Saxophonist Pat Posey goes to extremes for his solo debut album, they/beast. Introducing the tubax – a German-invented, modified version of the contrabass saxophone – Pat plays deep, dark renditions of J.S. Bach’s Cello Suite No. 3, Melodies for Saxophone by Philip Glass, Bach-inspired Mo’ingus by Brooklyn-based composer-saxophonist Shelley Washington, and Pat’s own Hymn.

REVIEWS:

Pat Posey’s solo album they/beast displays the Tubax›s incredible sound with a wide variety of materials, from Bach cello suites to Philip Glass› Melodies for Saxophone. If listening to Paul Desmond’s alto sax is like sipping a fine white wine, Posey’s Tubax is like drinking a delicious porter. Its lows are glorious and Posey dexterously wrestles it through some very complex material. they/beast is a unique and sonically adventurous treat.

-- The Whole Note

The growling, guttural timbre and harmonic timbre and harmonic overtones are perfectly showcased…Posey displays colossal lung power and technique…fiendishly virtuosic…a dazzling, unsettling spectacle by a musician pushing the creative envelope.

-- BBC Music Magazine

The tubax has an amazing low register, and in the hands of a player like Pat Posey, it can be nimble and produce astonishing multiphonics … Posey’s own Hymn (2022), a real tour-de-force of inspiration, beauty, quirkiness, and earblowing sounds. Fantastic album.

-- American Record Guide

On his second album with Signum Records, internationally acclaimed violinist Charlie Siem is joined by the Philharmonia Orchestra, conducted by Oleg Caetani to perform works by Beethoven.

Charlie Siem is one of today’s foremost young violinists, with such a wide-ranging diversity of cross-cultural appeal as to have played a large part in defining what it means to be a true artist of the 21st century. Siem has appeared with many of the world’s finest orchestras and chamber ensembles, including: the Bergen Philharmonic, the Camerata Salzburg, the Czech National Symphony, the Israel Philharmonic, the London Symphony, the Moscow Philharmonic, the Oslo Philharmonic, the Rotterdam Philharmonic and the Royal Philharmonic Orchestra.

The Philharmonia is a world-class symphony orchestra for the 21st century, based in London at Southbank Centre’s Royal Festival Hall, resident in cities and at festivals across England, and streaming online.

The largest amount of organ music that has survived from earlier members of Johann Sebastian Bach's family was penned by Johann Michael Bach (1648-1694), a cousin of J.S. Bach's father and also the father of Maria Barbara, J.S. Bach's first wife. It is a collection of chorale preludes spread out over the liturgical year, although it is not possible to state that the collection is as ambitious and complete as that of Johann Sebastian's own (incomplete) Orgelb�chlein. The majority of these chorales can be found in the Neumeister Collection; this also contains a number of Johann Sebastian's early works that bear clear links to compositions by his first father-in-law.

Anton Bruckner 200 (1824-2024)

Dutch conductor Bernard Haitink and the Bavarian Radio Symphony Orchestra were linked by a long and intensive artistic collaboration, brought to an abrupt end by his death in October 2021. BR-KLASSIK now presents outstanding and as yet unreleased live recordings of concerts from the past years.

This recording of Bruckner's "Te Deum" and his Eighth Symphony (version by Robert Haas, 1939) documents concerts performed in the Philharmonie im Gasteig in November 2010, and in the Herkulessaal of the Munich Residenz in December 1993.

Bridge Records is pleased to present this previously unissued performance by the Stuyvesant Quartet. The recording is the only known "in concert" recording by this stellar quartet of players associated with Toscanini's legendary NBC Symphony Orchestra, and was made at the Library of Congress's Coolidge Auditorium in 1946. This release is part of Bridge's ongoing series devoted to the Stuyvesant Quartet's historic recordings.

REVIEW:

It is fitting that Prokofiev’s First Quartet is performed here, as this work was first performed at the LoC itself. The inclusion of Dohnányi’s Second Quartet is certainly cause for celebration. Their Dvořák cuts deep emotionally. This disc of historic performances is a little miracle and recommended without hesitation.

— Fanfare

Steve Elcock - UK-born (in 1957) but long since based in France - was recently hailed by a fellow composer in the American magazine Fanfare as 'the greatest living symphonist'. All eleven of those he has composed to date are, in various ways, concerned with the large-scale accumulation and dissipation of tension, rather in the manner of the later Nielsen symphonies - the half-hour span of his Fourth Symphony also reconciling tonality and atonality in it's wild and energetic arch. Elcock is fond of bringing popular elements into his music, and elements of folk-dance duly animate his Viola Concerto. These major works are book-ended here by two big-hearted orchestral showpieces that could become audience favourites in the fullness of time

America/Beautiful is a five-volume collection conceived, commissioned, and performed by pianist and arts advocate Min Kwon, comprising 76 new piano works by American composers inspired by "America the Beautiful." Kwon brings together a sweeping range of individual voices into a unified musical vision that invites listeners to experience the United States as a living, evolving cultural idea. The result is a deeply moving musical tapestry - a sonic portrait of the nation in all it's complexity. Heard as a whole, the collection resists a single narrative, instead offering diverse perspectives that question and re-imagine the American experiment, bound together by the credo of E pluribus unum (out of many, one). As Kwon observes, "In spite of all the difficulties we face, there is still profound beauty, humanity, and possibility in this country." As the ideal partner for this bold, ambitious, and one-of-a-kind artistic undertaking, Delos celebrates the United States Semiquincentennial with this collection.

The anonymous L'homme arm� tune was widely used in 15th- and 16th-century Europe as structural and melodic inspiration for composers to base their masses on. The reason for it's enduring appeal is not really understood, but it's catchy melody and evocative martial theme were clearly appreciated by composers from Dufay to Carissimi. de Profundis continues it's Morales Project with two very different but equally exquisite Masses on this melody, alongside his spectacular Magnificat secundi toni. De Profundis is a hand-picked vocal ensemble that performs continental Renaissance sacred music at the original low pitch, using the all-adult-male forces appropriate to the period. Conducted alternately by Robert Hollingworth and Eamonn Dougan, the group will release 10 albums on CORO over the next decade, completing their exploration of Morales' work.

Franz Danzi has gone down in music history and into the repertoire of countless ensembles as a prolific and ingenious composer of appealing wind quintets. The fact that this genre represents only a fraction of his highly diverse catalogue of works is often overlooked, for Danzi was among those luminaries of the "transitional era" who did not satisfy the general preference for clich�s. Heir to the Mannheim tradition on the one hand, visionary of the dawning Romantic era on the other; admirer of Mozart and kindred spirit of Weber; obedient court musician and quiet rebel-this combination makes for some anachronistic surprises: how else could anyone have written these classical, delicate Rococo trios, while in Vienna a certain Beethoven was pushing the boundaries of what was possible? Danzi could, and how!

The Bournemouth Symphony Orchestra and conductor Kirill Karabits, joined by an outstanding cast led by Corinne Winters, present the world premiere recording of Thomas de Hartmann's lost opera Esther. Often written by candlelight during the Nazi occupation of Paris, Esther was composed as de Hartmann-a non-Jewish Ukrainian expatriate-lived through the unfolding horrors of the Holocaust. He perceived profound parallels between those events and the Biblical story of Esther as dramatized in Jean Racine's play, from whose text he adapted the libretto. Esther is perhaps the only major musical work composed contemporaneously as a direct artistic response to the Holocaust. Bringing this long-neglected work to life has been a rewarding undertaking, involving extensive engagement with the composer's handwritten score and the preparation of a new modern performing edition. This process required close study of de Hartmann's orchestral writing and stylistic language. Esther is a distinctive work that bridges opera and oratorio, it's dramatic momentum shaped through extended monologues, choral commentary, and a triumphant final ensemble. Richly orchestrated, it reflects the full breadth of de Hartmann's artistic development-from his early training in Saint Petersburg and the influence of Rimsky-Korsakov, Arensky, and Taneyev, to later creative periods in Munich and France, and his search for a deeply personal musical language. Esther, the composer's largest and most ambitious later work, stands as a summation of his eclectic, polystylistic approach and a compelling rediscovery for today's performers and listeners. This album marks the next chapter of the Thomas de Hartmann Project, bringing the composer's music back to the listening audience.

Two composers. Two bassoonists. Two premieres. One big musical feast. The bassoon as a solo instrument does not appear all that often in the concerto literature, but a concerto for two bassoons is truly rare, being something that could arise only in the environment of an ensemble that possessed two soloists on that instrument. One such double concerto has been played for many years under the name of the important Czech composer Jan Krtitel Vanhal. But what if it had really been composed by someone else? The question has been raised by Ondrej sindelar, a player of the classical bassoon, who has found the same concerto bearing the name of Anton Zimmermann in one of Prague's archives. The two works differ from each other only in the slow movement. Theft? Plagiarism? A copyist's error? Collegial assistance? We are left with the unsolved mysteries of authorship and of whether the two masters may have met. Vanhal's travels took him from Hradec Kralove to Vienna, Italy, Hungary, and Croatia. Having established himself professionally in Hradec Kralove, Zimmermann went on to a successful career in Pressburg (Bratislava) in the service of Archbishop Jozef Batthyany. What is important, however, is that Ondrej sindelar has now joined his former teacher, the bassoon wizard Sergio Azzolini, to record Zimmermann's version of the double concerto in it's world premiere, supplemented by a solo concerto by Zimmermann (another premiere) and one of Vanhal's three preserved concertos. Noteworthy music that is previously undiscovered in the hands of wonderful soloists and orchestra - that's a real musical feast.

LPO Principal Conductor Edward Gardner loves the music of Michael Tippett, he says, because of it's 'otherworldly, luminous and elemental' qualities, which 'strike right from his inspiration to a listener's heart.' In 2022 the LPO and Gardner released a landmark live recording of Tippett's opera The Midsummer Marriage, which won a Gramophone Award, and on this disc Gardner continues to shine a spotlight on this fascinating 20th-century composer. The ferociously difficult Piano Concerto is executed flawlessly by Steven Osborne, while the Second Symphony revels in the newfound clarity, intricate textures and formal rigor that would become the hallmarks of Tippett's later works.

Classical Music

Stintonfinds plenty of interest in the music and interprets it with spirit and virtuosity. Her phrases are well thought-out and articulati on clear and effective. The beautifully written and emotionally charged finale of the D minor Concerto comes over well... crisp, responsive orchestral playing, well-chosen tempos and clean, incisive ensemble. I thoroughly enjoyed this playing of some wonderfully inventive music... helpful background notes (Gramophone)

A scintillating achievement... Sabina Cvilak's soprano has the focus... Bostridge brings piercing sincerity... Keenlyside - sonorous, commanding... an important issue: Noseda's judgement of pace is unerring, and the orchestra and chorus simply superb. (BBC Music 4). "LSO and Chorus are on cracking form, the soloists are as good as you will get... No one should be without (Britten's) but 50 years later, Noseda's dramatic, pulsating account represents another landmark." (Financial Times). "Noseda seeks to take the audience from the edge of consciousness to the blazing fires of the battlefield... Bostridge spins a beautiful line... Keenlyside is excellent throughout... Decisive and confident, Sabina Cvilak has the Slavic edge that has seemed hard-wired into the part since the incomparable Vishnevskaya." (Gramophone). "[Noseda] brings a strong sense of Italianate lyricism to bear on the score, reminding us of Britten's debt to Verdi... choral singing is fervent and intense, the playing fierce and sensitive." (The Guardian). "Another essential recording." (The Times).

this first important black female composer has become celebrated recently as we discover her works. This includes her best Symphony and major Suite (Alto)... *"history bears down on the opening of the Third Symphony... big moments where Price clearly feels the burden of the African American experience but allows it to fuel her soul. It's easy to forget that she's a contemporary of George Gershwin. In fact, (he) attended the premiere of Price's Symphony No.1. So how do we tell this story, recognising on the one hand... she's been neglected in this historiography, but... also she's very much a part of the American symphonic scene?" (*Gramophone)

16 of the best known and loved piano works by the King of Ragtime: "Bolcom is known as a pianist who made excellent LPs of ragtime, Gershwin, and several types of American 'vernacular' music. A composer himself, he brings a great understanding of the music of Joplin... one of America's most remarkable talents; possibly the first genuinely American composer. This album illustrates how adventurous this creator could be and also provides a near-perfect example of ragtime - a little masterpiece" (Gramophone).

great spontaneity and vitality... firm resonant bass... polished, strongly characterised accompaniments... The effect is exhilarating (Vivaldi- Penguin Guide 3 stars) "playing is alive, alert, stylish & committed... sound is first class" (Penguin Guide 3 stars)

MARCHES POLKAS & AMERICANA

Classical Music

Classical Music

Long out of print, Deryck Cooke's invaluable 'Introduction to Wagner's Der Ring des Nibelungen' reappears on CD, with it's original LP couplings of Siegfried Idyll and Kinderkatechismus. Almost as soon as it reached completion with the release of Die Walk�re in 1966, the Decca Ring cycle conducted by Sir Georg Solti was recognized as the greatest achievement in the history of recorded sound. Three years later, the cycle was issued complete for the first time, and it came with a significant appendix: a three-LP introduction to the music-drama, written and narrated by Deryck Cooke. An English writer on music, Cooke had come to international attention through his completion of Mahler's sketches for the Tenth Symphony. He was a friend of the Decca Ring's producer, John Culshaw, who invited him to make this introduction. No academic, but a broadcaster on the BBC's Third Programme and a pioneer in what might be called popular musicology, Cooke presumed no prior knowledge on the part of his listeners, only a willingness to immerse themselves in the world of the Ring and in it's universal themes of love, power, self-knowledge and tragedy. Outlining the musical leitmotifs which underpin the drama of the Ring, and the part they play in moving it ever onwards, Cooke drew for illustration on excerpts from the complete Decca recording. In addition, Solti and the Vienna Philharmonic recorded many excerpts especially for this introduction - played slower or extended or without voices, to aid comprehension. (Some of these excerpts may have been recorded during rehearsals for various orchestral sections.) Countless listeners have since had their understanding of the Ring immeasurably enhanced by engaging with Cooke's introduction. In complement to Decca's recent remastering of the original recording, Eloquence now reissues Cooke's introduction on CD, presented just as it was in the original box. Unlike previous digital-era issues, this set also includes the recordings of the Siegfried Idyll, led by the Vienna Philharmonic violinist Walter Weller, and the charming Katechismus which Wagner composed as another birthday present for his wife Cosima. All six LP sides fit on two generously filled CDs, and the booklet includes full details of the track points as well as newly inscribed musical examples, to help listeners navigate their way around the narrative. Much more than a period-piece, this set remains the ideal introduction to Wagner's Ring, with much to teach both newcomers and experienced listeners to a perennially challenging and rewarding work of theatrical genius.

Classical Music

Early Italian Baroque

5 Sonatas For Flute