Colors of Bach

THE SOUNDTRACK

Mahler’s cantata Das klagende Lied today constitutes a veritable rarity in concert programmes – in an age that without contradiction recognizes Mahler as one oft he most eminent milestones in the music history of the late 19th and early 20th century. Based on a horror tale written by Mahler himself, this large-scale, vocal symphonic work forms the beginning of Mahler’s more familiar oeuvre. Mahler, at the age of only 20, submitted the score for the Beethoven Prize at the Society of the Friends of Music in Vienna. He did not receive this prize, however, and subsequently made several revisions. It was finally premiered by the composer in Vienna on 17 February 1901 only. The ‚mixed version‘ (also employed for this recording) consisting of the original first movement and the revised version of the other two parts, became customary in the course of the great Mahler Renaissance in the 1960s. The presented live capture with the 2019 deceased Michael Gielen – like Mahler not only a conductor but also a composer – with the ORF Vienna Radio Symphony Orchestra was taken in June 1990 in the Konzerthaus Vienna.

REVIEW:

This performance of Mahler’s youthful horror story realizes every gruesome detail with positively sadistic relish. There are other fine versions in the catalog, but this live version is the most graphic, exciting, and true to Mahler’s youthful vision. Impactful live sound, great singing, great conducting—this is now the one to get.

– ClassicsToday.com

Also available from Edward Gardner and the BBC Symphony Orchestra on Chandos: Walton: Symphony 1, Violin Concerto / Little and Walton: Symphony No 2, Cello Concerto / Watkins

In this third volume of Edward Gardner’s Walton series with the BBC Symphony Orchestra, James Ehnes leaves his violin to tackle the taxing soloist role in the Viola Concerto. In a recent Strad interview, Ehnes confesses: ‘This is a piece I have loved since I was a teenager, so it is wonderful that the opportunity has come my way to record it... With Walton’s Viola Concerto, none of the writing is impossible but a lot of it is close. And in a way that is exactly where you want it to be: on the edge of technical limitations. There’s a tremendous amount of excitement in that.’ This album in surround sound also features two much later works: the 1957 Partita for Orchestra and the Sonata for String Orchestra, adapted in 1971 from the String Quartet in A minor of 1945 – 47. There is a striking contrast between the uncomfortable modernism of the up-and-coming young composer’s Viola Concerto and the relaxed brilliance of the mature Partita. But the Sonata shows Walton late in his life re-engaging as an arranger with his earlier manner, and so with the characteristic vein of restless unease that runs through most of his output.

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Ehnes and Gardner take us back to pre-Menuhin tempos, only a fraction slower than William Primrose’s pioneering 1946 recording. There’s a grand sweep to the performance which is wholly engaging in its refusal to wallow. Ehnes’s burnished viola tone is noble and warm. Gardner conducts a lithe performance of the Sonata for string orchestra, and a suitably boisterous Partita to fill out the disc.

– Gramophone

Reference Recordings proudly presents Tchaikovsky’s Symphony No. 4 in an exquisite interpretation from Manfred Honeck and the Pittsburgh Symphony Orchestra. It is coupled with a World Premiere recording of leading American composer Jonathan Leshnoff’s "Double Concerto for Clarinet and Bassoon", featuring the extraordinary talents of the Pittsburgh Symphony’s own Principal Clarinet Michael Rusinek and Principal Bassoon Nancy Goeres. This album was recorded in beautiful and historic Heinz Hall, home of the Pittsburgh Symphony Orchestra, in superb audiophile sound. Maestro Honeck honors us again with his meticulous music notes, in which he gives us great insight into his interpretation as well as the history and musical structure of Tchaikovsky’s great Symphony No. 4. This release is the tenth in the highly acclaimed Pittsburgh Live! series of multi-channel hybrid SACD releases on the FRESH! imprint from Reference Recordings. This series has received GRAMMY® Nominations in 2015, 2016, 2018, 2019 and 2020. Its recording of Shostakovich’s Symphony No.5 /Barber Adagio for Strings won the 2018 GRAMMY® Awards for Best Orchestral Performance and Best Engineered Classical Album.

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REVIEW:

The Symphony No. 4 has rarely received such an intense performance. There is a feeling of urgency, amplified by slight changes to the score that Honeck details in his expansive liner notes and by a general high-contrast approach to dynamics. Listeners will have to make their own decisions about these, but it's quite arguable that Honeck does nothing that a conductor of the late 19th or early 20th century might have also considered. The Pittsburgh Symphony is in fine form in the symphony's thrilling brass passages and in the all-pizzicato strings of the third movement. The accompanying Double Concerto for clarinet and bassoon by Leshnoff is also a pleasure.

– All Music Guide (James Manheim)

Sony Classical announces a further batch of complete recordings from the CBS/Sony and RCA Victor catalogues. The newest installment of this popular series features some unusual repertoire as well as documents of the New York Metropolitan Opera in its postwar heyday. In Rome in 1965, RCA produced a benchmark set of Gluck’s Orfeo ed Euridice, with an outstanding all-American cast led by Shirley Verrett as Orpheus and Renato Fasano conducting the Virtuosi di Roma. “This is undoubtedly the best performance and recording of the opera we have had,” wrote the Gramophone reviewer. Penguin Guide concurred: “If you have a mezzo as firm and sensitive as Shirley Verrett, then everything is in favour of your using the original Italian version. Fasano also uses the right-sized orchestra … and adopts an appropriately classical style. Anna Moffo and Judith Raskin match Verrett in clean, strong singing … The recording is vivid and atmospheric.”

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Excerpt from a review of the set's previous CD release:

Shirley Verrett makes a deeply impressive Orfeo, firm and pure in sound, classically restrained in expression; and her ''Che faro'', at a moderate, beautifully judged speed, is very finely sung, poised and quietly moving. The many other good moments include ''Che puro ciel'', done with a real sense of wonderment, to sounds of delicious refinement from the orchestra. Anna Moffo provides a competent, not specially interesting Euridice and there is an Amor of real charm and style from the late Judith Raskin.

The set is conducted by Renato Fasano, whose pacing of the score shows a very sure touch. The orchestra's playing is first-rate; in its long-breathed phrasing, this performance is of its time and represents its time persuasively. There is an excellent chorus; singing in their native tongue—a real advantage.

– Gramophone

Guitarist Daniel Lippel releases a new version of Steve Reich’s iconic Electric Counterpoint. In collaboration with South African born ethnomusicologist Martin Scherzinger, Lippel approached the piece through the lens of its roots in Central Africa, specifically the traditional music of the Banda-Linda tribe, from which Reich borrowed material for the canonic theme of the opening movement. Guitarist Daniel Lippel, called an “exciting soloist” (New York Times), “precise and sensitive” (Boston Globe) has carved out a unique and diverse career that ranges through solo and chamber music performances, innovative commissioning and recording projects, and performances in diverse contexts. He has premiered more than fifty new solo and chamber works, many written for him, recording several on the independent label he co-founded and directs, New Focus Recordings. Lippel has been a member of the International Contemporary Ensemble (ICE) since 2006 and Flexible Music since 2003 and has been a guest with many other ensembles including the St. Paul Chamber Orchestra, New York New Music Ensemble, New York City Opera, Either/Or Ensemble, Dinosaur Annex, and counter)induction.

The Hermitage Piano Trio is distinguished by its exuberant musicality, interpretative range, and sumptuous sound. Following a recent performance, The Washington Post raved that “three of Russia’s most spectacular young soloists… turned in a performance of such power and sweeping passion that it left you nearly out of breath.” Reference Recordings is proud to present their debut album as a Trio. A rarity in the chamber music world, this elite trio is comprised of three musicians who are noted soloists in their own right.

In a performing career spanning forty-five countries on five continents, violinist Misha Keylin is attracting particular attention with his world-premiere series of the seven Henri Vieuxtemps violin concertos. Hailed as “a brilliant cellist” by the legendary Mstislav Rostropovich, Sergey Antonov went on to prove his mentor’s proclamation when he became one of the youngest cellists ever awarded the gold medal at the world’s premier musical contest, the quadrennial International Tchaikovsky Competition. Pianist Ilya Kazantsev, a fresh and exciting presence on the international music scene and a passionate interpreter of his native Russian repertoire – hailed by The Washington Post as “virtually flawless” – has performed as recitalist and soloist with orchestras in Russia, Canada, Europe, and the United States. Among his many awards and honors, Mr. Kazantsev received first prize at the Nikolai Rubinstein International Competition (Paris) and won the International Chopin Competition (Moscow) and the 2007 & 2008 World Piano Competitions (Cincinnati).

REVIEWS:

Striking the right balance between interpretative nobility and expressive candour is particularly challenging in music of such claustrophobic intensity, yet the Hermitage Piano Trio proves fully equal to the task.

-- The Strad

The recording is truly splendid, with all three members of the trio and their recording producer collaborating to present us with a superbly effective aural rendering of these early indications of Rachmaninoff's slowly blossoming compositional mastery.

The booklet accompanying the CD deserves special comment. The program notes, in English only, are by Victor and Marina Ledin, who are also listed as the producers of the recording. I have rarely read such comprehensive and detailed essays, lavishly accompanied by old, sepia coloured photos as well as full-colour modern ones.

-- MusicWeb International

This new release is a stunning collection of classical-soul, piano-led pieces composed, arranged and performed by Alexis Ffrench. It is the perfect follow up album to his chart-topping Sony Music debut, ‘Evolution,’ and includes works for solo piano, piano & orchestra, and a special guest feature from international cello superstar Tina Guo. Alexis Ffrench has high ambition. This exceptional pianist and composer who trained at the Purcell School, the Guildhall School of Music and Drama and the Royal Academy wants to bring joy to a world of troubled times. He also wants to change the way people perceive classical music and to help make it more inclusive and democratic, more relevant to the society in which we live.

“In writing the album, Dreamland, I wanted to shine a light in times of darkness as an antidote to our troubled times; to give listeners an opportunity to stop, listen and breathe, if only for one three minute track. I hope listeners use Dreamland as a form of escapism, to transport them to a safe and calm oasis in which they can create time for self-care, often an afterthought in our busy, stressful working lives.” -- Alexis Ffrench

Beethoven: Violin Sonatas was Kavakos's debut recording on Decca Classics and was released in January 2013. "The unrivaled elegance and beauty of Leonidas Kavakos's sound would be reason enough to embark with him on a traversal of the complete Beethoven sonatas for violin and piano, but it's the probing musicianship he and the excellent pianist Enrico Pace bring to it that make the ride so thrilling. The conversations, arguments and flirtations between violin and piano that Beethoven writes into these sonatas are all rendered with spirit and impeccable taste." (The New York Times) The Strad described the album as "a masterly set that combines Beethovenian ferocity and gentleness..." Sony is proud to once again present this monumental release to the public.

“Peaceful Choir” by harpist Lavinia Meijer and chamber choir World Choir of Peace is a relaxing musical journey through the manifold colors and sounds of contemporary choral music. Renown international composers have contributed entirely new works or arrangements for this unique recording project, including Sir Karl Jenkins, Grammy-nominated composer and pianist Hauschka, San Fermin mastermind Ellis Ludwig-Leone, composer icon John Rutter, Estonian pop-violinist Maarja Nuut and German soundtrack composer David Reichelt (8 Days). The album includes 15 world-premiere recordings and music by house-hold names such as Ola Gjeilo, Eric Whitacre, Max Richter, Hans Zimmer and Arvo Pärt. Next to them, critically acclaimed composers of choral music have contributed to the album, such as Grammy-nominated Norwegian composer Kim André Arnesen and American composers Dan Forrest, Jake Runestand and Elaine Hagenberg.

For some pieces, the chamber choir is accompanied by an ensemble of additional instruments. Next to harpist Lavinia Meijer, violinist and influencer Esther Abrami, pianist Tim Allhoff or cellist Gereon Theis join the choir. The “World Choir for Peace” consists of 24 professional singers from 15 countries worldwide and was founded by conductor Nicol Matt. Matt has been involved in the production of more than 100 choral music recordings in his career. For this particular recording he collaborates with Grammy-winning sound engineer Gregor Zielinsky.

There are few concerts in the world that are awaited with as much excitement as the New Year’s Concert from Vienna. Under the direction of Christian Thielemann, the Vienna Philharmonic ushers in the New Year with a concert in the magnificent Golden Hall of the Vienna Musikverein.

The concert is relayed to over ninety countries all round the world, reaching an audience of more than fifty million.

The 2019 New Year’s Concert will be conducted for the first time by Christian Thielemann. A native of Berlin, Thielemann has been a regular and welcome guest of the Vienna Philharmonic since 2000, with the result that his first New Year’s Concert may be seen as setting an example and providing an appropriate tribute to his previous work with the orchestra. According to the orchestra’s chairman, Daniel Froschauer, orchestra and musicians trust each other completely: “The profound musical understanding and trust that have existed from the outset and that have always functioned perfectly have subsequently borne remarkable fruit in the symphonic repertory as well.”

Among the works that will be heard at the 2019 New Year’s Concert is the Transactions Waltz by Josef Strauß. Its title could serve as a motto for the 150th anniversary of the start of diplomatic relations between Austria and Japan. Since 1987 the New Year’s Concert has been shown live on Japanese television. Among the works by Johann Strauß that Christian Thielemann is conducting are his Express Polka, his waltz Pictures of the North Sea, excerpts from his only fully-fledged opera, Knight Pázmán, and the overture to The Gypsy Baron. In addition to works by other members of the Strauß family, the concert also features music by Josef Hellmesberger (ii) and Carl Michael Ziehrer.

The tradition of presenting New Year’s Concerts began in 1941. The first concert marking the New Year was given in 1939, albeit on 31 December. The first conductor was Clemens Krauss. Willi Boskovsky took over in 1955 and conducted no fewer than twenty-five New Year’s Concerts between then and 1979. The list of musicians who have conducted New Year’s Concerts reads like a who’s who of leading maestros. The New Year’s Concert was first broadcast live on television in 1959. The Vienna Philharmonic regards this now traditional event as a way of wishing the world a Happy New Year through the medium of music in a spirit of hope, friendship and peace.

The response to the Swiss soprano Regula Mühlemann's debut album with opera and concert arias by Wolfgang Amadeus Mozart was overwhelming: “Thiscombination makes Regula Mühlemann an outstanding Mozart interpreter," (BR-Klassik) "The way she creates here with a sense of sound, the way she then plays the coloratura with meaningful determination, setting dynamic contrasts without ever questioning the instrument, the soulful voice, is magnificent singing. [...] Regula Mühlemann has a natural approach to Mozart, she understands him so well that she can make him understandable." (Fono Forum) "That voice commands attention: How light as a feather, how beautiful in sound, how elegant and yet natural sounds this young, slender soprano voice."(NDR Kultur) Since then, Mühlemann has conquered opera houses and concert halls worldwide not only as a Mozart singer but also, for example, as a baroque singer. Now she is returning to Mozart with the Basel Chamber Orchestra under the conductor Umberto Benedetti Michelangeli. Regula Mühlemann has selected nine arias for her second Mozart album. They include virtuoso and touching parts from the operas "The Magic Flute", "Il re pastore" "Lucia Silla", "Le nozze di Figaro", "Zaide", "La finta semplice" and "Idomeneo". In addition, there are the concert arias "Ah se in ciel, benigne stelle" K. 538 and "Un moto di gioia" K. 579. Regula Mühlemann admires Mozart's deep knowledge of human nature. Moreover, his music is a special challenge for every singer, as the soprano emphasizes: "Mozart always shows you exactly where the problems are. It sounds so easy when you can do it, but it sounds so difficult when you can't."

2020 release. Jonathan Antoine became a global sensation at the age of just 17. Compared to the legendary operatic tenor Luciano Pavarotti after his astounding audition on Britain's Got Talent in 2012, the shy teenager's life changed overnight. Music mogul Simon Cowell proclaimed him a future star. He wasn't wrong. Alongside his singing partner Charlotte Jaconelli, Jonathan came second in the show's grand finale. The duo went on to release two albums, selling an impressive 250,000 copies. With this album, Going The Distance, Jonathan has really found his voice. Eight years after his debut, he's also now free to follow his own vision. Going the Distance realizes a childhood idea to structure an album in three acts, like a musical, which tell the story of overcoming adversity to fulfil your dreams. Featuring new repertoire and working with the Royal Philharmonic Orchestra, Going The Distance is an incredibly personal new album - a recording to cement his position as one of the world's best tenors. And, yes, he's still only 25.

Ahead of Beethoven’s 250th anniversary in 2020, Sony Classical is pleased to release Beethoven Sonatas Nos 3 & 23 “Appasionata” by superstar pianist Lang Lang. Lang Lang is acritically acclaimed piano virtuoso. Lang Lang began playing the piano at the age of three. Lang Lang studied at Beijing’s Central Conservatory of Music. At the early stages of his career, Lang Lang won numerous competitions including the Xinghai National Piano Competition and the Fourth International Competition for Young Pianists in Ettlingen, Germany. Lang Lang has performed with some of the worlds highly regarded orchestras including the Moscow Philharmonic Orchestra and the Philadelphia Orchestra. As bonus track it contains the 3rd movement of the “Tempest” sonata. Beethoven (1770—1827) was a German composer and pianist who is widely regarded as one of the greatest composers of all time. He is one of the most recognisable and influential composers of the Romantic period and his music remains popular around the world today.

All of the recordings of Reinhard Goebel's project "Beethoven's World" have received great attention and excellent reviews worldwide. For the first album with violin concertos by Franz Clement, the Welt am Sonntag wrote: "If the discovery of Beethoven contemporaries, which Goebel has just signed up for the Beethoven Year, continues in this way, it will be a fine year". For the second album with double cello concertos by Reicha and Romberg, Deutschlandfunk wrote: "This recording (...) sets new standards." Great reviews for the third album with works by Salieri, Hummel and Vorisek followed: "An outstanding contribution to the Beethoven Year: With his alternative Beethoven Project, Reinhard Goebel once again impressively proves that there was even more to hear in Vienna at the time than Mozart piano concertos and Beethoven symphonies."

The fourth album of this celebrated series continues the musical foray into the Vienna of the early 19th century with extraordinary rarities from Beethoven's contemporaries. Recorded with the excellent piano duo Tal & Groethuysen and the Frankfurt Radio Symphony, the album features the Concerto for Two Pianos by Anton Eberl (1765-1807) and the Concerto for Two Pianos by Jan Ladislav Dussek (1760-1812). The album also presents the world premiere recording of Joseph von Eybler's (1765-1846) “La Follia di Spagna” with all Instruments after the Violin Sonata, op. 5 no. 12 “La Follia” by Arcangelo Corelli. Goebel also includes a rarity by Ludwig van Beethoven (1770-1827) to the program: Gratulations-Menuett for Orchestra in E-flat Major, WoO 3. The recording proves once again that there was far more to hear for Vienna music lovers than piano concertos by Mozart or symphonies by Beethoven.

“EVOLUTION is inspired by the extremes and inherent fragility of the human experience - loss, love, birth, sorrow, vulnerability, triumph and despair but, above all, our ability to come through adversity and radiate the best versions of ourselves. In a world ever more divided by fear, mistrust and prejudice, dissonance and disharmony have been normalised and amplified through every day experience. Yet, even in the darkest of times, and through fragmented and shattered unions, our innermost selves desire to be connected. This album explores the beauty that lies beneath and the truths that bind us.” -- Alexis Ffrench With an impressive 75 million streams to date and over 1.5 million active listeners a month, contemporary pianist and composer Alexis Ffrench is a rising star in the streaming world. Alexis is an alumnus of some of the most prestigious music institutions in the country: Purcell School Of Music, Royal Academy Of Music and Guildhall School Of Music and Drama. As likely to be found listening to Kendrick Lamar or Chance the Rapper as Bach and Beethoven, Alexis’ combination of classical training and love for R&B and Roots music has helped define his unique sound. With a brand new album on Sony Music, several high profile performances, and an exciting partnership with Modest! Management, 2018 is already setting up to be Alexis’ most exciting year to date.

After the highly acclaimed recording of the complete Mozart piano sonatas, pianist William Youn, who was born in South Korea and has been living in Munich for many years, is now devoting himself to a new major project - the complete recording of all piano sonatas by Franz Schubert. On the first album, the pianist spans a wide arc from the first to the last sonata: On the first CD of this album, he starts with the last, the great B-flat Major Sonata D. 960 from Schubert's year of death in 1828 - and contrasts it's sometimes dreamy sounds with the fresh, self-confident first Sonata in E Major D. 157, which was written within a few weeks in 1815. The second CD follows with the light Sonata No. 13 in A Major D. 664, the mysterious conglomerate of Sonata No. 9 in F-sharp Minor D 571 / 604 / 570, without the unfinished fourth movement, and finally the momentous Sonata No. 14 in A minor D. 784 - a work of astringency and severity rather unusual for Schubert.

2021 release. Chloe Flower is a visionary, a powerhouse, an icon, an activist, a fashion influencer, and so much more. Bridging the gap between classical and pop, Chloe's self-created Popsical genre embodies sweet melodies, epic strings, and hip-hop beats blending with impressive aplomb. Chloe has been working on her eponymous debut album for over a decade. Living through the COVID-19 pandemic not only changed Chloe's life, but also the course of her music. The stay-home period was a clear signal to take ownership and to create an album which matters and speaks volumes. Chloe's album is divided into three acts - (I) Innocence, (II) Suffering and (III) Hope - and book-ended by a prelude and finale that redefine classical crossover. It features spoken word from Deepak Chopra and an interpretation of Billie Eilish's chart-topping hit 'Bad Guy.' Of her album Chloe states: "I was thinking about the life cycle. You start with innocence; born with a clean slate. Throughout life there is suffering which hardens you. But there's always hope for change, something better. I want people to listen to the album as a whole body of work, which is why there is a prelude and finale in addition to the three acts. The ultimate goal was to make an album that inspires listeners and makes people hopeful. It's new and edgy - a sound that is authentic to me. Though my music doesn't have lyrics, I still have something to say."

Get to hear Hans Zimmer’s greatest hits as you’ve never heard them before!

Sony Classical releases the double-album “The World of Hans Zimmer – A Symphonic Celebration” in spring 2019. The album features the music from the Zimmer-curated “World of Hans Zimmer” international concert tour by Semmel Concerts.

For “The World of Hans Zimmer – A Symphonic Celebration” Hans Zimmer has newly arranged his greatest hits and made them into electrifying concert suites for orchestra, choir and an impressive list of soloists.

Each concert suite features the most recognisable parts and melodies of a film score in the cohesive form of a new symphonic work. The album features such legendary scores as “The Dark Knight”, “The Da Vinci Code”, “Lion King”, “Pirates of the Caribbean” and “M:i-2 Mission: Impossible 2”. A band of famous soloists and singers adds to the excitingly new listening experience. Amongst these accomplished musicians are several of Zimmer’s long-time musical collaborators such as Gavin Greenaway (musical director), Lisa Gerrard, multi-instrumentalist Pedro Eustache, and renowned opera singer Valentina Nafornita.

The recording took place at the famous traditional concert hall Wiener Konzerthaus featuring renowned ORF Vienna Radio Symphony Orchestra and choir Neue Wiener Stimmen conducted by Martin Gellner in the course of the “Hollywood in Vienna” festival. “The World of Hans Zimmer – A Symphonic Celebration” also includes concert suites of the scores of “King Arthur”, “Pearl Harbor”, “Rush”, “Madagascar”, “Spirit”, “Kung Fu Panda”, “The Holiday”, “Hannibal”, “Gladiator” and “Inception”.

All of the recordings of Reinhard Goebel's project "Beethoven's World" have received great attention and excellent reviews worldwide. "If the discovery of Beethoven contemporaries, which Goebel has just signed up for the Beethoven Year, continues in this way, it will be a fine year". (Welt am Sonntag). "This recording (...) sets new standards." (Deutschlandfunk). "An outstanding contribution to the Beethoven Year Once again, Reinhard Goebel's Beethoven Project impressively proves that there was more to hear in Vienna at the time than Mozart piano concertos and Beethoven symphonies." (NDR Kultur) are only a few of the excellent reviews.

With the fifth album of the series, Goebel concludes his outstanding musical foray into the Vienna of the early 19th century - and once again with rarities from Beethoven and his contemporaries: He recorded with the Munich Radio Orchestra the first movement of an early violin concerto by Beethoven which has only been handed down in fragments. He also recorded concertos and concert pieces by Anton Wranitzky (1761-1821) and Jan Václav Vo?íšek (1791-1821). In addition, the album presents the world premiere recording of a concert piece for horn and orchestra by Beethoven's childhood friend Antonín Reicha (1770-1836). The recordings were made with excellent soloists: The renowned interpreters Nils Mönkemeyer (viola), Yaara Tal (piano) as well as Sarah Christian (violin), Teresa Schwamm (viola) and Christoph Eß (horn.)

Take in the vibrant colors of flutes and strings in this new album devoted to two somewhat rebel representatives of the German late baroque, Telemann and Quantz. Disobeying their parents in order to persevere in music, they were also able to distance themselves from certain burdens of the past to propose fresh and galant music. The spirited playing of flutists Claire Guimond and Alexa Raine-Wright, as well as the warm tone of violist Jean-Louis Blouin will more than do justice to these charming and lively works. Arion Baroque Orchestra Founded in 1981 in Montreal, Arion Baroque Orchestra is now a cornerstone in the world of early music on period instruments in Quebec and Canada. The clarity and freshness of Arion’s interpretations have been remarked upon since its first concerts; the delicacy of its readings of well-chosen and varied works has never wavered in more than 30 years. Constant attention to detail has earned the orchestra, led by the enlightened artistic vision of flutist Claire Guimond, a place among the most renowned early music ensembles in North America and throughout the world. The Orchestra offers a prestigious Montreal concert Series at the Montreal Museum of Fine Arts Bourgie Concert Hall featuring more than twenty musicians and with the participation of internationally renowned guest conductors. Arion has hosted such celebrated conductors as Stefano Montanari, Jaap ter Linden, Monica Huggett, Christophe Rousset, Barthold Kuijken, Rachel Podger and Elizabeth Wallfisch, to name just a few. Arion has been awarded many prizes and grants and tours regularly in the United States, Mexico, Europe and Japan, as well as Quebec and Canada.

Cappella Romana explores the musical legacy of the ancient civilization of Byzantium- caught between Latin West and Islamic East- with majestic ceremonies for the cathedral of Hagia Sophia, triumphant assertions of superiority by Westerners, and fervent prayers for the healing of religious divisions. Fabled Byzantium ended with the fall of Constantinople to the Ottoman Turks on 29 May 1453, inspiring the two poignant laments sung here that give Greek and Latin perspectives on the end of a 1,000-year-old empire.

ACRONYM presents forgotten works from the D�ben Collection. The D�ben archive consists of approximately 2300 music manuscripts, assembled by and named after a family of composers who served in succession as Kapellmeisters to the Royal Swedish Court in Stockholm. Much of the music within the collection is unique, and the vast majority of it has neither been published in modern edition nor recorded. ACRONYM previously scoured the D�ben Collection for sonatas that can now be heard on the ensemble's Paradise (Bertali) and Wunderkammer albums, and for this recording they searched this treasure trove of seventeenth-century music for the most beautiful and fascinating works available. It is likely the first time any of these Cantica Obsoleta have been heard in hundreds of years.

Violinist Rachel Barton Pine, “an exciting, boundary-defying performer” (Washington Post) known for her “bravura technique and soulful musicianship” (New York Times), headlines a groundbreaking album of blues-influenced classical works for violin and violin and piano by 20th and 21st century composers of African descent.

World-premiere recordings include Noel Da Costa’s ‘A Set of Dance Tunes for Solo Violin,’ based on American fiddle tunes; Daniel Bernhard Roumain’s ‘Filter,’ which conjures the sounds of electronic dance music and psychedelic guitar; Errollyn Wallen’s ‘Woogie Boogie,’ a humorous and inventive reimaging of the boogie woogie blues dance; and Billy Childs’s ‘Incident,’ a single-movement violin sonata / tone poem written as a response to a fatal shooting by police. Another premiere is Wendall Logan’s violin and piano arrangement of Duke Ellington’s 1935 composition, ‘In a Sentimental Mood.’ The album’s title track, Dolores White’s improvisational ‘Blues Dialogues,’ draws on classical, jazz, and country music, as well as African-American vocalizations and a blues harmonic language. David N. Baker’s gospel-tinged ‘Blues (Deliver My Soul)’ evokes the ecstatic energy of a Black church service. Charles S. Brown’s ‘A Song Without Words’ was inspired by bottleneck guitar player and gospel blues master Blind Willie Johnson. Each movement of William Grant Still’s ‘Suite for Violin and Piano’ evokes the work of a different African-American visual artist. Clarence Cameron White’s ‘Levee Dance, Op. 26, No. 2,’ a favorite of violin virtuoso Jascha Heifetz, surrounds a traditional African-American spiritual with a playful, syncopated dance. Coleridge-Taylor Perkinson’s ‘Blue/s Forms’ and ‘Louisiana Blues Strut’ befit a composer with a legacy of achievements in the classical, jazz, modern dance, and pop music worlds.

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REVIEWS:

What a fascinating, beautiful disc… The disc’s title is valid: these really are ‘dialogues’ in the most creative and stimulating sense…Need it be said that Pine plays everything here gloriously… Listen to how unaffectedly she outlines the melody of Still’s central slow movement. In passages of virtuoso display, she’s as sure-footed and as agile as an acrobat.

– Gramophone

This is a superb CD, clearly one of Barton Pine’s real masterpieces. Highly recommended to any other classical violinist who wants to tackle these works, and listeners who enjoy jazz and blues-influenced classical music.

– The Art Music Lounge

This is an amazing disc. Barton Pine and partner Matthew Hagle are to be commended for such a thoughtful, gracious, and inspiring program, recorded in Cedille’s typical robust and clear sound.

– Audiophile Audition