hear MacMillan’s canny referential episodes in this extraordinary work. The excellent performance is marred only by one brief passage of faulty intonation from a soloist.

The usual pairing of MacMillan’s Miserere on recordings is, no surprise, with Allegri’s setting–which of course isn’t just his, but also the work of subsequent elaborators. Here, besides the Pärt works, we get a 15-minute piece by Latvian composer Peteris Vasks: Plainscapes, for mixed choir, violin, and cello. While this work is undoubtedly worthy for its craft and effective use of “wordless” vocal techniques, a “tapestry of abstract sound” (as described in the liner notes) to depict a “sonic journey across [Vasks’] native country”, it’s an odd choice for inclusion on this program. The completely different style, the sound-effects, the secular context–it doesn’t fit. It’s a disruption, although a very well-performed one. Fortunately you have the choice to skip it–and even if you don’t, the rest of the music will soon convince you that you did.

– ClassicsToday.com (David Vernier)

Kanun, the new album by Didem Basar, is a beautiful blend of Turkish and Western classical music. The dialogue created between the kanun (Turkish zither) and Western classical instruments (flute, percussion, violin and cello) is enriched by Turkish makams (modes), rhythmic cycles and improvisation, in compositions that have a distinctly impressionist approach. After composing and playing with different artists and ensembles for the past 15 years, she creates here a project very much of her own. Born in Istanbul (Turkey) in 1974, Didem started her music education at I.T.U. Turkish Music State Conservatory in 1985. Having completed her kanun training, she continued at the same University’s Composition Department. Her interest in examining the effects of music on society led her to study Sufi Music at Marmara University. She got her master's degree on the musical analysis of Sufi Music in 1999. Since then, she played in many concerts, on album recordings and radio & television programs both in Turkey and abroad.

Experience some of the world's most beautiful music, as performed by the U.S. Air Force Band, Col. Lowell E. Graham, Commander/Conductor. This album, the third in a series highlighting the art of transcription, displays all of the color, passion and flair that have made these musical works concert favorites. Featuring works by Emmanuel Chabrier, Jules Massenet, Camille Saint-Saëns, Claude Debussy, Jacques Ibert and Maurice Ravel.

From the mythological setting of Idomeneo via the sparkling wit of Le nozze di Figaro and powerful tragicomedy of Don Giovanni to the fantastical workings of the late Singspiel Die Zauberflöte, Mozart’s mature operas stand among the greatest achievements of Western art, dramas that illuminate the composer’s creativity as a whole and which stood out in their own time for the new level of characterisation, wit and lessons on life and humanity they brought to the musical stage. Featuring recordings made during the last ten years from some of the world’s leading opera houses, this collection offers an acclaimed series of productions that present consummate interpretations of Mozart’s scores through striking set designs and peerless singing, paying homage to a group of masterpieces which are just as relevant today as when they were first performed.

Wolfgang Amadeus Mozart
THE GREAT OPERAS
(13-DVD Box Set)

Idomeneo


Idomeneo - Ramón Vargas
Idamante - Magdalena Kožená
Ilia - Ekaterina Siurina
Elettra - Anja Harteros
Arbace - Jeffrey Francis


Salzburg Bach Chor
(chorus master: Alois Glassner)
Camerata Salzburg
Roger Norrington, conductor


Karl-Ernst Hermann, stage director, set and costume designer
Ursel Herman, stage director


Recorded live from the Salzburg Festival, 2006


  Die Entführung aus dem Serail


Konstanze - Laura Aikin
Belmonte - Edgaras Montvidas
Osmin - Kurt Rydl
Blonde - Mojca Erdmann
Pedrillo - Michael Smallwood
Bassa Selim - Steven Van Watermeulen


Chorus of De Nederlandse Opera
The Netherlands Chamber Orchestra
Constantinos Carydis, conductor


Johan Simons, stage director


Recorded live at Het Musiektheater, Amsterdam on 2, 7 and 19 February 2008

Le nozze di Figaro


Il Conte di Almaviva - Peter Mattei
La Contessa di Alamviva - Christiane Oelze
Susanna - Heidi Grant Murphy
Figaro - Lorenzo Regazzo
Cherubino - Christine Schäfer
Marcellina - Helene Schneiderman
Bartolo - Roland Bracht
Don Basilio - Burkhard Ulrich
Don Curzio - Eberhard Francesco Lorenz
Barbarina - Cassandre Berthon
Antonio - Frederic Caton


Paris National Opera Chorus and Orchestra
(chorus master: Peter Burian)
Sylvain Cambreling, conductor


Christoph Marthaler, stage director
Anna Viebrock, set and costume designer
Olaf Winter, lighting designer
Thomas Stache, choreographer


Recorded live at the Palais Garnier, Paris, 2006

Don Giovanni


Don Giovanni - Carlos Álvarez
Commendatore - Alfred Reiter
Donna Anna - María Bayo
Don Ottavio - José Bros
Donna Elvira - Sonia Ganassi
Leporello - Lorenzo Regazzo
Masetto - José Antonio López
Zerlina - María José Moreno


Madrid Teatro Real Chorus and Orchestra
(chorus master: Jordi Casas Bayer)
Victor Pablo Pérez, conductor


Lluis Pasqual, stage director
Ezio Frigerio, set designer
Franca Squarciapino, costume designer
Wolfgang von Zoubek, lighting designer
Nuria Castejón, choreographer


Recorded live at the Teatro Real de Madrid, 8, 10 and 12 October 2005

Cosi fan tutte


Ferrando - Topi Lehtipuu
Guglielmo - Luca Pisaroni
Don Alfonso - Nicolas Rivenq
Fiordiligi - Miah Persson
Dorabella - Anke Vondung
Despina - Ainhoa Garmendia


The Glyndebourne Chorus
Orchestra of the Age of Enlightenment
Iván Fischer , Conductor


Nicholas Hytner, Stage Director


Recorded live at the Glyndebourne Festival Opera in June and July 2006

La Clemenza di Tito


Sesto - Susan Graham
Annio - Hannah Esther Minutillo
Vitellia - Catherine Naglestad
Servilia - Ekaterina Siurina
Publio - Roland Bracht
Tito - Christoph Prégardien


Paris National Opera Chorus and Orchestra
(chorus master: Peter Burian)
Sylvain Cambreling, conductor


Ursel Herrmann, stage director
Karl-Ernst Herrmann, stage director


Recorded live at the Palais Garnier, Paris, May and June 2005

Die Zauberflöte


Sarastro - Günther Groissböck
Tamino - Saimir Pirgu
Queen of the Night - Albina Shagimuratova
Pamina - Genia Kühmeier
Papagena - Ailish Tynan
Papageno - Alex Esposito
Monostatos - Peter Bronder


Milan La Scala Chorus and Orchestra
Roland Böer, conductor


William Kentridge, stage director


Recorded live at La Teatro alla Scala, 20 March 2011


Bonus:
- Overview of The Magic Flute
- Illustrated synopsis

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Picture format: NTSC 16:9
Sound format: PCM Stereo / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Spanish, Italian + Chinese (Idomeneo) / Dutch (Serail)
Running time: 24 hours 20 mins
No. of DVDs: 13

This recording presents new music composed for, and commissioned by, the U.S. Air Force Band that is immediately accessible, joyful as well as powerful, and most of all, lasting. Col Lowell Graham's Grammy-winning recordings have been recognized in Stereophile's "Records to Die For" list and Absolute Sound's "The Super Disc List."

The term "dress parade" originally referred to a military parade where soldiers marched in formal uniforms and often carried their weapons. Dress parades are now so uncommon that the term has fallen out of use, and even out of most dictionaries, but in a very real way the United States Air Force Band continues this wonderful tradition. The Band has traded the instruments of battle and has replaced them with musical instruments of patriotism and goodwill. On Dress Parade captures the sound and feeling of the forgotten dress parade. This recording features compositions of renowned march composers Chambers, Goldman and Sousa, while simultaneously exploring the works of many lesser-known march composers whose legacies would have been lost had these musical treasures not been recorded.

Music has been a part of military functions for thousands of years. From the time that it was used to incite or distract the enemy to the concert halls and ceremonies of today, the primary role of ceremonial music has not changed: to promote pride, devotion to duty, and esprit de corps. This album, performed by The United States Air Force Concert Band, Ceremonial Brass and Singing Sergeants is comprised of a collection of fanfares, honors, marches, hymns, military songs and bugle calls. Each track was recorded with the intention of providing appropriate, dignified music for military ceremonies when a band is otherwise unavailable. Specific selections are included for a retirement ceremony, parade, retreat ceremony and a military funeral. Led by Colonel Lowell E. Graham, the United states Air Force Concert Band plays with distinction on each selection, making Esprit de Corps a memorable, distinguished album.

If only the standard symphonic recordings of this music could boast sound this good! Actually, in "Pines" I still have a slight preference for the version recorded by the "President's Own" Marine Corps Band, but if you're looking for all three "Roman" tone poems, this stunningly recorded disc will be pretty hard to beat. The transcriptions, by Lawrence Odom, are amazingly faithful to Respighi's original concept, and you'll be surprised at how little you miss the presence of the strings. The soft, delicate passages ("The Pines of the Janiculum", or the outer sections of "Fountains") sound just fine here, though the very opening of "Festivals" lacks the slashing attack of the violins. Never mind.

The brass and winds of the U.S. Air Force Band play with a boldness and confidence that's breathtaking. Just listen to the trombones and other low brass in the "Trevi Fountain" (and to the way conductor Graham builds the section's climax). "The Pines Near a Catacomb" sounds even darker and more menacing than in the original, while the concluding sections of "Pines" and "Festivals" will blow you away, if your speakers can stand it.

It's also worth pointing out that Col. Lowell E. Graham's conducting is not just strong and forthright, but it's remarkably sensitive to balance and color, even in heavily scored passages. The very opening of "Pines" gives the harps a welcome prominence that they haven't enjoyed since Reiner's classic RCA recording. In short, even if you're not normally a collector of band music recordings, you might want to give this disc serious consideration. Great music-making, after all, speaks for itself.

--David Hurwitz, ClassicsToday.com

CELEBRATION • Col. Lowell Graham, cond; United States Air Force Band • KLAVIER K11176 (66: 01)


COPLAND An Outdoor Overture. SCHUMAN New England Triptych. HOLST Hammersmith. BENNETT Suite of Old American Dances. CRESTON Celebration Overture


This collection of band repertoire staples benefits from performances that are never less than first-rate, captured in stunning sound. All were either originally composed for band or transcribed for the medium by the composer.


The two transcriptions—Aaron Copland’s An Outdoor Overture and William Schuman’s New England Triptych— are perhaps the least successful works on the program, especially when compared to their orchestral counterparts. This is especially true of Schuman’s three-movement suite based on Revolutionary War songs by William Billings, the band transcription of which is substantially inferior to its orchestral cousin. Schuman prepared the band version of the third movement, “Chester,” around the same time he composed the original work, altering and expanding the music until it essentially became a new piece. The resultant work, the brilliant Chester Overture, is more often than not performed as a freestanding, independent piece. Sadly, the other two movements of the triptych did not fare as well. For the band transcription of the first movement, “Be Glad Then, America,” Schuman added a good deal of gratuitous ornamentation, as well as additional percussion parts that can only be described as perfunctory. The mystery and ominous foreboding of the original introduction are completely absent here. This movement also suffers from thick, turgid textures, as does the second movement, “When Jesus Wept,” which was originally scored very transparently for strings with solo parts for oboe, bassoon, and tenor drum. In the band version, Schuman reassigned the oboe and bassoon solos to trumpet and euphonium. Why I don’t know, but as a result, the music’s poignancy and pathos are substantially diminished. There are also a couple of notational errors (actual wrong notes printed in the sheet music) in the solo euphonium part that are not corrected in this performance (though to be fair, they rarely are).


The remaining works are all band originals. Gustav Holst’s Hammersmith of 1930 was inspired by the composer’s evening walks along the Thames during which he not only absorbed the sounds of the river itself, but also the revelry and gaiety emanating from the numerous pubs and taverns along the river’s banks. A somber, dirge-like prelude, constructed over a brooding ground bass, gives way to a boisterous, rollicking scherzo, only to eventually return as the work’s solemn coda. Though considered to be something of a “sacred cow” in the band repertoire, I must admit that the work has always left me a bit cold. (Heresy, I know.) Robert Russell Bennett’s Suite of Old American Dances is exactly what the title describes, each of its five movements—“Cake Walk,” “Schottische,” “Western One-Step,” “Wallflower Waltz,” and “Rag”—perfectly evoking the simple nostalgia of bygone Americana. The program comes to an exhilarating conclusion with a rousing account of Paul Creston’s exuberant Celebration Overture , a masterly three-part work highlighted by a particularly lovely ballad as its central section.


These recordings, all of which are among the finest this music has ever received, were originally available only through official Department of the Air Force channels. First released in 1996, though only to schools, libraries, radio stations, and other “official” recipients, these superb performances are now available to the general public for the first time. As there are many other first-rate recordings from this source still in the vaults, we can only hope that this disc will be followed by many, many more.


FANFARE: Merlin Patterson

'It is not you who are under my influence, but I who am under yours,' wrote Shostakovich to Ustvolskaya. Certainly, though their music shares sorrow, grotesquerie and violence, Ustvolskaya has a vision all her own. The Octet appears to be an obsessive rite; violins worry over the same narrow range of notes, and cower before the relentless timpanic beating. Leiferkus’s speaking voice provides the only real music in the arid Symphony. Welcome to the Gulag. Shostakovich’s Piano Quintet, spare as it is, arrives like a shower of delightful opulence.

-- Helen Wallace, BBC Music Magazine

There's no stopping the Price/Johnson bandwagon just now. Here is yet another profoundly enjoyable and well-considered offering from the pair. With Johnson to devise intelligent, logical programmes, Price and himself to interpret them, a remarkable unanimity of thought and confidence of manner is being achieved, the delights there for the taking.

Here we begin with six contrasted settings of Heine, all reasonably familiar songs, each given with a nice balance between breadth of phrasing and warmth of feeling, on both sides admirably tailored to the Brahms ethos and melos in the matter of song-writing. Some of these pieces appeared some years ago on an Orfeo recital by Price (2/87): the readings have matured like a good wine and now-as in Sommerabend-go to the very heart of the matter with a marvellous intertwining of voice and piano. The account of its companion-piece, Mondenschein, not before recorded by the soprano, fully realizes its autumnal melancholy in phrases that seem to linger endlessly in the air. As an emotional relief comes the charm and lightness of Es liebt sich so lieblich im Lenze!.

The judicious choice of Volkslieder settings once more indicates Brahms's deep understanding of the originals and just how to clothe them in appropriate harmonies, as in the antique Dorian mode of Sehnsucht and Vergangen ist mir Gluck und Heil, both sung and played here with an exquisite sense of longing. The singer changes colour, brightens her tone, for the bantering duologue of Spannung. Then there is the Schwung given to the repeated lines at the end of Madchenfluch, characterizing the girl's spite and frustration. Da unten im Tale is entirely free from the sophistication, admittedly effective, brought to it by Schwarzkopf on so many occasions: here the sad little plaint is allowed to speak for itself, but the verdict goes the other way in Vergebliches Standchen where Price is a trifle too staid.

Finally, the partnership lavish a winningly uninhibited elan on the Zigeunerlieder. If we are occasionally aware of a momentary strain on Price's present resources, we are consoled by the passionate spontaneity of the results. The recording is ideally balanced, intimate yet open.

Price must surely now be placed in the royal line of female Lieder singers that runs from Gerhardt and Lehmann, through Seefried, Schwarzkopf and Ludwig, to Ameling. The length of her actual discography of Lieder must now at least rival theirs. Being greedy, I wish she and Johnson would now turn their attention to Hugo Wolf.

-- Alan Blyth, Gramophone