Many young violinists' debut CDs come and go without making much of a mark, oftentimes less because the performers are untalented as because their repertoire failed to stand out in a crowded field. Another disc of Mozart, Bach, Beethoven, or Kreisler has to be truly outstanding to stand out.
Daniel Hope scores on both of these points: he and his collaborators give excellent performances, and he (and, presumably, his teachers, managers, and label executives) chose a program which cannot help but stand out from the pack. The danger in such a program--lesser-known contemporary works--is failing to live up to the technical and interpretive challenges. Hope needn't worry.
A child prodigy, Hope was just 21 when this program was recorded, and he had already had the opportunity to discuss the Schnittke and Takemitsu works with their composers. The performances here are indeed excellent, and Hope has no difficulty distinguishing himself from his peers.
REVIEWS:
International Record Review (3/00, p.77) - "...cannily programmed and thoughtfully executed..."

Classical Music

Classical Music

Classical Music

Nominated for 'Best Band' at the 2019 BBC Radio 2 Folk Awards, The Rheingans Sisters are one of the most visionary acts on the British folk scene today. Their new album Receiver follows 2018's Bright Field – a record that dazzled audiences and critics with its Leonard Cohen-esque lyrical imagery and strikingly inventive arrangements of violins, banjo, Bearnaise three-holed flute and Pyrenean stringed drum. Produced by Andy Bell (Karine Polwart, The Furrow Collective, Sam Sweeney) Receiver is their first collaboration with record label bendigedig (the team behind Catrin Finch and Seckou Keita's SOAR).

BLOCH Voice in the Wilderness. Schelomo. CAPLET Épiphanie. RAVEL 2 Mélodies hébraïques: Kaddisch (arr. Ravel) • Raphael Wallfisch (vc); Benjamin Wallfisch, cond; BBC Natl O of Wales • NIMBUS 5913 (75:13)


This album holds deep personal significance for the performers. In a video interview released in promotion of it, Raphael Wallfisch discusses his conception of the program as a memorial to his family, particularly his four grandparents, who perished in the Holocaust. Having engaged his son, Benjamin, to conduct the recording, Wallfisch views it as both a musical and a familial statement. Additionally, Wallfisch emphasizes the vivid “cinematic” drama of the Bloch pieces, for which he considered his son’s close involvement with film music to be a natural fit.


Given these factors, it is not surprising that the Wallfisches’ performances on this disc are rhapsodic and dramatic. And that is what this music demands. The two Bloch pieces, when played well, can be shattering experiences for the listener: unremittingly grim, with the cello as tormented protagonist. The Ravel Kaddisch , based on a traditional cantorial melody, captures the outermost depths of reverence and mourning. And Caplet’s rarely-performed Épiphanie is an ecstatic portrayal of an Ethiopian telling of the Adoration of the Magi. There is no moderation of emotion in these works; this is music to captivate, move, and overwhelm the listener.


Bloch’s Voices in the Wilderness was written in 1936, a period during which he produced some of his most substantial works. (The Sacred Service was composed in 1933 and the piano sonata in 1935.) It was originally conceived for cello and piano, and was reworked for piano solo as Visions and Prophecies , which presents the orchestral expositions to the first five pieces. Familiarity with both versions provides an intriguing contrast; the role of the cello in Voices in the Wilderness is one of commentator on the orchestral material presented in the first half of each movement. As evidenced by Visions and Prophecies , this material can succeed on its own; it is not simply introductory but traces a complete musical arc. Is the cello response therefore redundant? Some movements work better than others. The second, for example, is atmospheric and pensive in the orchestral section. It ends with an upward, questioning melodic gesture. Left here in the Visions and Prophecies , the question lingers enigmatically. In Voices in the Wilderness , the cello begins its response with outraged scales. The orchestral accompaniment thickens and becomes more dissonant. In this movement, the second half constitutes a reassessment of the ideas presented in the first half rather than simply an elaboration of them. The third movement’s exposition, majestic with vivid coloration unavailable to a solo piano, feels like a public statement of triumph and benefits from the individual perspective offered by the cello response; moreover, it is brief enough that its restatement is not unwelcome. But the foreboding first movement achieves its full emotional impact and reaches a convincing full stop before the cello entrance, as does the idyllic fourth movement. Finally, the coda to the fifth movement ends in such eloquent silence as to render the boisterous sixth movement almost disruptive. Qualms about the composition’s structure aside, Wallfisch’s playing exhibits an impressive range of emotion, texture, and color. His cadenza in the fifth movement is especially effective in its bold, emphatic statements and its relentless build.


Ravel’s Kaddisch was composed in 1914 for piano and voice as one of the 2 Mélodies hébraïques . Ravel orchestrated both songs in 1919–20. Wallfisch’s approach to the melody is appropriately improvisatory in its fluctuations of tempo and sudden shifts of dynamics. He even produces some strikingly vocal portamentos. But without the words, much of the emotional impact of the piece is lost. This is not simply because of the profundity of the text; rather, the articulation of specific consonants and vowels has a timbral effect that cannot be replicated instrumentally. Additionally, the orchestration obscures the insistent treble octaves that provide the focal point of the original piano accompaniment. Ravel was a masterful orchestrator, and this version of the Kaddisch is musically pleasing, but it does not have the impact of the original.


André Caplet’s Épiphanie has been recorded only a handful of times—inexplicably for such an accessible and attractive work, and one that offers the soloist a true virtuoso spectacle. The piece is in two large movements connected by an extended solo cadenza. Though subtitled “Musical Fresco after an Ethiopian Legend,” the first movement is solidly in the sound world of Impressionism—perhaps closer to Roussel than to Debussy in its harmonic palette. The feeling is sunny and ingratiating throughout. The cello part features extended pizzicato passages and frequent harmonics. The cadenza is accompanied by a pedal tone in the double basses and by a quiet, steady drumbeat, which the program notes identify as “a characteristically Ethiopian element.” The cadenza itself sounds fairly European, despite some pentatonic material and occasional uses of the Semitic scale. This is not a complaint; the music is impassioned and colorful, and Wallfisch’s playing is commanding. The second movement, the “Danse des Petits Negrès,” takes a more exotic tone with a rapid, heavily-accented 5/4 meter and a repeated whirling motif in the cello. Brief musical phrases, repeated in groups of two, create a “primitive” effect. The constant repetition becomes predictable, and the Orientalist subtext is highly dated. But the movement is generally exciting, especially in its final pages.


Bloch’s Schelomo is the most widely-performed work on the disc. It is here that the Wallfisches are most open to comparison. Were I not familiar with the Rostropovich/Bernstein recording of the piece, I would be unreserved in my praise of the current performance. And indeed, it is a very fine performance: imposing, brooding, and highly effective. But where Wallfisch rages, Rostropovich thunders. Where Wallfisch sobs, Rostropovich wails. The same can be said of the conducting: Wallfisch’s Schelomo is dramatic but does not quite achieve the gripping immediacy of Bernstein’s. It is nonetheless a vivid and moving rendition of the piece, and the disc as a whole makes for very rewarding listening. Excellent, vivid sound engineering is a welcome bonus.


FANFARE: Myron Silberstein

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

This release presents Irish fiddle music performed by musical virtuoso Florie Brown, a fiddle player who has toured the world and cultivated her own flair and unique playing style. She performs Celtic, Bluegrass, Cajun, Country, Blues and Swing. Here she presents traditional Irish classics that will be loved by all fiddle music fans. After successfully begging her parents to allow her to play the violin, Florie Brown began her studies. Years were spent in private study working on technical skill and gaining performance experience. First travels as a musician began at 15 years of age with her local Youth Symphony, an award-winning group who traveled to Mexico, Germany, and Japan under the direction of Eugene Stoia. Celtic fiddling was the first departure from her classical path. Many albums and years later, Florie now has a family of her own and teaches fiddle.

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A beautiful and varied selection of Irish ballads sung by a veritable "Who's Who"of Irish singers and bands: John Faulkner, Br�d N� Chath�in, John Beag, Ann Mulqueen, Tim Dennehy, Iorras Aithneach, Mair�ad Taggart, Joe McDonagh, Sin�ad Murray and Fred Johnston.

A unique and lively album, this recording includes all of the Scottish Police Pip Band-Dumfries & Galloway Constabulary Pipe Band, Grampian Police Pipe Band, Lothian & Borders Police Pipe Band, Tayside Police Pipe Band and the world champion Strathclyde Police Pipe Band. Insert includes history of each of the bands.

A Celtic Journey is an album of music and song from Scotland and further afield, with pipes, fiddle, choir, courting songs, lullabies, humorous stories of whiskey smuggling and sad laments for love lost. The music comes from the Isle of Skye, Nova Scotia, Glasgow, Stornoway, Inverness, and the Scottish Highlands. With award-winning musicians and singers including Cliar, Author Cormack, Blair Douglas, Ceolraidh Gaidhlig Ghlaschu, and many others, whose tracks were selected for this album by Mary Ann Kennedy, this is an album that simply cannot be missed by lovers of Celtic music.

The Kinross & District Pipe Band was formed in the summer of 1946 to play at local galas, festival events and pipe band competitions. During its long history the band has been awarded at World Championships and ceremony galas. A truly Scottish, beautiful album of pipes and drums.

The music of the British Isles has been charming audiences for centuries. This beautiful collection of Celtic music from Ireland, Scotland and Brittany features famous Celtic artists such as Cunla, Colm O Foghlu, Noel McLoughlin, Clannad, and many more. The songs presented are a shimmering array of the most wistful and beautiful songs and instrumental pieces, which are in a similar vein as the “Titanic” soundtrack, or the ever-popular “Riverdance.” Folk songs are presented here in their most authentic forms, as well as several more recent compositions inspired by these roots. This is true cornucopia of Celtic jewels!

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This collection of Celtic music from Brittany features the most famous artist from the region: Dan Ar Braz, Tonnerre de Brest, Yvon Etienne, Pierrick Lemou, Bleizi Ruz, Le Bagad Du Moulin Vert, Gwendal and many more. The lively and varied album includes traditional instruments such as biniou, bombarde and harp alongside modern guitars, keyboards and drums.

Classical Music

Classical Music

Classical Music

This inspiring album of Celtic music features traditional Celtic instruments such as uilleann pipes, harps, fiddles, accordians, and guitars. The songs featured here create an atmosphere of magic and mystery. This album features almost 80 minutes of beautiful music. Artists featured include Catherine Duc, Medwyn Goodall, Florie Brown, Lynn Saoirse, and more.

Following the strong discography that already exists, Best of Scottish Pipes & Drums brings all of the best together in one release. This music takes you on a musical journey through time in Scotland, from the Pride of Murray Pipe Band who was formed in 1952 to the 1st Battalion Scots Guards who were deployed in Afghanistan recently. Individual members of these ensembles have peformed throughout the world such as Hong Kong, the Middle East, all over Europe and even South America.

This new release features a varied collection of beautiful music from Welsh choirs, both a cappella and with instrumental accompaniments. This album presents a wide repertoire, covering three decades of choirs formed in Wales from 1986 to the present day. With well-known traditional classics, sacred music and fresh approaches to choir singing with modernized arrangements of traditional songs, this album is a shining example of choral talent in Wales. Featured ensembles include Cor Eifionydd, Bois y Castell, Cor y Wiber, Cow Meibion Machynlleth, and more.

Isla st Clair is one of Scotland's most popular traditional singers and has gained international acclaim for her pure and distinctive voice. Arc Music releases a fine selection of popular and treasured songs performed by an accomplished singer and quite possibly the voice of Scotland.

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Forrester’s Cape Breton Scottish Dance Company is the performing group of the Forrester School of Celtic Dance established in 1965 under the direction of artistic director Eileen (Pottie) Forrester of Sydney, Cape Breton, Nova Scotia. The dance company has been invited to represent Canada and their province at many international festivals. They have performed all over the world including Canada, the United States, Europe and Asia. One of the highlights was their participation in the World Folklore & Folk Game Festival in Taiwan in 1997 with 300,000 spectators and twenty other countries represented. Another festival that ranks among their favorites was Rhythms of the World at Epcot Centre, Walt Disney World, Florida, in which they represented Canada and performed in twenty-one shows at the America Gardens Theatre by the Shore. Forrester’s musical ensemble consists of award-winning highland bagpipers, drummers, bodhrán players and fiddlers. They all work together to provide their audiences with a varied repertoire of Celtic music with a mix of both traditional and contemporary works of music and dance. Their mandate is to continue to share the Celtic culture of their ancestors with many diverse audiences locally, nationally and internationally. This is evident in the fact that the director has three daughters who perform Scottish dance, and Eileen herself was first introduced to this culture by her two older sisters.