Digitally remastered edition of this album from the acclaimed cellist. This release was remastered using DSD technology. Hear Yo-Yo Ma like you've never heard him before.

The revival of interest in the music of Robin Milford (1903–59) has largely bypassed his exquisite chamber music, an omission this recording seeks to redress. It presents some of his most attractive chamber works, showing his very personal – and very English – combination of melodic freshness, elegiac lyricism and echoes of folksong. The clarinetist Robert Plane has been described as the ‘current occupier of the shoes of the late Thea King in his championship of British clarinet music’. Other notable performers include violinist Lucy Gould, violist David Adams and cellist Alice Neary.

While still in his twenties, Cyril Scott was perceived as one of the pre-eminent avant-garde musicians of his generation. He was championed by such luminaries as Henry Wood and Thomas Beecham and his advocacy of the latest techniques briefly gave him a wide acquaintance with some of the leading musicians of the day, including Ravel and Debussy. He became known as one of the 'Frankfurt Gang', that group of young composers who studied at the Hoch'sche Konservatorium and included such contemporaries as Roger Quilter, Norman O'Neill and Percy Grainger. After the First World War, however, he found himself increasingly at odds with the prevailing idioms of the day and became persona non grata with the musical establishment, which contributed to his lack of recognition as a serious composer in subsequent decades. Scott wrote more than two dozen substantial chamber works and although some of his early chamber music has been revived from time to time, with the exception of the Clarinet Quintet this selection receives its premiere recording. The earliest work on the programme is Piano Trio No. 1 of 1920, but the disc significantly celebrates the chamber music composed after the Second World War, exemplifying Scott's late style. The second Piano Trio dates from 1951 as does the one-movement Clarinet Quintet, inspired by the playing of Gervase de Payer who gave its first performance. The largest work, the Trio for Clarinet, Cello and Piano, is in three movements including a beautiful Intermezzo labelled Adagio espressivo. The Gould Piano Trio is joined by Mia Cooper and David Adams, and by the clarinettist Robert Plane, recognised for his 'outstanding musicianship' (The Musical Times).

Includes sonata(s) for flute and basso continuo by J. C. F. Bach. Soloists: Gary Cooper, Claire Guimond, Jaap ter Linden.

To use that word from the 1980s, this disc features "dynamite" performances of four works by the second surviving son of J.S. and Maria Barbara Bach. Born in 1714, Emanuel Bach's life and career spanned the age of Haydn, Mozart, and even a young Beethoven, and his music, which only recently has been given a deserved respect for its independence and often audacious originality, stands as both a tribute to his father's influence and a proclamation of a new age, not only of style but of the composer's role in determining it.

There are many fine recordings of C.P.E. Bach's works in the catalog--the symphonies on Harmonia Mundi by the Hungarian group Concerto Armonico Budapest and the keyboard concerto series from Finnish period-instrument ensemble Opus X on BIS are standouts; but certainly that list must also include this release from Montréal-based baroque orchestra Arion, whose renditions of these two concertos and two symphonies get everything right--that is, they fully realize the substantial drama and emotional range inherent in these works while delivering some of the crispest, gutsiest performances you'll hear, capitalizing on the sandy timbres of the period strings, the flute's warm, wood-fired resonance, and the at-once bright and full-bodied subtlety and power of the harpsichord.

If you've not experienced C.P.E. Bach's music before, well, you've been missing some of the best music of the 18th century--but you can begin your discovery right here, and you'll certainly be surprised at, well, the surprises that Bach throws at you: the abrupt shifts of mood, of tempo, of harmony; the seamless transitions from movement to movement in the symphonies; the absolutely captivating way he builds his material to climaxes and then pulls the rug out and begins again. The slow movements of the two concertos are masterpieces of the "genre"--this Bach cannot be accused of not knowing just how to write a heart-tugging tune, or how to set it for maximum effect--and affect. And the fast movements are uniformly, irresistibly moving--in every sense of the word. There simply isn't a dull moment here, and, dare I say it?--this flute concerto isn't just well written and expertly performed--but it is really exciting!

But much of the credit here must go to the terrific playing by everyone concerned--the last movement of the flute concerto (the final track on the disc) leaves you happily breathless, delighting in the expressive technique and truly spectacular ensemble work--and hopefully with renewed (or new) appreciation for the creations of this often underrated Bach. The musicians were fortunate to have a recording team whose artistry matched their own. Don't miss this one.

– David Vernier, ClassicsToday.com

HAYDN Symphonies: No. 41 in C; No. 49 in f, “La passione”; No. 44 in e, “Trauer” • Gary Cooper, cond; Arion Baroque O (period instruments) • EARLY MUSIC 7769 (70:22)


Opening the shrink-wrap, I think, “Oh, no; not another ensemble doing Haydn symphonies. Two minutes later I am whooping with glee. How is it possible that performances of Haydn symphonies keep getting better and better? If there were any doubt that 15 period instruments can raise the roof, this CD settles it. The Montreal ensemble, led by Gary Cooper (yup) from the harpsichord, plays with staggering virtuosity and winning panache; there is a delicious crunch to its f attacks and an appealing buzz to its sf . Arion has a horn-player (or two!) who outdoes even Anthony Halstead on the natural horn, and its period oboes are unusually warm and solid, free of squeals or honks. Cooper uses an (authenticated) alternate version of the score of the C-Major Symphony: in place of the trumpets, normal horns, and timpani listed in the published score—used by Max Goberman, Derek Solomons, and Thomas Fey—it features a pair of high horns in C-alt, in addition to the normal oboes and strings, plus a solo transverse flute in the Andante. The fanfares in the opening Allegro con spirito are far more exciting on these horns than on trumpets; this is a wonderful performance throughout, one that reveals various lacks and excesses in the other three recordings. Cooper takes both repeats in sonata-form movements, but not the second one in the Andante or those in the Menuet da capo.


Cooper’s readings of the minor-key symphonies are sensitive and beautifully played, but he downplays their Sturm-und-Drang character. Violins in “La passione” are effectively damped to reduce their sheen. Cooper, like Solomons, plays both repeats in the opening Adagio, but Fey, who does not play the second repeat, achieves greater power and depth with much slower tempos and longer rests. It’s difficult to believe that Fey’s strings, with their aching tang, are not gut. As I reported in Fanfare 30: 3, Fey nearly equals the classic Scherchen performance, which is blemished by messy execution and poor monaural sound. In “La passione,” Fey’s artistry triumphs over Solomons’s and Cooper’s political correctness.


The laurels revert to Cooper in the E-Minor Symphony. His opening Allegro con brio bursts with an unmatched vitality; his Presto finale is fast and furious, but just enough slower than Fey’s (31:5) to avoid the sense of panic that creeps in there. Neither performance suggests the spirit of mourning implied by the symphony’s title (for that one must return to Scherchen), but Arion’s playing is so spectacular that I prefer its “Trauer” to all others. Cooper’s Montrealers also produce richer tone than Fey’s Heidelbergers, due in part to the gorgeous recorded sound captured in Quebec’s Saint-Augustin de Mirabel.


Many recent discs of Haydn symphonies have included one superior performance along with one or two lesser outings, which makes for a lot of duplication in one’s collection. At least Cooper hits two out of three.


FANFARE: James H. North

Classical Music

Includes work(s) by various composers. Soloist: Thomas Bloch.

To the best of my knowledge, Imogen Cooper has come only recently to directing as well as playing concertos. In October last year I heard her at the QEH with the Northern Sinfonia in Beethoven – her playing was as fresh and spontaneous as always. Here she is, on record, in Mozart, a composer clearly very close to her heart.

It is actually the 23rd concerto that we hear first on the disc. The opening is very serene, very unhurried, even slightly Romantic in feel. Maybe one should really start listening with K291 as K488 is almost too comfortable. That said, there are some nicely sprung rhythms later on and the cadenza is simply tremendous, exhibiting real depth. Throughout there is a chamber music feel to it all, the give-and-take between piano and - in particular - winds a joy. The famous F sharp minor slow movement begins with a piano rumination that had me in mind of Daniel Barenboim's early version of this work from his cycle of the 1960s and 1970s with the English Chamber Orchestra. Indeed, all credit to the Northern Sinfonia for sustaining Cooper's intensity so well and losing nothing to their more southerly colleagues. Cooper adds decorations to Mozart's large, bare intervals - towards the end, around six minutes in. The finale begins with Cooper opting for a completely different touch, a harder staccato that delineates the territory immediately. Again there seems to be very slight blurring from the middle frequencies of the orchestra, though.

The so-called Jeunehomme Concerto begins with Cooper rather surprisingly indulging in unnecessary point-making in her initial dialogue with the orchestra. Just one misjudgement – an over-tenutoed note on the orchestra around 1:28 in. But with Cooper's pianistic re-entrance, all is civility and expert balance. Cooper even relaxes enough to give a really cheeky end to the cadenza.

The middle Andantino is peppered with moments of magic; the finale contains large swathes of superbly even passagework, scampering around wonderfully. Perhaps Cooper milks the Menuet that forms the centrepiece of this finale rather, but one can still revel in the beauty of her phrasing. True, I still maintain much affection for Cooper's mentor, Alfred Brendel, in this piece - I refer to the earlier ASMF recording now on a Philips twofer - but Cooper's recording shall now ever be at its side.

There is little doubt that this disc will bring much joy. The applause at the close of both concertos is eminently deserved.

-- Colin Clarke, MusicWeb International

Classical Music

All three composers featured on this recording were central to the Danish Golden Age, a period of blossoming in the arts and music that delivered countless gems. Here, principal players from the Aarhus Symphony Orchestra perform fine concertante works from two composers who are experiencing a renaissance and one who still languishes in obscurity. From the splendour of Kuhlau's William Shakespeare and his melodious Concertino, the fresh melodic qualities of Gade's Capriccio, and the as yet unpublished Oboe Concerto by Barth these new recordings from Aarhus make the case for four winning Danish scores.

"Those little foxes at Masterworks Broadway debut 3 must-have CDs, long lost from the era of vinyl... Masterworks Broadway continues to explore the rich history of Broadway hits (and misses) with the CD debuts of three classic cast recordings: Regina, Song of Norway and Make A Wish." -- Alan Petrucelli, Pittsburgh Stage and Screen Examiner [7/28/10]

1951 original cast recording. Book by Preston Sturges and Abe Burrows. Songs by Hugh Martin.

If any playgoer could “make a wish” he could hardly wish for more than this flawless blend of music and comedy whipped up by Preston Sturges and Hugh Martin from an original play by Ferenc Molnár. Hugh Martin supplies the music and lyrics that transform the comedy into a musical, and Preston Sturges contributes the uninhibited pen that has made him a Hollywood legend. Nanette Fabray stars in the show.

Make a Wish was originally called The Good Fairy during its Broadway run, which starred Helen Hayes. Under the same title, it took a trip to the West Coast, where Margaret Sullavan had the title role. It served later, in revised form, as a motion picture vehicle for Deanna Durbin. All these versions offer convincing evidence that the original Molnár story is as enduring as it is humorous. The story is the tale of a young, pretty orphan girl, “Janette” (Nanette Fabray), who “graduates” from the orphanage and goes out into the glittering world of Paris. She encounters a middle-aged gentleman (Melville Cooper), whose bank account is usually more impressive than his morals. However, the gentleman is so touched by the young girl’s naïve charm that he decides to do what he can to help her. There are complications with an idealistic young lawyer and a whole gallery of humorously colorful characters, but virtue and the young heroine win in the end. Before the end comes, the audience invariably has a roaring good time.

To help artists develop exciting projects that are difficult to realize under existing conditions is the goal of the SWR NEWJazzMeeting. This legendary sound laboratory for jazz of the SWR was founded in 1966 by Joachim-Ernst Berendt and takes place every year. The idea: musicians who always wanted to perform with one another but who, for a variety of reasons, have so far not been able to do so, develop a concert programme in the broadcaster’s studios that the SWR then presents in several concerts in its transmission area. In the course of its fifty-year history, the SWR NEWJazz Meeting has in this way served as a driving force for new trends in jazz. “I see a particular value in exploring the music of my South African homeland and making it fit for the future.” Kyle Shepherd, born in 1987, is the most innovative and important pianist of the contemporary South African jazz scene. His sound boldly makes reference to the roots of township jazz and the Goema Beat of his hometown of Cape Town. Nevertheless, he refuses to be put into a pigeonhole; his horizon extends far beyond his beloved Cape Jazz. “It’s cool to choose the African thing in conceptual questions. But just as cool to choose something else.” Kyle Shepherd, the most innovative and important pianist of the contemporary South African jazz scene, is the curator of the 2016 SWR NEWJazz Meeting. At his wish, four young jazz musicians from South Africa and the Benin-born guitarist and singer Lionel Loueke (who since 2001 has been living in the United States) met in November 2016 at the SWR’s Baden-Baden radio studios. The musicians named their project “Sound Portraits From Contemporary Africa”. The African improvisers experimented for five days and developed a concert programme that they then presented on a tour in the SWR broadcasting area.

After a highly successful recordings of works by Brahms, the Schumanns, and Chopin, Imogen Cooper plunges into the world of another great romantic, Franz Liszt, and places him alongside that other giant, Richard Wagner. This is an evocative programme of original compositions and intimate transcriptions, ranging from poetic movements from the Années de Pèlerinage: Italie to dark and deeply elegiac pieces, including Liszt's La lugubre gondola I and Wagner's Elegie. It also features a transcription by Zoltán Kocsis of the intensely passionate prelude to Tristan und Isolde. The famous pianist and conductor died prematurely in November, 2016. It was his work that inspired this recording to begin with, and Imogen Cooper dedicates the album to his memory. Breathtaking music in unique interpretations: romanticism without melodrama, virtuosity without fuss.

Louis Spohr's reputation as one of Germany's leading violinists was at it's height when he composed his Duets for Two Violins, Op. 39, and while it appears his intention was to finance an Italian concert tour with marketable duets, the publishers complained of their technical difficulty. Spohr defended this aspect by stating his 'desire to give my duets more inner value, more richness of harmony' than is usual in this genre. Indeed, a contemporary critic exclaimed that 'it is no exaggeration to say that the ideas and artistry required for these works would be sufficient... to create three concertos.'

SAHARA DUST

Featuring Lin Halliday. The "Tough Town" is Chicago, and on this 1991 debut recording of the jazz vibe player, Jim Cooper captures it's essence- it's blues and grit, but also it's sophistication and it's sentiment. Cooper spent his life in Chicago, growing up at 83rd and Cottage Grove in the 50s, when that deep-southside community throbbed with the pulse of nightclubs and jazz joints. He's joined by Chicago jazz legend Ira Sullivan who usually plays a variety of instruments on sessions but here he plays tenor sax only. Also Bob Dogan, piano; Dan DeLorenzo, bass; Charlie Braugham, drums and Alejo Poveda, percussion.

Jazz vibist Jim Cooper's second Delmark CD, Nutville, was originally issued in 1992. "... a warm wind blowing out of the Windy City, a suave mainstream session highlighted by solid solo work from the vibist with multi-instrumentalist bravura by Ira Sullivan." Down Beat "... The vibist establishes a strong claim to be the Thelonious Monk of his instrument... then Cooper shows off substantial symmetry and lyricism on ballads as well as a real affinity for the Latin tinge" - Cadence. Jim Cooper, vibes; Ira Sullivan, trumpet, tenor and soprano sax; Bob Dogan (who contributes three original compositions), piano; Dan DeLorenzo, bass: Charlie Braugham, drums; Alejo Poveda, percussion. Nine songs, 62 minutes.

WEELKES: Anthems