Da Viadana: Solo Tenore Motets; Canale: Keyboard Canzonas

Variously described as "contemporary classical", "minimalist" and even "New Age", Yiruma's gorgeously peaceful music is impossible to classify - it is simply there to be enjoyed. The South Korean composer, born in 1978, studied in the UK and has made a name for himself in both in his native country and in Europe, regularly performing to sell-out audiences around the globe. Despite his definite celebrity status, his music remains resolutely simple and unpretentious; more in the style of short pop music songs than regular solo piano pieces, the very best of it can be enjoyed on this exciting 2CD release which includes, among others, the hit River Flows In You, now a regular feature on wedding music albums. Jeroen van Veen, himself a prolific composer as well as renowned pianist, fell in love with Yiruma's music on first hearing.

CONCERTOS

APPALACHIAN SPRING

SONATE A QUATTRO ARR. FOR WIND

In a letter to his father on 13 October 1781, Mozart wrote, 'Why do Italian comic operas give such pleasure everywhere - in spite of their miserable libretti...?' Because the music reigns supreme: when one listens to it all else is forgotten. Why an opera is sure of success when the plot is well worked out, the words written solely for the music and not shoved in here and there to suit some miserable rhyme... The best thing of all is when a good composer, who understands the stage and is talented enough to make sound suggestions, meets an able poet, that true Phoenix. 'Two years before he had met Lorenzo da Ponte, Mozart's frustration with the present condition of opera had reached boiling point. The collaboration between the two men produced three of the greatest operas in the repertoire - Figaro, Don Giovanni and Cos� fan tutte. Adapting the second play in Beaumarchais' trilogy, da Ponte skillfully navigated a risky path through the plot that had lead to Emperor Joseph II (da Ponte had become court poet thanks to an introduction from Antonio Salieri) banning it. Themes of greedy aristocrats and officials lording it up over the common man who struggled to make ends meet was dangerous stuff when the French Revolution was being observed with horror by the crowned heads of Europe. Mindful of this, da Ponte produced a wonderful libretto, informing the Emperor of it's revised 'non-offensive' content at every turn. Mozart was under no such constraints, and his wonderful score when set to da Ponte's words restores the daring satire and social commentary of the play in perhaps the most perfect opera ever composed. The premiere took place in Vienna in 1786.

STRING QUARTETS OPP. 54 & 55

Founded in 2000, L’Archicembalo is a period ensemble of top-notch Italian musicians who have played with all the major native exponents of Baroque music such as Giovanni Antonini and Giuliano Carmignola.

According to La Stampa, the ensemble ranks among the most inspiring and authoritative Vivaldi interpreters of our time. Part of this collection was released separately in 2015, and attracted glowing reviews: ‘The tempi are well chosen, without exaggerations, but also without being too slow… Italian ensembles have shown that [these Sinfonias] are more than nice fillers in a programme of solo concertos. In this recording the polyphonic, theatrical and expressive qualities of these pieces are brought to light.

What sets apart these concertos and sinfonias from the multitude of other such works composed by Vivaldi is the lack of a solo instrument. Yet with his usual, inexhaustible fertility of invention, Vivaldi turned this apparent lack into an opportunity to explore the possibilities of development and counterpoint more extensively than was possible in the oppositional and accompanimental language of the solo concertos. After a dashing opening movement there is generally a central Adagio, in the form of a tripartite song or a simple sequence of chords. This is followed by a lively, dance-like movement in two parts with two refrains. On occasion this finale is replaced by a technically superlative Fugue that displays Vivaldi’s mastery of counterpoint. Sometimes the Fugue is placed at the beginning of the Concerto, perhaps implying the original context of the work as the instrumental introduction to a solemn Mass. In complement to the concertos, the Sinfonias generally feature bolder and more brilliant string writing, evidently for use as the curtain-raiser to a theatrical event, though they now stand perfectly well on their own.

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REVIEWS:

This is surely an indispensable set for Vivaldians in that it brings together the fullest compilation yet of these works. For others who are unfamiliar with this repertoire, it is a treasure trove of irresistible, life-enhancing music, as good and convenient a place as any to discover these underrated compositions.

– MusicWeb International

L’Archicembalo know how to phrase the various sequences, and there is a nice rawness about the unisons as well as a lush texture when needed. In short, these four discs are not just an archival presentation of the complete string concertos and sinfonias; they are a good solid four hours plus of listening that will take one away to 18th-century Venice and beyond.

– Fanfare

This recording is taken from Stagione Lirica's 2012 season at the Teatro Verdi in Salerno, Italy. In the title role is acclaimed Chinese soprano Hui He, who has enthralled audiences all over the world since her debut in 2003. Supporting her are Luciana D'Intino and Carlo Striuli, and the whole ensemble is directed by Yishai Steckler.

Hotteterre: Complete Trio Sonatas; D'Anglebert: Lully Transcriptions / Les Elements / Composer: Jacques Hotteterre, Jean-Henri D'Anglebert / Orchestra/Ensemble: Les El�ments (France) Piero Cartosio, Natalia Bonello baroque flutes, Roberto de Santis viola da gamba, Gian Luca Lastraioli theorbo & baroque guitar, Basilio Timpanaro harpsichord / Number of Discs: 1 / Length: 1 Hours 3 Mins. Despite stylistic differences, which are largely attributable to their difference in age, d'Anglebert and Hotteterre nevertheless have quite a lot in common. Both were active at the court of Louis XIV, obtaining the title of Musicien de la Chambre du Roi, and both were substantially influenced by Jean-Baptiste Lully, the musician who is universally considered the creator of a cultural model for French music that ultimately prevailed over the Italian model. Jacques-Martin Hotteterre was the celebrated recorder virtuoso-composer of his day, no less distinguished than Paganini and Liszt would be in their own contexts. Hotteterre's gift was for toning down and understating the differences between the French and Italian idioms, skillfully adapting the Italian models to suit his own cultural setting at the royal court in and around Paris, thereby imbuing them with new forms whose original structures are fully integrated into the composition. A few decades older than Hotteterre, Jean-Henry d'Anglebert adhered to the classic model of 17th-century French Baroque music, his works for harpsichord representing a significant example of the style at it's maturity. These transcriptions of works by the master Lully are remarkably dense, not least because the one keyboard has to embrace and express the five parts of Lully's orchestral ensemble. But they are also full of ornamentation, which was a feature of all d'Anglebert's music. Les El�ments is a dynamic chamber ensemble fully in tune with modern scholarship and historically informed performance values. This is it's second recording. Jacques-Martin Hotteterre was a virtuoso recorder player at the court of Louis XIV the Sun King, in the distinguished position of Musicien de la Chambre du Roi. He was a famous composer as well, mainly for his own instrument, for which he wrote numerous works, in which he integrated Italian elements, such as instrumental brilliance and prevalence for longer melodic lines, in the courtly French style of dance forms and lavish ornamentation. D'Anglebert was a harpsichord player of importance, also employed at the court of Louis XIV. He transcribed orchestral suites by Lully, an instrumental "tour de force", reducing the 5 parts of the orchestral writing for one player. The ensemble Les El�ments has been well bred in the Historically Informed Performance Practice, and show great skill, virtuosity, charm and feeling for the style. 'A peaceful and serene listening experience.' (Musica on the first CD of Les El�ments, of music by Alessandro Scarlatti).

What would it mean to 'compose like a woman'? The present collection answers the question, in a literal sense, while undoing the premise on which the question was asked in the first place. In social and historical terms, it means enjoying privileges of upbringing, education, and/or wealth that were historically denied to the vast majority of women. It means, on the part of the women represented here, a single-minded determination in pursuit of their vocation, helping them to overcome prejudice and sexism in a cultural, social and political milieu that has consistently denied women the opportunity to find and express their own voice in music. Only with movements of emancipation in the last century, and much more rapidly in the last 50 years, has this situation begun to be addressed and corrected. What composing like a woman does not mean - as the music in this collection makes clear - is a definable set of qualities or characteristics to the music itself which would distinguish the work of female composers from the music composed by men.

This remarkable set gathers many individual recordings of music by women composers, which Brilliant Classics has quietly yet actively championed in their catalogue for decades, uniting it with exciting new outings, so that a comprehensive historical picture of the highly varied struggles and successes of women composers through the ages to our present time are chronicled and celebrated.

Other information:

- Recordings date from 1994-2024

- Booklet in English contains liner notes by Peter Quantrill

- The revival of interest in female classical composers reflects a growing recognition of their overlooked contributions to music history.

For centuries, women composers were marginalized, their works overshadowed by their male counterparts. However, recent efforts by musicians, scholars, and institutions have brought these composers into the spotlight, highlighting the richness and diversity of their compositions.

- This renewed focus stems from a broader movement toward inclusivity in the arts, challenging traditional narratives that have historically excluded women. The rise of feminist musicology has also played a key role, offering fresh perspectives on these composers' lives and works.

- This comprehensive box set offers a wide spectrum of works by female composers, from the Medieval mystic Hildegard Von Bingen (1098-1179), through the Renaissance Isabella Leonarda (baptized 1620-1704), Francesca Caccini (1587-1640) und Barbara Strozzi (baptized 1619-1677), traversing the Baroque and Classical eras, and arriving in the contemporary field, with composers such as Galina Ustvolskaya (1919-2006) and Grazyna Bacewicz (1909-1969).

- A long due homage to the art and voice of female composers, spanning nearly a thousand years!

V 8: STRING QUARTETS, OPUS 64

SYMPHONY NO. 9

STRING QUARTETS OP. 50

CHAMBER MUSIC