A complete edition of all Gaspare Spontini’s vocal chamber-music pieces currently known is presented here for the first time. These pieces were composed for all sorts of purposes and performed in the circles of private drawing rooms. This recording, which is the outcome of an extensive, meticulous work on the sources, includes the collections, the independent tunes and, in the appendixes, the modified or translated pieces, the drafts and sketches, and the original contemporary arrangements.

Chandos Records has signed an exclusive contract with the Brodsky Quartet in time for the celebrations of its fortieth anniversary in 2012. Formed in 1972, the Brodsky Quartet quickly emerged at the forefront of the international chamber music scene. It has performed more than 2000 concerts and made more than fifty highly acclaimed recordings. This is the Quartet’s first release on Chandos, and includes many of the encores it has performed over the years, notable for their novelty and diverse range of styles and emotions. All the pieces have been arranged by past or current members of the Quartet, and together form an entertaining and original collection.

These kits have everything you need to delve into the world of classical music. They come with a 78-minute CD and a 40-page booklet that serves as the CD cover. The songs on the CDs consist of some of the greatest music composed between 1500-1825. With works from Britten, Palestrina, Dowland, Couperin, Corelli, Vivaldi, Bach, Handel, Telemann, Haydn, Mozart, and Beethoven, the CD is sure to captivate you with it's beautiful music. Each kit comes with a 40-page booklet by Christopher Mohr that is composed of easy-to-understand, non-technical descriptions of the music on the CD. Often, it gives second-by-second explanation of what is happening in the music so you can follow along with the timer on your CD player. Some of the explanations and details may go into more detail than the beginner is interested in so the more complex material is contained in gray boxes throughout the material and can be skipped over entirely. Also included are fascinating stories about the impassioned lives of the great composers.

Acclaimed for their life-affirming virtuosity and irresistible charm, The King’s Singers are in global demand. Their work – synonymous with the best in vocal ensemble performance – appeals to a vast international audience. “The Library is the name of a series of EP releases that celebrates our ‘close-harmony’ library, both historically and as it grows each year. Close-harmony is the phrase we have always used to describe its lighter repertoire, and we see The Library as our chance to make sure this rich vein of great songwriting and arranging gets the place of prominence it deserves. The Library recording series will involve regular releases which will come out alongside other touring and recording projects, giving us an output for revisiting some of these old favorites and commissioning brand new ‘close-harmony’ from recent releases. Every volume in The Library series will capture a variety of songs, celebrating the wonderful diversity of music in our world today.”

Classical Music

Handel, G.F.: Apollo E Dafne

Issac Albeniz, the pre-eminent Spanish composer was a prolific composer, especially of piano music. Presented here is a collection of his works performed by the celebrated pianist, Martin Jones. Included in this collection are pieces that were left unfinished at the time of Albeniz’s death and completed by Martin Jones. Martin Jones has been one of Britain’s most highly regarded solo pianists since first coming to international attention in 1968 when he received the Dame Myra Hess Award. The same year he made his London debut at the Queen Elizabeth Hall and his New York debut at Carnegie Hall, and ever since has been in demand for recitals and concerto performances on both sides of the Atlantic. He is a prolific recording artist and his many major projects include the complete solo piano works of Mendelssohn, Brahms, Debussy, Grainger, Stravinsky, Korngold, Szymanowski, Granados, Guastavino, Mompou, Ernesto Halffter, Joaquin Nin, Has Gál, Jean Françaix, Jean Roger-Ducasse, and Alan Richardson.

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REVIEW:

Altogether this is a well stocked and representative survey of Albéniz's colourful and imaginative piano music and Martin Jones is as always a convincing advocate; I am always impressed with character and panache that he brings to all that he plays. The liner notes are informative though are in English only. A marvellous collection of the best of Albéniz' piano music.

– MusicWeb International

TESTIMONY: THE STORY OF SHOSTAKOVICH

In his capacity as conductor of contemporary music ensembles, Kociuban has given premieres of many new pieces. As a cellist, he pursues a career as a soloist, an orchestral player and a member of chamber groups. He’s given many first performances of solo and chamber works. This includes the world premiere recording of Violoncello totale.

Purity of Sound and Perfect Craftsmanship Marked Anton Webern's Journey from His Intensely Expressive Early Songs Through to the New Perspectives Cultivated in His Opp. 23 and 25 Settings. Webern 'Rehabilitated the Power of Sound' and in So Doing Broke New Ground in the Bagatelles for String Quartet and in the String Quartet, Op. 28. This Recording, Completing Mr. Craft's Second Webern Cycle, Is Rounded Off with the Powerful Cantata, Op. 29 and Webern's 1923 Arrangement of Schoenberg's Chamber Symphony, Op. 9. Throughout His Career, Robert Craft (B. 1923) Has Conducted Symphonic, Orchestral, Operatic and Large Ensemble Performances, Including World Premiere Works By Leading 20th C. Composers. His Many Recordings of Music By Igor Stravinsky, Arnold Schoenberg and Anton Webern Recordings for the Naxos Label Have Received Critical Acclaim, Up to and Including Grammy Award Nominations.

The LaSalle Quartet was active from 1946-88; however, it's influence goes far beyond that. Violinist Walter Levine is still a vital, much sought out authority for string players. From their founding, the Quartet was devoted to the late 19th and 20th c repertoire. The works of Schoenberg, Berg and Webern were a significant part, as were the quartets of Schoenberg's teacher, Alexander Zemlinsky. This CD of studio recordings from 1965, 1968 and 1977 draws Zemlinsky together with Haydn and Brahms - a bold program for an ensemble specializing in modern to include some "early music".

A wonderfully relaxed and good humoured performance in which nearly everything seemed to have gone right.

There is a small but important group of operas that are essentially ensemble works, and in which the presence of a few star singers is less important than the quality of the team as a whole. Die Meistersinger, From the House of the Dead and Peter Grimes are prime examples but surely Falstaff comes at the top of the list. Everyone involved, including the chorus and orchestra as well as the many smaller parts, needs to be aware of their part in the work as a whole and in the chosen approach. If this is the case any small weaknesses in the main parts can easily be forgiven and the nature of the work can be triumphantly realised. That is surely the ambition of any opera company serious about its task, and is clearly the case here. I would not want to suggest that the present set is superior to all its many distinguished predecessors but it is certainly another vindication of the importance of ensemble in opera.
 
Glyndebourne took its productions to the early Edinburgh Festivals right from the first Festival in 1947 onwards. In 1955 it took Falstaff in a production originally intended to be conducted by Vittorio Gui but taken over by Giulini when the former became unwell. A later Glyndebourne version of the opera conducted by Gui with Geraint Evans, the original choice as Ford, has now been released on Glyndebourne’s own label. The usual very thorough rehearsal which has always been a feature of this company’s work is especially relevant to this opera. The result is a single-minded approach to its musical and dramatic character that is very striking. Whether this is due to the conductor’s efforts, to the long rehearsals or to careful casting I do not know but the result is a real overall success.
 
The individual casting is admirable. Fernando Corena’s recordings of buffo music by Donizetti and Cimarosa had shown his ability in this field. It is surprising that this production appears to have been his first performances as Falstaff. The part is often given to a baritone but a bass voice does have the advantage of suggesting the character’s scale without needing to resort to “funny” voices. He does not play with the words in quite the detailed way of, say, Tito Gobbi or Geraint Evans, but instead he exudes a more general good humour. I found it wholly convincing, especially when set within a cast all of whom display their character’s individual “humours” musically and without exaggeration. Walter Monachesi has a voice very different from Corena’s, which helps a lot in their scene together, and if the Merry Wives are not so well distinguished from each other, neither are they in most performances of the opera or indeed in Shakespeare. The role of Mistress Quickly is a gift for a singer with the necessary power in the lower register and ability of characterisation. Oralia Dominguez has both of these qualities and stands out even in such distinguished company. All of the other, by no means minor, parts are well filled. One oddity is that Kevin Miller takes over in Act 3 from Juan Oncina as Fenton. He may lack the same lyrical beauty of voice but there is no serious loss.
 
As I explained earlier, it is the quality of the ensemble that distinguishes this recording. All of the big complicated ensembles which can sound simply confused or untidy are here clear and transparent. Even with a recording which is adequate for a broadcast of the period but little more there is no real loss to the music. There are occasional stage noises, including what is probably the prompter at times, and some obtrusive applause but this simply makes the listener even more aware of what must have been a tremendous theatrical occasion. There is no libretto or even a synopsis which is regrettable but understandable in a version likely to appeal mainly to collectors who have more modern versions in their collections already. I would happily have exchanged the seven pages of listing of the ICA catalogue for more pictures of the original production - or indeed a more detailed description of it.
 
There are many distinguished recordings of Falstaff in the catalogue, including those conducted by Karajan (with Gobbi), Toscanini, and (some years later) Giulini in Los Angeles. The present set takes its place with them, like them offering hours of pleasure and delight. If the opera has a lesson it is the composer and librettist’s sheer delight in the varied character of humanity and its many frailties. This recording captures that varied character to perfection in a wonderfully relaxed and good humoured performance in which nearly everything seemed to have gone right.
 
-- John Sheppard, MusicWeb International

During his lifetime Anton Rubinstein gained a considerable reputation as a piano virtuoso the equal of Liszt, and for a stream of distinctive compositions, among them symphonies and operas. He was also responsible for revolutionising standards in Russian teaching and performance – yet despite his eminence many of his works have been overlooked. Le Bal, Op. 14 presents a characteristic ballroom scene in ten sections full of energy and rich sentiment. This miniature drama charts the anticipation of the dancer, a series of eventful dances and a final reflection on what has been. Warren Lee made his debut with the Hong Kong Philharmonic Orchestra at the age of six. A graduate of the Royal Academy of Music in London and the Yale School of Music, he was the First Prize winner of the Stravinsky Awards International Piano Competition and the Grand Prix Ivo Pogorelich in 1995. He has performed on four continents, often in collaboration with international artists and leading orchestras. His recordings for Universal Music (Hong Kong) and Naxos have garnered favourable reviews worldwide. A Steinway Artist as well as an awardwinning composer, Warren Lee received the Ten Outstanding Young Persons Award in Hong Kong in 2012 and was elected an Associate of the Royal Academy of Music in 2015 for his contribution to the music profession. In 2017 he received the Ian Mininberg Distinguished Alumni Award from the Yale School of Music.

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REVIEW:

The playing is stunning and imaginative. Warren Lee gives a performance which sparkles in the lively numbers and is suitably thoughtful in the quieter and more reflective moments.

– MusicWeb International

Following the announcement by Tasmin Little of her intended retirement from the concert platform, we wanted to create an album that would stand as both a tribute to, and celebration of, her outstanding career as a performer. What better way to do so than ask her to select her own, personal favorites from her recorded career? An exclusive Chandos artist since 2010, Tasmin has made a series of recordings that have proved a cornerstone of the Chandos schedules for a decade, and feature a range of composers and styles of quite breath-taking variety. The first album concentrates on concerti, and features both Walton’s and Britten’s concertos with Edward Gardner, along with the slow movement of her award-winning Elgar recording with Sir Andrew Davis. The second features works from Vivaldi though to Shostakovich via Brahms, and includes (among many other gems) her recording of Vaughan Williams’s iconic The Lark Ascending. It also celebrates Tasmin’s recital partnerships with three outstanding pianists: Piers Lane, Martin Roscoe, and John Lenehan. As she writes in her booklet note: ‘I am very happy that this final, double-album set should reflect so many aspects of me as a musician; and I remain full of gratitude for the tremendous opportunities I have been given to play and record with the greatest musicians of today. I hope you all enjoy this final release.’

Surging with epic emotions, Royal Mezzo showcases mezzo-soprano Jennifer Larmore in symphonic portraits of commanding characters from legend, literature, and mythology. (Cedille)

This new release from pianist Barry Douglas is the sixth and final volume in his exploration of Brahms’s output for solo piano. BBC Music writes of this series, “Douglas’s tone is a deep velvet cushion, the legatos full of affection and the rhythms galvanized with great energy.” This unique collection of works shows Brahms not only as a composer, but also an arranger, pedagogue, historian, virtuoso, and pianist. Barry Douglas hails from Belfast, Northern Ireland. He has won numerous awards all over the globe, including an appointment as an Officer of the Order of the British Empire and the gold medal in the International Tchaikovsky Competition.

REVIEW:

Douglas’s hefty, full-bodied sound, built from the bottom up, befits the mellow power of Brahms’s sound world. In the dark E flat minor Op 118 Intermezzo, most pianists focus attention on the right-hand melody and treat the rumbling left-hand lines as muted filigree. Douglas, however, does almost the exact opposite, and the effect is revelatory.

– Gramophone

Alfred Hitchcock commissioned his film scores from composers who were Hollywood’s master-craftsmen. The concert items prepared from those scores feature a dazzling variety of styles, from Baroque and jazz to dark Romanticism and angular angst, all using the orchestra with breathtaking virtuosity. The conductor John Mauceri, as at home with this repertoire as any other musician, has prepared a number of concert suites from the film scores and some of them receive their first recordings here. This recording was made live in concert in Danish Radio’s new concert hall in Copenhagen. The booklet contains an introductory text by John Mauceri and an extensive, illustrated essay on Hitchcock and his use of film music and work with composers by British film-music historian John Riley.

REVIEWS:

The concert recordings contain some ambient noises and quirks of balance (lots of bass tones). But the pluses are powerful: the orchestra's flair, the vivid colors and audible adrenalin. Even the most dedicated film buff should deepen their appreciation as Hitchkock's composers run the gamut.

– BBC Music Magazine

Hitchcock was the enabler of many hours of orchestral music that are part of the 20th century’s legacy. Herrmann’s scores for Vertigo and Psycho, and Franz Waxman’s for Rear Window, stand out. The Wagnerian Scène d’Amour, from Vertigo, comes over as one of the great slow movements.

– Sunday Times

Fikret Amirov is one of Azerbaijan’s best-known 20th-century composers in the classical tradition, and the inventor of the ‘symphonic mugam’ based on traditional folk melodies (as can be heard on Naxos 8.572170). Symphony ‘To the Memory of Nizami’ reflects the character of the celebrated and influential Muslim poet and philosopher Nizami, who was born in the ancient city of Ganga in Azerbaijan. Amirov’s skill in evoking fantastic worlds is heard in a suite derived from the ballet One Thousand and One Nights, in which this famous narrative about the seductive and perilous Orient resolves from a cinematic chase into a memorable love scene and final triumphant celebrations. GRAMMY Award-nominated cellist/conductor Dmitry Yablonsky has made numerous highly successful recordings for Naxos, and his connection with Azerbaijani music reinforced with releases such as Piano Concertos (8.572666) that are ‘Romantic treasures that reward repeated listening’. (MusicWeb International)

Classical Music

Classical Music

While he left an extensive and significant output of stage-works, the contribution of Kurt Weill to orchestral and instrumental genres was largely restricted to his formative years.

MEDIA VITA: POLISH PASSION SON

2006 Grammy nominee for Best Classical Crossover Album.

Olivier Messiaen’s Meditations sur le Mystere de la Sainte Trinite grew out of improvisations that he performed at the inauguration of the rebuilt organ of La Trinite in 1967. It became his largest cycle to date and marks Messiaen’s first use of ‘communicable language,’ in which each letter of the alphabet is assigned a unique pitch and note value, thereby translating text into music. Haunting harmonies, awe-inspiring monumental grandeur and the deepest profundity of expression are contrasted by the innocence of birdsong with the recurrent call of the yellowhammer, a tranquil voice from nature amid kaleidoscopic Biblical themes.

The orchestra relishes Delius’s contrasts.

It is a delight to welcome performances of two of Delius’s American-inspired works by forces from Florida, where Delius lived from 1892 to 1895. Although Sea Drift, a setting of a poem by Whitman, is overtly about an American subject, the music is more universal than specifically American. While the initial drafts of Appalachia were made in Paris the year after Delius left Florida - Marco Polo, Naxos’s sister label, once had a recording (8.220452) of this earlier version in their catalogues under the title of American Rhapsody - the work was very substantially expanded to the form we have it here some eight years later, long after Delius had returned to Europe.

I first heard Sea Drift in the original Beecham recording issued on a limited edition Delius Society release of four 78s (now on Naxos) - I still have them. Beecham’s account of the score remains a marvel of sympathetic identification with the spirits of both Whitman and Delius. Unfortunately all of his recordings - and there are a good many of them, from studio and live broadcasts, not all currently available - are in mono. This is a score which absolutely demands the atmosphere of stereophonic sound. Similarly Beecham never recorded Appalachia in stereo, and his last (mono) LP (reissued by Sony) suffered from a baritone who had seemingly been chosen for his ability to sing Danish for the coupled recording of the Arabesque rather than any ability to sing sympathetically in English for the closing ‘negro spiritual’ section of Appalachia. One cannot possibly accuse Leon Williams of sounding un-American, but the tone of his voice is nevertheless rather English and rather too polite. He is not helped by the rather close proximity of the microphone, which brings him closer than the rest of the performers rather than blending him into the whole. Bryn Terfel, in his Chandos recording of Sea Drift with Richard Hickox (coupled with the Songs of Sunset and Songs of Farewell), digs far more deeply into the meaning of the words than Williams does here. The emotion of the latter is too generalised, and his voice lacks the light and shade of Terfel or John Shirley-Quirk on Hickox’s earlier Decca recording.

Appalachia fares rather better in this reading. The orchestra relishes the contrasts in Delius’s set of variations, with a nicely winsome touch in passages such as the waltz variation at 19.57; Beecham allowed a very gusty breath of the ballroom to intrude here. Earlier they are beautifully atmospheric in the passage from 17.01 which recalls Delius’s Florida opera The magic fountain. The chorus is nicely distanced in their brief interjections in the earlier variations, and come into their own with the own variation at 27.50, when they appear to move closer. Unfortunately the close microphone placement given to Williams at 31.52 serves only to emphasise how precisely English is his diction, and the choir are now very far forward indeed, which brings a sense of stridency which is entirely foreign to the Delius idiom. The passage at 33.28 sounds uncomfortably like the closing titles for a Hollywood Western - not at all the area of America that Delius had in mind.

This Naxos disc duplicates exactly the contents of one of Richard Hickox’s earliest recordings of British music, issued originally on an Argo LP in 1980, with Shirley-Quirk at the peak of his form in the baritone solos, which is certainly a reading which deserves to be in any Delius collection - it remains available from Arkiv Music . The Naxos recording is more immediate in general sound than the analogue Hickox, but the latter has plenty of atmosphere and the Royal Philharmonic Orchestra - many of whose members must have played this music under Beecham - respond with affection to Hickox’s somewhat slower tempos. Indeed Sanderling could sometimes be accused of hurrying, as at the baritone entry at 2.58 where the soloist sounds a bit hustled. It is important to keep Delius’s music moving, not allowing it to stagnate, but the flow can be maintained without undue haste; Sanderling shaves nearly four minutes off Hickox’s speeds in his earlier recording, almost a fifth of the whole duration of a fairly short work. Beecham, even with the constraint of 78 sides, was slower than this, and Delius always expressed his conviction that this conductor understood his music better than anyone else.

It is always a suspicion that when one knows a particular performance well one might be allowing nostalgia to colour reactions to a performance. To test this I played the recording of Sea Drift to a friend of mine who, although he knew and loved the poem, did not previously know the music at all. He like me vastly preferred Hickox, observing that although that performance was noticeably slower, it at the same time had a sense of purposeful motion that Sanderling lacked. He also actually preferred the more integrated sound of the older recording.

Naxos’s cover photograph by Giorgio Fochesato is particularly beautiful and appropriate, and the booklet commendably includes the complete texts of both works. The orchestra and chorus both perform superbly; it is nice to hear a really big choir sing this music - 137 singers are listed - as Delius would have expected in his earlier performances. They maintain pitch even in the most exposed passages of Sea Drift.

-- Paul Corfield Godfrey, MusicWeb International