Born in Liège, Belgium, in 1873, Joseph Jongen showed an outstanding precocity for music from a very early age, and was admitted to the Liège Conservatoire at the extraordinarily young age of seven. He won a First Prize for fugue in 1895 and honors diplomas in piano and organ the next year. In 1897, he won the Belgian Prix de Rome, which allowed him to travel to Italy, Germany, and France, where he experienced the music of Brahms and Richard Strauss, Fauré, Debussy, and Ravel, all of which would exert an influence on the young composer. Although he composed in numerous genres, including the symphony and concerto, as well as chamber music, instrumental pieces, and choral works, it is his output for the organ for which he is now best known.

The Serbian-American pianist Ivan Ilić helps to redress the balance with this new recording of two of Jongen’s substantial sets of Préludes for piano. The 13 Préludes, Op. 69 are expansive in nature and extremely poetic – each bears an evocative title. They are dedicated to Émile Bosquet who gave their première, in 1923. The 24 Petits Préludes dans tous les tons were begun in 1940 and (like Bach’s preludes and fugues) circle through each and every key, major and minor. Arranged in twelve pairs, the minor key following the major on the same tonic note, these works reflect Jongen’s affinity for (and mastery of) their free form, as well as demonstrating his mature compositional style.

REVIEW:

The reputation of Belgian composer, organist, and educator Joseph Jongen (1873-1953) basically rests upon one work, his Symphonie concertante for organ and orchestra. However, he composed prolifically in many genres. His solo piano works fall between Franck’s burnished chromaticism and young Scriabin’s sensuous textures while flirting with Debussy and Ravel. Such a style works best when served up in small doses, such as in the Preludes Op. 69.

Jongen may not be a memorable tunesmith, and his phraseology tends to be square, but his exquisite harmonic sense and idiomatic, well-crafted handling of the keyboard more than compensates. In the Op. 60 group, you have, on one hand, Eau tranquille’s gently persistent double notes that contrast to Appassionato’s hammered-out chords that step right out of the finale of Scriabin’s Third sonata.

The 24 Petits Preludes in all of the major and minor keys are less ambitious technically and more conservative, even academic in style. The purity of the contrapuntal writing in slower pieces like Preludes Nos. 10 and 20 smacks of organ technique, while No. 22’s imitative writing suggests a Passepied from a Bach suite in slightly updated modern dress. The pieces fuse charm and seriousness in equal portions, and say what they need to say without overstaying their welcome.

The music’s workmanship mirrors Ivan Ilić’s caringly detailed interpretations. For example, he shapes No. 18’s cascading patterns into cogent melodic arcs, while imparting subtle shadings of timbre to No. 11’s unassumingly beautiful chords. He scales Op. 69 No. 13’s dynamics with care, ensuring that the motoric build-ups do not get too loud too soon, and thereby generating steady momentum. Tempo choices similarly appear to be judicious.

While one might prefer Diane Andersen’s gaunter and more scintillating reading of Papillons noirs (Op. 69 No. 11) in her complete Jongen piano music cycle for the Pavane label, Ilić’s deliberation better allows you to absorb the harmonic motion, together with extra breathing room for the dancing right-hand triplets. In short, Ilić’s mindful virtuosity serves the music first and foremost throughout this highly recommendable and well-engineered release.

-- ClassicsToday.com

The Symphony in C was conceived in Paris in the late 1930s, but completed in America in 1940, and is dedicated to the Chicago Symphony Orchestra on the occasion of its fiftieth anniversary. Commissioned by the New York Philharmonic and premièred in 1946, the Symphony in Three Movements presents us with movements that also manifest different ways of moving: a march, a slow dance, and a march-jog-race. The Greeting Prelude was written as an eightieth birthday tribute to Pierre Monteux, conductor of the premières of Pétrouchka and The Rite of Spring, and was first performed by the Boston Symphony Orchestra on the very day: 4 April 1955. The other two pieces on the album reflect Stravinsky’s lifelong involvement with ballet. The Divertimento is an orchestral piece extracted by Stravinsky from his ballet The Fairy’s Kiss. The ballet was a homage to Tchaikovsky, based on songs and piano pieces by him, stitched together and orchestrated with Stravinskian cool. The Circus Polka was a commission from Stravinsky’s long-time collaborator George Balanchine, who had been asked by the Ringling Bros. and Barnum & Bailey Circus to create a dance for elephants. The version heard here is the composer’s own orchestral version; the original was scored for circus band and organ by David Raksin, and performed by fifty elephants and fifty female dancers!

REVIEW:

It’s easy to underestimate the depth and breadth of Andrew Davis’s repertoire and indeed his sterling qualities as a conductor – his ebullience, robust sense of rhythm and razor-sharp ears. All of which are much in evidence in this generous compendium of Stravinsky.

-- Gramophone

When we recorded this album, in March 2022, no-one could have imagined that it would be Bramwell Tovey’s last recording. Chandos Records would like to dedicate this recording to the memory of Bramwell Tovey, with whom the company had collaborated for over a decade; a versatile musician highly accomplished as both a composer and a conductor, immensely personable and humorous, who possessed an innate understanding of the qualities of his fellow orchestral musicians and quickly earned their respect and devotion. He shall be very sorely missed. Tovey and the BBC Concert orchestra capture the wit and charm of Poulenc’s music perfectly. Each piece sizzles with excitement, and the well-known pieces (the Sinfonietta and ballet Les Animaux modèles) are beautifully complemented by less frequently heard miniatures: ‘La Baigneuse de Trouville’ and ‘Discours du général’ from Les Mariés de la Tour Eiffel and ‘Pastourelle’ from L’Éventail de Jeanne.

REVIEWS:

Les Animaux modèles, in its complete version, is a real rarity… this score is an absolute masterpiece with an enchanting beauty of melodies, a finesse of orchestration and a poetic evocation of animals through an intelligent and subtle narration. In 40 minutes, this music is a marvel. Bramwell Tovey at the podium of a sharp and precise orchestra delivers a thoughtful and finely musical rigorous reading of content and form… The Sinfonietta is the ideal complement. Bramwell Tovey takes care of the lines and contours of this beautiful neo-classical tone score[.]

-- Crescendo

[Tovey] seems to gaze into the soul of the Sinfonietta … a deliciously refined account of Les animaux modèles… Astonishingly vivid Chandos engineering on a 'big-screen' soundstage.”

-- Hi-Fi News

Chandos collaborated with Bramwell Tovey for more than a decade and the music-making has his trademark naturalness and good humour. Not the most obvious farewell, perhaps, but in its avoidance of pomp and solemnity none the worse for that.

-- Gramophone

This is one of the most enchanting discs of Poulenc’s orchestral music that one could wish for. It is also a fitting tribute to the fine musicianship and inimitable style of the conductor Bramwell Tovey…The BBC Concert Orchestra are on sparkling form and respond unfailingly to Tovey’s direction with alert and characterful playing throughout this SACD. In all respects this release is an absolute winner – 74 minutes of captivating music performed with finesse and recorded in state-of-the-art sound. Who could ask for more?

-- HRAudio.net

…here the late Bramwell Tovey has the full measure of these pieces, finding every ounce of their piquancy and weight – and in a recording in which in its forensic detail registers with total faithfulness. Tovey and the BBC Concert Orchestra revel in the charm, wit and humor of some of Poulenc’s finest orchestral pieces…

-- CDChoice.co.uk

An excellent disc of some lesser-known Poulenc, very well performed and splendidly recorded.

-- MusicWeb International

Rachmaninoff’s tone poem The Isle of the Dead was composed in Dresden in 1908 – 09, inspired by the 1880 painting of that name by the Swiss symbolist Arnold Böcklin. The painting depicts a ferryman rowing a coffin towards the Isle of the Dead, and Rachmaninoff, unusually setting the piece in five beats to the bar, captures the atmosphere and the motion of oars in the water in the most extraordinary detail. Dedicated to the outstanding Ukrainian-born coloratura soprano Antonina Vasilyevna Nezhdanova, the ‘Vocalise’ was first performed, by her with the composer, in January 1916. After creating a version with orchestral accompaniment, Rachmaninoff then produced the version heard here, for orchestra alone.

Following the Russian revolution and his exile to the USA, the compositional output of Rachmaninoff declined dramatically. In great demand both as a virtuoso performer and as a conductor, he toured extensively, but struggled to incorporate ‘modern music’ into his compositional style. In the mid 1930’s he acquired a holiday villa in Lucerne, and surprised the world with his ‘Paganini’ Rhapsody, quickly followed by the Third Symphony. Sinfonia of London and John Wilson demonstrate exceptional ensemble playing throughout, and their glowing string sound suits this repertoire perfectly.

REVIEW:

John Wilson and the Sinfonia of London here deliver an authoritative version of Rachmaninoff’s Third Symphony, in impressive SACD surround sound. For those who want an SACD take on the work, this will become the gold standard.

-- Classical CD Choice

Ruth Gipps (1921 – 1999) was born in the English seaside resort of Bexhill-on-Sea. Encouraged as a child by an ambitious pianist mother, she appeared locally as a prodigy pianist. She was accepted by the Royal College of Music in 1937, at the age of sixteen, having won the Caird Scholarship. She quickly matured, both as composer and pianist. She studied with Vaughan Williams and Gordon Jacob, and later the oboe with Leon Goossens. During the Second World War she gained a position as oboist with the City of Birmingham Orchestra and devoted a great deal of her time to composing. Three of the works on this album were composed during the war: the Oboe Concerto, the tone poem Death on the Pale Horse, and the overture Chanticleer (derived from an opera which, sadly, she never completed). The manuscript of the Third Symphony is dated 1 November 1965 and the work was first heard when Gipps introduced it with her London Repertoire Orchestra, on 19 March 1966. Its first professional performance took place on 29 October 1969, Gipps directing the BBC Scottish Orchestra, but it has since gone largely unheard, until now.

REVIEWS:

Each of this foursome, the bulk from the 1940s, offers pungent and individual delights...Throughout the album the BBC Philharmonic plays with bright colours, a sharp attack and swaggering energy – just what this dip into Gipps deserves.

-- BBC Music Magazine

The BBC Philharmonic sound as though they relished communing with the music throughout, and Chandos’s sound is first rate. Warmly recommended.

-- Gramophone

Alberto Hemsi was born in 1898 in Turgutlu (also known as Cassaba), in Anatolia (present-day Turkey). Although there had been a Jewish presence in Anatolia for more than 2000 years, the population expanded considerably following the Alhambra Decree of 1492, with the arrival of Sephardim from Spain and Portugal. It then dwindled precipitously with the disintegration of the Ottoman Empire, the rise of Nazism, the creation of the state of Israel, and the escalation of anti-Semitism in the Arab world. Having completed his training at the conservatory in Milan, Hemsi returned to Anatolia determined to collect and notate as much traditional Sephardic music as he possibly could.

A fascination with national folk music had taken root throughout Europe – Bartók and Kodály in Hungary, Dvorák and Smetana in Bohemia, and Vaughan Williams and Gustav Holst in England being the most familiar examples. Because his research was not defined by political or geographical boundaries, Hemsi was compelled to survey the myriad communities spread throughout the vast Sephardic diaspora. He was as fascinated by this musical heritage as he was concerned about its survival but, like so many composers, he also understood how traditional melodies, together with the various performance styles and conventions that supported them, could provide inspiration and nourishment for his own music.

REVIEWS:

Despite Hemsi’s nomadic existence, the works on this disc reflect the composer’s lifelong fascination for Sephardic folk music which he assiduously collected and transcribed, as well as a keen absorption of other exotic idioms. The net result is a sequence of attractive and atmospheric works that cover similar ground.

-- BBC Music Magazine

Hemsi is probably best known for his set of Coplas Seferdies, Sephardi songs published in numerous volumes, but his chamber music is well worth getting to know. The earliest piece in this disc is the innocuous-sounding Méditation for cello and piano (Tom Wiebe and Kevin Ahfat), written at some point before 1931, and couched in the ‘Armenian style’. Pianistically it evokes the cimbalom or, as the notes remind us, to be specific, the Greek santouri, a hammered dulcimer. The slow intense dialogue between the two instruments seems almost deliberately imitative of, or a shadowy second cousin of, Bruch’s Kol nidrei. In 1942 he wrote the Pilpúl Sonata for violin and piano (Emily Kruspe and Ahfat). It’s cast in a standard three-movement format and encodes plenty of Sephardic material, not least in the fleet and pithy first movement, and also in the call-and-response central one, a kind of cantorial recitative that takes the violin high in a way somewhat reminiscent of Bloch. There’s fine drama in the driving finale.

The following year – or thereabouts, as dating can’t be sure – Hemsi wrote an intriguing Quintet in G for Viola (Steven Dann) and string quartet. It signals a slight compositional shift in Hemsi’s thinking, being somewhat more conventional in structure and effect. His relish for insouciant dance patterns and folkloric inflections, though, is most obvious in the Burlesca second movement but the most paradoxical movement is the slow one, a Berceuse, that exudes flowing lyricism which, whilst hardly expressively deep, opens up a channel of lightly flecked impressionism: Hemsi looking backwards and sideways simultaneously. For the finale there’s a Greek dance, bright and brisk and over quickly and triumphantly.

Tre arie antiche (c.1945) are derived from the Coplas Seferdies and are brief three-minute (or so) studies. The first is fast, the central panel more gauzy and withdrawn, and the final piece extremely catchy. Which leaves the 1956 Danze nuziali greche, Op 37 rewritten from piano originals for cello and piano and dedicated in the piano original to Gina Bachauer. These three nuptial dances cover some expressive ground. The first is a fast and exciting panel honoring the mother-in-law, the second is the bride with her slow and expressively ‘sung’ lyricism, thoughtful, tactile and with Semitic cadences, and the final panel is the godfather – loquacious, big-boned, and excitable. It works beautifully for the cello, for which instrument Hemsi clearly had a real affinity.

There are comprehensive, astute notes and an excellently judged recording.

This is another fine reclamation from the ARC Ensemble, some of whose members I’ve mentioned by name but all of whom play with considerable enthusiasm and technical accomplishment.

-- MusicWeb International

Celebrating its fiftieth anniversary in 2022, the Brodsky Quartet has performed more than 3000 concerts on the major concert stages of the world and has released more than seventy recordings. A natural curiosity and insatiable desire to explore have propelled the group in many artistic directions and continue to ensure it not only a place at the very forefront of the international chamber music scene but also a rich and varied musical existence. As they comment in their booklet note: ‘It seems fitting to mark the milestone by recording this epic and most celebrated of chamber works, Schubert’s String Quintet in C major, a piece which we have lived with since childhood, and which we have played with a long line of illustrious cellists. One of our earliest performances took place with Terence Weil, our mentor at college, at his retirement concert, just as we were starting out on our professional journey. Now the wonderful young Laura van der Heijden, who comes to this recording with a maturity which belies her years, represents with respect to us a similar age gap, proving that age is insignificant where there is a meeting of musical minds. Now we look forward to whatever our sixth decade might bring.’

REVIEW:

In this exceptional interpretation of Schubert’s C major Quintet, there are plenty of moments where the players individually or collectively make something happen – a tiny inflection in the phrasing here, an applied touch of color there. Yet nothing is overdone, and the music always flows as it wants to.

-- BBC Music Magazine

Alban Berg's output proved tremendously influential in the development of music in the twentieth century. His natural ability to write lyrical melodic lines probably remained the most outstanding quality of his style. His Op. 1 Piano Sonata was the fulfilment of a task set by his teacher and peer Schoenberg to write non-vocal music. The Passacaglia, written between the sonata and World War I, was only completed in short-score, and may have been intended to form part of a larger work. Both pieces are recorded here in skillful orchestrations by Sir Andrew Davis.

The Three Orchestral Pieces were composed alongside his first great masterpiece, Wozzeck, and could be seen as a tribute to his musical hero, Mahler. The Violin Concerto, from 1935, was commissioned by the American violinist Louis Krasner, but was inspired by the premature death (from polio) of Manon Gropius, the daughter of Alma Mahler and the architect and Bauhaus founder Walter Gropius, hence the subtitle ‘to the memory of an angel’. It proved to be one of the composer’s final works as Berg died later that year as the result of an abscess from an insect sting.

REVIEW:

The first track on this disc brings us Andrew Davis’s orchestration of Berg’s Piano Sonata. Berg wrote this accomplished piece when he was studying composition with Arnold Schoenberg. Originally meant to have had a slow movement and a finale, it ended up stand-alone. It is conceived in standard sonata-allegro form. The liner notes mention the structurally conventional fact of the repeated exposition. Harmonically, the work is very chromatic. It presents unstable key centres, whole-tone scales, with sometimes dense, often polyphonic, music. In its original incarnation, it demands a highly technical pianism. Andrew Davis explains that “its emotional and dramatic range is enormous”, and that this new orchestration needed to relate to “the sonorities of the era” – those of Mahler, Schoenberg, Zemlinsky and Schrecker. The result is a wonderful tapestry of sound. The mood varies from gentle to fervent, with a satisfyingly gentle conclusion. The organic nature of the sonata form seems to unfold continually, leading us on a magical, if sometimes disconcerting, journey. For my review, I listened several times to this hauntingly lovely re-creation of Berg’s early masterwork: it has suddenly become one of my favourite Berg pieces.

Berg wrote the Three Pieces for orchestra during the opening stages of the First World War. They present a frightening musical image of the unfolding horrors. It has been pointed out that they have Schoenberg’s Five Pieces for orchestra as an inspiration. Yet, they sound nothing like the elder man’s work. In fact, Mahler is the stylistic arbiter. One commentator has suggested that it is Mahler’s Eleventh Symphony, in the same way that Brahms One is Beethoven’s 10^th (or is it 11^th?).

The movingly beautiful Violin Concerto was the last major work that Berg composed, and one of his greatest. It was dedicated “to the memory of an angel”, the daughter of Gustav Mahler’s widow Alma and the architect Walter Gropius. Sadly, Manon died of polio at only eighteen. The work is a perfect balance of lyricism and drama. James Ehnes’s performance is magical. He tends towards optimism, which seems to bolster Berg’s contention that serial music could also be romantic. I was taken by his interpretation of this concerto and the integration of the various stylistic innovations such as the Bach chorale, the waltz-like theme and the Carinthian folk tune. The balance between the structural serialism and the more tonal moments is well managed here. There is a tenderness of tone that sings of affection but sometimes echoes despair, a tempestuous protest against life’s tragedy, and a sad, requiem-like epilogue.

Gavin Plumley’s booklet notes in English, German and French give a detailed introduction to all four works. “A note by the conductor” is a valuable extra: an essay-length appreciation of Berg’s music and an explanation of his approach to the two orchestrations. There are several photographs of the composer, the recording session, the violin soloist and the orchestra and conductor.

This is a remarkable disc. I enjoyed the two transcribed works, which genuinely add to our appreciation and understanding of Alban Berg’s earlier achievement. The performance of the two works of genius – the Three Pieces for orchestra and the Violin Concerto – are revelatory in their sympathy and understanding. It is an album that all enthusiasts of the composer must own.

-- MusicWeb International (John France)

Regular duet and two-piano partners Hélène Mercier and Louis Lortie have returned to the studio for this all-Debussy program. The album features duets written by the composer himself -such as the Petite Suite, the Six Épigraphes antiques and the Marche écossaise sur un thème Populaire; as well as a number of arrangements of his solo piano pieces (the Première Arabesque, La Fille aux cheveux de lin and the "Slavic" Ballade). The album ends with André Caplet’s monumental arrangement of Debussy’s best known orchestral work, La Mer. Stripped of its orchestration, this two-piano version allows the listener to more easily appreciate Debussy’s ground-breaking harmonic innovation. The album was recorded in the concert hall at Snape Maltings in Suffolk, using a pair of Bösendorfer 280 VC grand pianos.

REVIEWS:

Regular duet and two-piano partners Hélène Mercier and Louis Lortie present this all-Debussy program, starting and ending on the water. The duo characterize Debussy’s impressionism well with playing that is sensitive and charming.

The album ends with André Caplet’s monumental arrangement of Debussy’s best known orchestral work, La Mer. Stripped of its orchestration, this two-piano version allows the listener to more easily appreciate Debussy’s ground-breaking harmonic innovation.

-- Cumbria Times (Andrew Palmer)

The playing by the two distinguished pianists is faultless, distinctly outlining the notes with a clarity of separation; the recording in the superb acoustic of the Snape Maltings captures the sound ideally; the presentation of the booklet, with extensive and informative notes in three languages by Roger Nichols, is excellent; and the music itself, I need hardly add, is marvelous.

Most frustratingly then, is that Debussy’s masterpiece for the two-piano repertoire, his late En blanc et noir, is missing. That, however, is not to say that the purchaser of this very full disc is under-compensated. Nevertheless, there might be something to be said for letting us hear Debussy’s music in two-piano and piano-duet arrangements, especially those published during his lifetime, even when we may suspect that reasons of commercial necessity may have prompted their original issue.

-- MusicWeb International

New York Times Best (Classical Tracks) of 2022 - Korngold: ‘The Private Lives of Elizabeth and Essex’ Overture

Gramophone Magazine's Editors Choice - Awards Issue 2022

Sinfonia of London and John Wilson present an album that celebrates the golden age of Hollywood. Sinfonia of London rose to fame in the 1950s as the leading recording orchestra of the day, appearing in the musical credits of more than 300 films, including the 1958 soundtrack by Bernard Herrmann for Hitchcock’s Vertigo. Reformed by John Wilson in 2018 as a recording orchestra, and made-up of some of London’s finest orchestral musicians, their first recording of Korngold’s Symphony in F# won the orchestral award from BBC music magazine, and drew critical acclaim worldwide. Korngold’s Overture from the private lives of Elizabeth and Essex which opens the program is an excellent demonstration of his rich, chromatic sound-world that set a blue-print for the Hollywood sound and so many composers that followed. Although the songs were written by Harold Arlen, it was Herbert Stothart’s score for The Wizard of Oz that won the Oscar, and it is his suite from the movie that features here. There are also suites from Max Steiner’s Now, Voyager and Franz Waxman’s Rebecca (receiving here it’s premiere recording). Shorter pieces from David Raksin, Frederick Lowe, Johnny Mandel and Alfred Newman complete this rewarding program.

REVIEWS:

It would be easy to argue that a track from any of the five sensational recordings John Wilson and his elite Sinfonia of London have released this year should be on this list, but every time I play this Korngold, I find it hard to move on to anything else. The virtuosity Wilson lavishes on a composer he is determined to restore to stature is stunning, no matter how many times you hear it.

-- New York Times

Wilson has listened long and hard to the way the Hollywood studio orchestras played this music and has recreated it to the manner born for our technologically advanced times.

-- Gramophone

The recognizable yet well-curated repertoire, along with the instrumentalists’ enthusiastic performances will certainly elicit a sense of nostalgia—and maybe a desire to rewatch—the films themselves. A refreshing album that makes for a delightful listen.”

-- The Classic Review

I enjoyed this album very much indeed. The playing is superb from start to finish…But it’s the composers who must take the final bow. This programme demonstrates in spades the invention and craftsmanship of some of the composers – and arrangers – who were at the musical heart of the Golden Age of Hollywood. The music sounds superb on this disc. Treat yourself to an hour of pure musical pleasure.”

-- MusicWeb International

Few film soundtracks these days can compare with Hollywood’s heyday, and few soundtrack albums have ever sounded as good as this. Anyone with even the slightest interest in the period needs this magnificent recording.”

-- Limelight (Editor’s Choice)

An exercise in unapologetic nostalgia, this lovely celebration of classic Hollywood film scores is delivered with deep care and affection by Wilson and his dependably excellent players…

-- Times of London

Following their critically acclaimed first volume of Mozart’s violin concertos (CHAN 20234), Francesca Dego and Sir Roger Norrington complete the set, once again with outstanding support from a reduced Royal Scottish National Orchestra. This cycle not only represents the first time Sir Roger has recorded these concertos, but the present album is also his final recording project. All five concertos were written before Mozart was twenty; nevertheless, his rapid development as a composer is evident in the progression from the first to the fifth, which has an unusual Adagio section within the first movement, an extensive slow movement, and of course the extensive ‘Turkish’ episode in the final movement (probably based on Hungarian folk music). Whilst given on modern instruments with metal strings, these are performances immersed in Norrington’s lifetime of experience in period performance practice. As The Sunday Times noted of the first album: ‘Pairing the veteran Mozartian Norrington – a pioneer of historical performance practice – with the young Italian-American soloist Dego proves inspiring in what promises to be one of the freshest of recent cycles of the Mozart concertos.’

REVIEWS:

Dego’s finespun tone, exquisite timing and enchanting musical inquisitiveness, not to mention her delightfully spontaneous decorating of musical lines, combine to create an uplifting sense of the music being composed as it goes along…[Norrington] could hardly have wished for a finer recorded swansong than this Mozart series.

-- BBC Music Magazine (Julian Haylock)

This recording is characterized by excellently balanced interpretations. They are characterized by a light-hearted and fluid gesture… Francesca Dego also finds an exciting approach to Mozart… she scores here with a creative approach, tonal freshness and noblesse. The orchestra from Scotland, conducted by Roger Norrington, soars, with the violins in oppositional seating as in Mozart’s day, to intense music-making that doesn’t overpower, creating a fitting complement to the solo mood.

-- Pizzicato (Uwe Krusch)

Hélène Clément, violist with the Doric String Quartet, is the current holder of the viola previously owned by both Bridge and Britten. Her ambition, quickly formed once she first played this instrument, has been to create a testament to both composers and the instrument that binds them all together. This recording, where Hélène is joined by pianist Alasdair Beatson and Dame Sarah Connolly, is the realization of that ambition. Hélène writes: ‘Frank Bridge owned and played the beautiful viola made by Francesco Giussani, in Italy, in 1843. Benjamin Britten was Frank Bridge’s most beloved pupil, and Bridge gave him the viola as a parting gift when Britten had to embark on a ship’s journey to the United States at the outbreak of the Second World War. The composers were never to see each other again. To record the viola repertoire of both composers, producing the very sound that they would have had in their ears, the sound that inspired their love for the instrument and its special language, became a priority for me.’

REVIEW:

The soul of this beautifully constructed recital is the luminous variety Hélène Clément extracts from the 1843 Giussani viola owned by Frank Bridge and passed on to his favorite pupil, Benjamin Britten. The anguished overlapping of mezzo and viola at the climax of ‘Where is it that our soul doth go?’ is one of many revelations on the disc.

-- BBC Music Magazine

"Bavouzet’s Haydn is unmatched in its zest and its wit. But it is also substantial, informed and deeply rewarding."

--The New York Times on Bavouzet's Haydn Sonatas cycle, 2022

Jean-Efflam Bavouzet’s survey of Haydn’s piano sonatas reaches its conclusion with this 11th and final volume. As with the previous releases, the acclaimed pianist has included repertoire from different periods of Haydn’s career to create a recital of interest in its own right, as well as the completion of the series.

Jean-Efflam notes: ‘It has been eleven years since the launch of this project to present Haydn’s sonatas, not in their chronological order, but as collections juxtaposing works from different periods. The program for this final album was actually the first one to be devised: I wanted to place side by side the very first and the very last sonata. Then the idea of fleshing out the sonata cycle with other major pieces began at volume four, with the addition of the famous Variations in F minor, and finally this last volume is made up of as many sonatas as other types of works. The complete series is thus able to offer music lovers all the sonatas identified to date, together with the other major keyboard works.’

REVIEWS:

Fanny Mendelssohn Hensel, born four years before her brother Felix, was an accomplished pianist and a prolific composer. When she died of a stroke aged just 42, she left around 460 pieces of music, some 250 of which are songs. The difficulties of making a career in her own era (Her supportive father would not allow her to publish or work as a ‘professional’ composer) have condemned much of her work to obscurity: a situation that is now rapidly being reversed with more concerts and recordings of works by women composers.

Here the award-winning Kaleidoscope Collective champion her Piano Trio and Piano Quartet, alongside Felix Mendelssohn’s under-performed Piano Sextet. Fanny composed her Piano Quartet whilst a student, aged 17. In contrast, the Piano Trio was her last chamber work, written in her final year. Felix Mendelssohn’s Piano Sextet was also an early work, written in just a few short weeks in the spring of 1824. For some reason he never published the work (perhaps because of the unusual scoring) hence it became his Op. 110 when published posthumously in 1868.

Founded in 2010, Trio Gaspard has become one of the most sought-after piano trios of its generation, whose members are praised for their unique and fresh approach to the score. The Trio is regularly invited to perform at leading concert halls throughout the world. It has an impressive history of international festival appearances, and each member also continues to pursue a successful solo career. Haydn has been central to the Trio’s repertoire since its inception, to the extent that it is rare for them to perform a program that does not include his music. For this survey of the complete Haydn Trios, pianist Nicholas Rimmer notes: ‘we have decided to record the trios neither chronologically nor in the groups in which they were first published. Instead, we have aimed to create an interesting and contrasted ‘program’ of trios for each volume, so that it can be listened to in a single, satisfying sitting. In addition, we have asked a composer to write a short work inspired by one of the trios from each volume, and we are excited by the contemporary perspectives on Haydn that these composers open up for us. This first album features a work by our good friend, the percussionist and composer Johannes Fischer. We hope that the listener will share in this rich journey – spanning forty years of Haydn’s life and more than forty brilliant works of music. Amazingly, each of these trios is unique enough to warrant individual attention and repeated listening.’

REVIEW:

The Trio Gaspard’s project to record the complete Haydn trios for Chandos gets off to a good start with five great works from the mid-1780s and mid-1790s. The Gaspard players like to keep the music sounding lively and spontaneous, and although their improvised runs and ornaments are discreet, this may not be to everyone’s taste.

-- BBC Music Magazine

Samuel Coleridge-Taylor is best known for his cantata Hiawatha’s Wedding Feast, which brought him international success as well as propelling his career at home in the UK – success which was remarkable in stuffy late-Victorian England because of his mixed race and humble origins. Born out of wedlock to Daniel Taylor, a medical student from Sierra Leone, and Alice Holmans, Samuel was brought up by his mother and step-father, George Evans, a railway worker, in Croydon, south London. The three pieces recorded here were all composed during his time as a student at the Royal College of Music. They were destined to remain unpublished during his lifetime, and indeed for some ninety years following his untimely death from pneumonia at the age of only thirty-seven. Performing editions were eventually prepared from the surviving manuscripts – which had remained in the RCM’s archive – in the early 2000s, offering modern performers and audiences the chance for the first time to savour exactly how precocious the creative talents of the teenage Coleridge-Taylor had been. The Kaleidoscope Chamber Collective has consulted the manuscripts and corrected numerous inaccuracies in these editions. Described by The Arts Desk as ‘a sparky, shape-shifting ensemble of starry young musicians’, the Collective has been thrilling audiences with its charismatic programming and outstanding musicianship.

REVIEWS:

This disc is a delight from first to last… For anyone interested in rare British chamber music this is warmly recommended.

-- MusicWeb International

What a glorious disc this is! From beginning to end the music just flows in an unending stream of pleasure. There is such skill and maturity in every aspect of the writing…These works could not hope for better performances[.]

-- British Music Society

The music’s youthful joie de vivre is matched by the Kaleidoscope Chamber Collective’s warmth, enthusiasm and finesse … Elena Urioste is an ever-eloquent first violin, Tom Poster’s silvery pianism glistens and flows as if effortless, and all of their colleagues match them with a spontaneous, collegial and well-balanced playing, making the whole more than the sun of its already excellent parts.

-- BBC Music Magazine

[The] Piano Quintet and Nonet in particular are assured, determinedly structured and richly scored statements, abundant in melody and a gutsy inner harmonic strength…The Kaleidoscope Chamber Collective…clearly love performing this music [and] take the listener on joyful and impassioned journey – great players cherishing special music for a new generation to discover[.]

-- International Piano

To celebrate the 150th anniversary of the birth of Vaughan Williams, we are proud to reissue this outstanding symphony cycle. Started in 1999 by Richard Hickox and the London Symphony Orchestra, this was the first Vaughan Williams symphony cycle to be recorded in Surround Sound and released on Hybrid SACD. Tragically, Richard Hickox died before he was able to complete the project – a task that was undertaken by Sir Andrew Davis and the Bergen Philharmonic Orchestra. This reissue is priced at 6 discs for the price of 2, and features almost an hour of bonus material – broadcast interviews with Sir Adrian Boult and Sir John Barbirolli, and reminiscences from both Ursula Vaughan Williams and the composer himself.

Praise for previously released recordings included in this set:

Vaughan Williams: Symphony No. 2 / Hickox, London Symphony

Richard Hickox gives us the chance to hear VW's original, hour-long canvas – and riveting listening it makes too! Sprawling it may be, but this epic conception evinces a prodigal inventiveness, poetry, mystery, and vitality that do not pall with repeated hearings. An essential purchase for anyone remotely interested in British music.

-- Gramophone (2001 Recording of the Year)

Vaughan Williams: Symphony No. 5 / Hickox, London Symphony

This is an exceptionally powerful yet deeply moving account of the Fifth. Aided by glowing, wide-ranging engineering, Hickox's is an urgently communicative reading. The first and third movements in particular emerge with an effortless architectural splendour and rapt authority, the climaxes built and resolved with mastery.

-- Gramophone

Vaughan Williams: Symphony No. 8, "Sinfonia Antartica" / Davis, Bergen Philharmonic

The Bergen Phil finds a clear affinity with the Sinfonia Antartica...There’s an inexorability about this performance and a strong tragic undertow that makes it a compelling listen throughout. Davis authoritatively builds up the tension without any fussiness.

-- The Sunday Times (UK)

If Chopin ‘invented’ the Mazurka, then surely by the same token Grieg ‘invented’ the Lyric Piece. Over his lifetime he published ten volumes of Lyric Pieces, containing 66 individual works.

Born in Bergen, Grieg studied in Leipzig and became established as Norway’s leading composer, successfully synthesizing Norwegian folk music with the forms and conventions of the German tradition. While he was internationally acclaimed for his Piano Concerto and the incidental music to Peer Gynt, the vast majority of his output lies not in large-scale works, but in smaller, more intimate forms, especially songs and, of course, his Lyric Pieces.

Peter Donohoe writes: ‘as a teenager I expanded my knowledge of the music of Grieg to include many solo piano pieces as well as the better-known orchestral works. I was beguiled by his style, and the reason remains somewhat intangible. Although one is able to identify the originality of Grieg as a composer – the Norwegian folk element in his music, his natural gift for memorable melodic lines, his occasional diversions into unique and extraordinarily forward-looking harmonies, and, to some degree, his emotional naïveté – there is a unique, unidentifiable kernel in his output that defies analysis, as is true of the work of all the great composers... All these works are pristine examples of his diverse and original style – Norwegian with a Germanic flavour – and it has been a huge and satisfying pleasure to return to them to create this and future recordings.’

REVIEW:

Donohoe, with a devotion to Grieg’s music dating back to his early years, clearly has the measure of this repertoire. He gets inside the gentler pieces, such as ‘Melancholy’ and ‘Summer Evening’, with beautifully poised playing. Grieg in his more overtly national mood, as in the famous and virtuoso ‘Halling’, is presented with infectious enjoyment and the simpler pieces are never patronized.

-- BBC Music Magazine

The Forgotten Rite, from 1913, is one of Ireland's earliest orchestral compositions. The symphonic rhapsody Mai-Dun was inspired by the Dorset countryside – Thomas Hardy Country – a landscape that exerted a lifelong influence on Ireland. While it was commissioned for the national Brass Band Championships in 1932, Ireland later arranged the central two movements of A Downland Suite for strings. The first and last movements were later arranged by his pupil Geoffrey Bush. The overture Satyricon was one of Ireland’s final large-scale works, and is based upon texts by the Roman writer Gaius (or, in some sources, Titus) Petronius Arbiter, a courtier of Nero. A London Overture and the Epic March were both commissioned by the BBC – the latter as a morale-booster during World War II. It was during this period that Ireland orchestrated The Holy Boy – a piano piece composed on Christmas Day in 1913. John Wilson and Sinfonia of London present these works with care and conviction, revealing the great quality of this unjustly neglected composer.

REVIEW:

I am very enthusiastic about the recorded quality we get here. A mildly reverberant acoustic gives a perfect cushion for the orchestra, and the strings in A Downland Suite are splendid in their unanimity and fullness of tone. The rest of the very fine orchestra play as expertly as one would expect given that the Sinfonia was re-established in 2018 as a recording orchestra, staffed by top players from British and international ensembles. It has also given public performances, and is scheduled to appear at the BBC Proms on July 16^th, in an all-English program of Elgar, Vaughan Wlliams and Bax, amongst others.

I am also enthusiastic about the performances, conducted with the necessary verve or gentleness as appropriate.

The presentation is up to Chandos’s normal high standards, with a very detailed analysis of each work and a history of the orchestra, accompanying a brief biography of John Wilson, all in English, French and German."

--MusicWeb International (Jim Westhead)

Praised by Gramophone as ‘one of the more original thinkers of his generation’, the Italian pianist Federico Colli is internationally recognized for his highly imaginative and philosophical interpretations and impeccable technique. This album is the first instalment of a new, intensely personal project for the pianist: an exploration of selected piano works by Mozart. It was the discovery (at the age of around six) of Mozart’s music that caught the imagination of the young Federico and inspired him to study music, and it was winning the International Piano Competition Mozart, in Salzburg, that launched his career as a pianist. His approach has been to immerse himself completely in Mozart’s own experience at the composition of each piece: where was Mozart living, what was he doing, what were his motivations behind each composition? Only after in-depth study of biographies of Mozart, his (and others’) letters, the historical, social, and political background, the Zeitgeist, the cultural atmosphere surrounding each work, does Colli then approach the scores and start the process of building his interpretations.

Acclaim:

“The opening sound we hear on Federico Colli’s album tells us that this idiosyncratic pianist’s first installment in a Mozart series is going to be particularly adventurous… The willing listener just needs to follow where Colli goes.” --Times of London

A 2023 GRAMMY Nominee for Best Chamber Performance!

Hailed by the magazine BBC Music for its ‘generous and warm-hearted, utterly beguiling playing’, the Neave Trio has emerged as one of the finest young ensembles of its generation. It has been praised by WQXR Radio in New York City for its ‘bright and radiant music making’, described by The Strad as having ‘elegant phrasing and deft control of textures’, and praised by The New York Times for its ‘excellent performances’. Here, the trio presents a program of music connected by the theme of Remembrance.

Rachmaninoff’s early first piano trio was inspired by Tchaikovsky’s trio in A minor, and shows illuminating glimpses of the mature composer to come. The elegiac mood of Rachmaninoff’s work is matched by that of Brahms’s first trio – again an early composition – which was inspired by the composer’s (unrequited) feelings for Clara Schumann.

Ravel’s only piano trio was composed in 1914, as France was being drawn into the horrors of the first world war. Ravel draws extensively on the rhythms and forms of his native Basque musical traditions, while the title of the second movement, ‘Pantoum’, refers to a form of traditional Malaysian poetry which typically deals with two separate themes in alternation, a feature to which Ravel responds with a series of contrasting themes and textures.

Countess Mária Theodora (Dora) Paulina Pejačević was born in September 1885 in Budapest. Young Dora grew up with all the advantages of an aristocrat: a fairy-tale life of opulent palaces set in idyllic landscapes; privilege, comfort, leisure, and wealth. From an early age she defied convention and walked her own path, one that eventually led her to ‘despise’ the aristocracy. Her father, Count Teodor Pejačević, a lawyer, held several high posts, including that of Civil Governor of Croatia, Slavonia, and Dalmatia (1903 – 07). Her mother, Lilla Vay de Vaya, an ‘exceptionally beautiful’ Hungarian countess, was a gifted pianist and singer, and a fine amateur artist.

Her parents arranged private lessons with teachers at the Music School of the Croatian Music Institute, at Zagreb, which lead to further instruction in Dresden and Munich. Dissatisfied with the ‘limits’ of her formal studies, Pejačević pursued her own intensive course of self-instruction in composition. Having taken her music education into her own hands, she set off to enrich and broaden her intellectual horizons, travelling to cultural centres in Germany, Austria, Czechoslovakia, and Hungary. During these travels, she came to know the leading artists, poets, and intellectuals of the day. The Piano Concerto was her first orchestral composition, and the first piano concerto by any Croatian composer. She composed the Symphony in F sharp minor during the first world war, whilst also working as a volunteer nurse. For its first complete performance, in 1920, she revised the work, which is here recorded in this final version.

REVIEWS:

"[The Piano Concerto] boasts attractive melodies, warmly lush orchestration and technically demanding piano writing. Peter Donohoe revels in its manifold opportunities for virtuosic display, but also brings poetry and requisite tenderness to the beautifully lyrical writing in the slow movement. The Symphony is even more impressive…Sakari Oramo and the BBC Symphony Orchestra, supported by Chandos’s customary warm engineering, clearly believe in the works and deliver an extremely compelling performance."

– BBC Music magazine (Erik Levi)

Peter Donohoe’s barn-storming style suits the piano concerto and Sakari Oramo conducts as if these were repertoire works. The recording is rich and full, in the Chandos manner, even though I was listening in ordinary two channel stereo…

– MusicWeb International (Stephen Barber)

The beginning of Pejačević’s first—and only—symphony emerges like a Brahmsian cortege, garlanded with grand strokes and unusually expressive melodies that wouldn’t sound out of place in [Alexander] Borodin’s musical world. But it soon picks up the strange beauty of [Richard] Strauss’s unsettling textures and harmonies, along with his predilection for the cinematic.

Croatian musicologist and Pejačević biographer Koraljka Kos characterizes her work during World War I as 'vigorous,' and borne 'perhaps out of the need to fence herself off from some of the awful reality she witnessed daily.' What she witnessed wasn’t at a remove; despite growing up in an aristocratic family, Pejačević rejected the leisure of her class in favor of work and, during the war, volunteered as a nurse in her village of Našice.

...For all of the threads of music history that come together in Pejačević’s works, their real attraction lies in [a] Caravaggio-esque chiaroscuro, written with an assertive hand but designed to evoke in the listener a sense of precariousness and dispossession. Brahms and Strauss wield power. Pejačević remonstrates it.

--Van Magazine (Olivia Giovetti)

Described by BBC Music Magazine as ‘Mozart music-making of altogether superior quality’, Jean-Efflam Bavouzet’s acclaimed Mozart Concertos series reaches Vol. 6. Along with Concerto No. 24, K. 491, the two concertos presented here were composed in Vienna in the winter of 1785 – 86, at a time when Mozart was working on Le nozze di Figaro. He was at the height of his fame as composer, virtuoso pianist, and teacher. These three concertos were all written for his own use in the concerts of that winter, and remained unpublished during his lifetime. Der Schauspieldirektor (The Impresario) was commissioned by Emperor Joseph II for an important state visit and performed at Schönbrunn palace on 7 February 1786. The Overture highlights Mozart’s innate ability as an orchestrator, and serves as a demonstration piece for Gábor Takács-Nagy and the wonderful musicians of Manchester Camerata.

REVIEWS:

Gábor Takács-Nagy elicits incisive yet vocally orientated phrasing from The Manchester Camerata, giving the impression that the marvellous string, wind and brass sections are reacting and responding to one another, while the timpani strokes make consistently palpable yet never overwhelming impact. The point and refinement of Bavouzet’s elegant phrasing exemplifies Mozart’s famous description of how certain passages should ‘flow like oil’… The engineering’s spacious yet clear concert-hall realism further factors into my enthusiastic recommendation.

-- Gramophone (Jed Distler)

Awarded the title Young Steinway Artist in 2020, the Bulgarian pianist Marina Staneva received the 2019 Sam Hutchings Piano Prize and was a 2018 Britten-Pears Young Artist. She has been praised for her serious talent, outstanding musicianship, extraordinary instinctive artistry, and fine technical command. For this her début recording, she presents works by two contrasting Bulgarian composers.

Pancho Vladigerov was arguably the most influential Bulgarian composer of all time. He was one of the first successfully to combine idioms of Bulgarian folk music and classical music. He was also among the founding members of the Bulgarian Contemporary Music Society (1933), which later became the Union of Bulgarian Composers. The British-Bulgarian composer Dobrinka Tabakova studied composition under Simon Bainbridge, Diana Burrell, Robert Keeley, and Andrew Schultz. Her composition Praise was sung at St Paul's Cathedral to celebrate the Golden Jubilee of Queen Elizabeth II, and she has received commissions from the Royal Philharmonic Society, BBC Radio 3, Cheltenham Music Festival, Britten Sinfonia, Three Choirs Festival, Wigmore Hall, and, in 2014, the PRS Foundation's first UK New Music Biennial.