Music of the Song Dynasty (AD 960-1279)

Classical Music

Classical Music

The Hilliard Ensemble is one of the world's finest vocal chamber groups, and is probably unrivalled for its formidable reputation in the fields of both early and new music. This series was only previously available direct from the group but has never before been fully available at international retail.

Classical Music

DANZI: Wind Quintets, Op. 68, Nos. 1-3 / Horn Sonata, Op. 44

Pianist Aki Takahashi follows up her acclaimed first disc of Xenakis piano works with this second volume, this time works for piano with instruments.

Julian Wachner' music has been described as 'bold and atmospheric', 'jazzy, energetic, and ingenious', and 'highly enjoyable, touching, clever, and inspiring'.

The Milken Archive of American Jewish Music is a vast recorded panorama of the rich body of Jewish music, both sacred and secular, that has developed over the course of American history. This abundant repertoire, in its remarkable breadth and diversity, not only reflects the history, evolution, and variety of the Jewish experience in America, but, by extension, attests to Jewish continuity and renewal through more than five millennia, revealing universal qualities that can speak to people of all faiths and cultures.

“To listen to its 19 selections...is to experience a sampling of the huge breadth of American Jewish music.” — Cantor Steven Blane, New Jersey Jewish Standard

“...provides a table of hors d’oeuvres for what is to come...Haskivenu...is particularly lovely. All of the performances here are top-notch.” — Jerry Dubins, Fanfare

“This will give you a taste - I underscore taste - of the works of 37 composers that are included in this marvelous collection of American Jewish music, a collection that is sure to become an important part of the recorded literature of all American music.” — Copley News Service

“It gives a good indication of the project’s production values: up-to-date engineering, full and scholarly notes by Neil W. Levin (the Archive’s Artistic Director), and translations...of sung material. The sampler also sketches out the aesthetic reach of the venture.” — Peter Rabinowitz, International Record Review

“The propulsive and dynamic Brubeck is powered along at full tilt crossed with a typically swaying Jewish accent. The down and dirty Hudl mint shtrudl is the equivalent of a racy song by George Formby—saucy and with a clarinet played scatty Chassidic for all it is worth as slippery as oil...[Milhaud’s Sacred Service] ...joyous...[Achron]...is music of the utmost inventive resource—full of colourful Technicolor rivalry among the instruments of the orchestra...[Weill’s The Etneral Road]...whispered serenity from the choir and a piannisimo solo violin rise to the disturbing suggestion of disillusion. Serenity reflects the God of the Israelites while the wilder beat reflects the followers of the golden calf. Eventually the joyous ‘calf tune’ is taken over by the Israelites to reflect an excited joy.” — Rob Barnett, MusicWeb-International.com

Click here to view all available releases in the Milken Archive Series at ArkivMusic.

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.


Beethoven’s three Op. 9 string trios are early masterpieces, every bit as fine as the later Op. 18 quartets. These performances are wonderful: there is nothing to criticize. The quality of ensemble is outstanding, perfectly balanced, always in tune, warmly sonorous, and stylish. The presto finale of the G major trio is impeccably light and fleet, all three slow movements beautifully singing and sustained. In the dramatic C minor trio these players (Frank Peter Zimmermann, Antoine Tamestit, and Christian Poltéra) offer a clinic on how to turn phrasing and accent to ear-catching account without a trace of ugliness or mannerism. The SACD sonics are every bit as fine. Don’t let this one slip by.

– David Hurwitz, ClassicsToday.com

-------

These three early trios by Beethoven are given brisk, lively, and well-detailed readings by the Zimmermann Trio, which was formed in 2007. Like so much of Beethoven’s music from the 1796–98 period, these pieces lie between the style of Haydn or Mozart and his own more imaginative manner, which was coming forward in those years. The addition of a fourth voice, in his early op. 18 string quartets, was obviously an extra inspiration for the composer, yet it was this set of trios on which he built those excellent structures.


If you are a fan of these string trios, this is certainly an outstanding recording to own of them. There is, really, nothing one can fault in the trio’s technical execution or musical style. Everything is there: the rhythmic spring, the little felicitous touches on the turns, the clarity in the interplay of voices. In addition, BIS’s hybrid SACD sound is simply splendid, sharp and clearly textured as a good recording of a small string ensemble should be.


FANFARE: Lynn René Bayley

HUANG Chamber Concertos: No. 1, “Yueh Fei”; No. 2, “The Lost Garden”; No. 3, “Divergence”; No. 4, “Confluence” • Huang Ruo, cond; Int’l Contemporary Ens • NAXOS 8.559322 (63: 48)


Born on Hainan Island, China, in 1976, Huang Ruo moved to the US in 1995 and is now an American citizen. He has won several prizes, and his music has been conducted by Sawallisch, James Condon, and Dennis Russell Davies, among others. Huang is currently completing a D.M.A. degree in composition at Juilliard. In the week this review was written, his cello concerto People Mountain People Sea (commissioned by Chinese-born cellist Jian Wang) was premiered in New York to some acclaim. Huang’s chamber concertos were composed between 2000 and 2002, for varying sizes of ensemble: a quintet in the case of No. 3 (flute/piccolo, clarinet, violin, cello, and piano), an octet for Nos. 1 and 2 (adding a second violin, viola, and percussion), and 15 players for No. 4 (adding more strings, a brass section, and harp).


An anonymous reviewer from VPRO Radio Guide describes Huang’s style as “a convincing synthesis between the hushed Chinese sound world and modernist composition techniques.” That synthesis is the basis and raison d’etre of these colorful works. Certain instrumental signposts common to both idioms occur frequently, such as timpani “tattoos,” string glissandos, and drones. Forceful statements from timpani and other percussion often serve to separate musical segments, as in Chinese opera, and we hear imitations of Chinese stringed instruments (No. 1, first movement) and Chinese flute (much of No. 2). Western influences are equally present: the use of ostinato (No. 3, first movement) and the syncopated, aggressive rhythmic bite of jazz/rock (No. 1, fourth movement). Online reviewer David Toub of Sequenza21 found this to be problematical, dubbing Huang a synthesist but not a composer—unlike Ives who, in cramming various influences together, created a uniquely individual voice. I don’t have that problem with Huang’s music—cutting-and-pasting is a perfectly legitimate procedure—but, because these pieces are so segmented, it inevitably means some parts are likely to be stronger than others without an obvious through-line to connect them.


Then, there is the contentious matter of asking the musicians to sing, chant, or recite. While this sometimes contributes to the texture in a satisfying way (as in the final movement of No. 1), in Nos. 2 and 3 the effect puts a brake on the music’s progress, robbing it of force. And, it must be said, the expert instrumentalists of the International Contemporary Ensemble are less expert when it comes to vocalizing.


Concerto No. 2 is probably where the pros and cons of Huang’s synthesizing approach are at their most extreme. The concerto is subtitled “The Lost Garden.” The composer claims in his note that “one can feel the wind and hear the birds singing,” which is true, but we don’t reach that pastoral vision until the very end. Because of the segmentary nature of the preceding music, one has little sense of a peaceful conclusion having been earned. It feels tacked on; in this instance, the language of expressionism sits awkwardly with Asian detachment. Even so, Huang provides spine-tingling moments along the way, such as a passage featuring a long slow descent in double stops from the violin, falling into the black hole of a reverberant bass cluster from piano and tam-tam (very George Crumb), which slowly rises again as piano figuration like a flock of Messiaen’s birds.


My favorite among these concertos is No. 4 (originally premiered alone by the AKSO Ensemble). Formally, it is the tightest and most coherent of the four, as you would expect from the title “Confluence.” The larger ensemble enables Huang to command greater textural variety: indeed, the loveliest passage on the entire disc is the wind-dominated second movement, anchored by the warm tone of the bassoon. Another plus: in this work the musicians are not required to vocalize. Concerto No. 4 brings together musical ideas from the three preceding concertos, but I think that the parts of this cycle are greater than their sum and are best listened to separately.


It is thought provoking to hear Chinese-accented music emanating from a CD in the “American Classics” series— it speaks volumes about diversity in Western musical culture—and Naxos is to be commended for putting this young composer on its roster. The sound quality is excellent, and the musicianship of a very high standard. Despite my reservations above, Huang’s music is undeniably vibrant, visceral, and full of color.


FANFARE: Phillip Scott

This anthology brings together representative works from the mainstream of contemporary American choral music. Charles Ives's Psalm 90 evokes a mood reminiscent of congregational Sunday singing in New England.

Classical Music

This disc substantially duplicates the repertoire on an all-Copland program produced by DG with the Orpheus Chamber Orchestra. However, where DG included the Short Symphony, Naxos offers the Clarinet Concerto. While the Nashville Chamber Orchestra doesn't offer quite the tonal refinement and polish of Orpheus, it basically plays just as well, and its slightly weightier, gutsier, more rustic sonority arguably suits the music even better. In the famous rehearsal disc that accompanied Copland's own recording of the original chamber version of Appalachian Spring, he can be heard exhorting his players not to sentimentalize the music: "...it's a little too much on the Massenet-side," he tells them. Obviously Paul Gambill understands this point, for he offers interpretations ideally poised between warmth and simplicity, full of those clean and clear sonorities that Copland made his own.

It should come as no surprise that, as a major musical capital, Nashville offers a large pool of excellent professional performers from which to draw, and as with its full-sized symphony, the Nashville Chamber Orchestra obviously employs some major talent, particularly among its strings. Copland's music is full of complex rhythms, often combining them with stratospheric violin writing. At such moments as the "Danza de Jalisco" from Three Latin American Sketches, or the initial allegro of Appalachian Spring, the Nashville players offer impressive accuracy of both rhythm and pitch. Quiet City benefits from some smooth-as-silk trumpeting from Scott Moore, while Laura Arden (principal clarinet with the Atlanta Symphony) turns in a masterful performance of the Clarinet Concerto. She commands a lovely, liquid tone in the lyrical opening movement (her pianissimo playing at the end is exquisite) and captures the finale's jazz elements without ever turning raucous.

The version of Appalachian Spring offered here is billed as the "Original Ballet Suite". It is not. The "original" ballet suite is the full orchestral version most familiar to music lovers, dating from just after the premiere in the mid-1940s. More than a decade later, in 1958, Copland published a new orchestration of the suite in which he returned to the chamber instrumentation used in the full-length ballet, allowing the option of a few extra strings (which I assume are used here), and this is what Naxos gives us. Gambill conducts this piece as well as anyone ever has; he's particularly adept at sustaining the flow of the slower sections without letting the music sag, and he gets an astonishingly full sound from his ensemble (listen to the focused tone of the basses when they first enter in the "Simple Gifts" variations). Sonics of ideal transparency and presence set the seal on a disc that's practically perfect from just about any perspective. [12/14/2002]

--David Hurwitz, ClassicsToday.com

Volume 3 of Morton Subotnick's Electronic Works contains the last of the analog multi-channel tape pieces to be released on DVD: '4 Butterflies', created on the Buchla synthesizer, previously only released as a stereo LP. It is presented with the visuals that were projected during it's early performances in the 1970s. These original 16mm films have been newly transferred and restored for this DVD.

Classical Music

PROKOFIEV: PIANO SONATA 5 & 6

Includes work(s) by Jean Sibelius.

Stravinsky and Ravel are two twentieth century composers whose work is often complex while remaining accessible. In the idiom of piano and violin, they may be found to be at their best. Included here are the Duo Concertante and Divertimento for Violin and Piano of Stravinsky, and by Ravel the Sonata for Violin and Piano, and "Tzigane" (Rapsodie de Concert for Violin and Piano). Stravinsky, with his rhythmic power and chromatics, shines in these smaller, powerful pieces for the two instruments. The works clearly belong in the twentieth century, yet engage the listener with lyricism and force.
Ravel, as well, in his furious lines and Debussy-like impressionism finds a perfect pairing in these two instruments. The "Blues" movement of his Sonata allows the two instruments to go their idiomatic ways while retaining a lazy structure, later exploding into vintage Ravel.
The performance of these pieces by violinist Jennifer Frautschi and pianist Marta Aznavoorian find virtuosity and musicality serving one another. Both are consummate young players; they bring verve and fresh intelligence to these pieces, possessing an obvious rapport with each other and the music itself. An excellent disc.

Classical Music

Also available on DVD. Violin and viola players whisper over their instruments. A guitarist waits with the closest attention for the moment to make a gesture we might easily have missed. The tuba player rises to go over to the open piano, there to send sounds echoing into its interior. Two cellists, bowing with heavy pressure down near the tailpiece, produce an urgent rasping. From the timpanist comes the sudden fortissimo that seems to shock the music to a standstill... Renowned German composer Helmut Lachenmann’s music is expressive in extraordinary ways, requiring the performers to play their instruments via unusual techniques, making for both compelling listening and viewing. Lachenmann performs in and supervises these recordings with Ensemble Signal, one of America’s leading New Music ensembles. In addition to performing as narrator in "...Zwei Gefühle...“. Lachemann also is the soloist for three of his piano works. These studio recordings followed an intensive four-concert tour of this programme. Lachenmann taught each musician of Ensemble Signal individually on his language of techniques for this project. Liner notes by Paul Griffiths. First in a series of Lachenmann on Mode Records.

REVIEW:

Sergiu Comissiona has long been admired for his all-round musical sympathies. Sadly, he has not been a regular visitor to Britain in recent years, preferring to devote himself to those orchestras where he holds a position, most notably the Helsinki Philharmonic Orchestra. He has long been an initiator of stimulating musical projects; while Music Director of the Houston Symphony Orchestra, he commissioned fanfares from 30 of America's leading composers. In 1990, to mark the 125th anniversary of Sibelius's birth, he persuaded the Helsinki Philharmonic to commission eight composers from all round the world to write a short piece each as a tribute to Finland's national composer.

Not surprisingly, some of the pieces are more successful than others. However, the project complete, all the pieces have been released on disc by Comissiona and his committed orchestra. They start with a lively—and presumably authentic—account of the master's En saga. This music must surely be coursing through the veins of all Finnish musicians. A delightful and undemanding piece by Thea Musgrave leads the tributes with deliberate echoes of Sibelius's music. This is followed by Ciacona by Einar Englund: a traditionally-based piece by a composer who knew and was encouraged and supported by Sibelius. Then comes an atmospheric piece by the Japanese composer, Joji Yuasa, and an exhilarating work by the young Finnish composer, Erkki-Sven Tuur. The American composer, Tobias Picker, describes his brief tribute as a conversation between Sibelius, Schoenberg and Stravinsky. Wilfred Josephs's piece is rather static while Marius Constant has composed a beautiful score with a real feel for colour and texture. The collection ends with a big piece, despite its brevity, from Poul Ruders again containing allusions to the music of Sibelius.

Although this is a commemorative disc which will be a must for the admirers and devotees of Sibelius's music, it will also be of interest to those with a taste for the less demanding byways of new music.

-- Gramophone [4/1992]

Tchaikovsky’s final three symphonies form an emotional roller-coaster ride with the most desperate lows (the first movement of the Fourth) and hectic highs (the Finale of the Fifth) before arriving at the resigned lament that is the closing Adagio of the Sixth. As the composer himself readily admitted, he had little interest in writing ‘abstract’ music – to his colleague and friend Taneyev he wrote: ‘I should not wish symphonic works to flow from my pen that express nothing, and which consist of empty playing with chords, rhythms and modulations.’ This has given rise to numerous speculations and attempts to interpret Tchaikovsky’s works, and especially these symphonies, in terms of events in his personal life. While the fruitfulness of such an approach is debatable, it is certain that the immediate appeal of the music itself has caused these symphonies to become favorites with musicians and listeners alike. On the present release, it is Christian Lindberg and his Arctic Philharmonic, based in the far north of Norway, that perform the symphonies. While the recordings of the Fourth and Sixth appear for the first time on disc, that of Symphony No. 5 has been previously released (on BIS-2018) on a release that earned international praise: ‘a superb performance’ was the verdict of the critic in International Record Review, while the French magazine Diapason accorded it top marks.

Allusions to Seasons and Weather is a suite of four works based on experiences of time and place in the woods, water, mountains and magical far north of Norway, where Composer Peter V. Swendsen lived for a year as a Fulbright Fellow. + The suite itself, as well as the three additional pieces that accompany it on this CD, combine field recordings and electronics with the invention and artistry of exceptionally imaginative performers.

Includes suite(s) for rec by Georg Philipp Telemann. Ensemble: Cologne Chamber Orchestra. Conductor: Helmut Müller-Brühl. Soloist: Daniel Rothert.