Includes sonata(s) by Dietrich Buxtehude. Soloists: John Holloway (Violin), Ursula Weiss, Jaap ter Linden, Mogens Rasmussen, Lars Ulrik Mortensen.

The court at Manneheim, one of Europe’s great 18th-century musical centers, provided myriad opportunities for creative development. Having absorbed the ideas of his teacher, Johann Stamitz and other luminaries, Beck wrote a series of symphonies notable for their dramatic contrasts, breadth and sweep, the progressive inclusion of the woodwinds and a willingness to explore expressive intensity. His progressive use of woodwind instruments in the Symphony in G major, Op. 4 No. 5 is among the notable developments to be heard in this second recording of Beck symphonies by Marek Štilec and the Czech Chamber Philharmonic.

Liszt’s Etudes d’execution transcendante enshrine the spirit of High Romanticism, embodying extremes of expressive drama and technical virtuosity. His encyclopedic approach to technique is shown at its most dazzling in this cycle, heard here in the 1852 revision which Liszt himself declared ‘the only authentic one.’ Integration of musical and technical elements is absolute, and the music’s narratives are supported by dramatic physicality, an orchestral richness of sonority, and an exceptional coloristic quality. The young Moscow-born Israeli pianist Boris Giltburg is lauded across the globe as a deeply sensitive, insightful and compelling musician. Born in 1984 in Moscow, he moved to Tel Aviv at an early age, studying with his mother and then with Arie Vardi. He went on to win numerous awards, most recently the Second Prize at the Rubinstein Competition in 2011, and in 2013 he won First Prize at the Queen Elisabeth Competition, catapulting his career to a new level.



REVIEW:

Boris Giltburg is a phenomenon. The music seems to ooze from every pore of his being, and he makes us think anew about what we are listening to. I renewed acquaintance with favored recordings from my collection (Ashkenazy, Berezovsky, Berman, Gekic, Kempf, Kultyshev, Strelchenko, Trifonov), but this one stands out for its ability to challenge the mind when thinking about Liszt’s magnificent opus.

– American Record Guide

Recording of the Month

Ferdinand Ries was Beethoven’s student, close friend and biographer, but until quite recently was very much one of those composers living in the shadow of his Bonn master, rather than as the gifted and prolific composer he in fact was.

American pianist, author and educator Susan Kagan has explored the music of those composers associated with Beethoven and his musical scene. In fact she has researched the music of Archduke Rudolph – Beethoven’s composition student for more than twenty years – for her Ph.D. This was subsequently published by Pendragon Press back in 1988. More recently she has almost single-handedly championed the cause of Ries’s piano music, with five CDs of his Sonatas and Sonatinas on the Naxos label.

Kagan explains: ‘Ries studied piano with Beethoven (both were natives of Bonn, Germany) and was entrusted by him with such work as making transcriptions and piano arrangements, and copying orchestral parts of Beethoven’s new works. Ries moved to England in 1813, married an Englishwoman, and had a successful career touring as a virtuoso concert pianist. At the same time he was composing prodigiously and virtually everything he wrote was published. His thorough knowledge of Beethoven’s music undoubtedly helped shape Ries’s style, but his piano sonatas, from 1809 on, show an adventurous turn toward an expressive keyboard style anticipating that of the first generation of Romantic piano composers – Mendelssohn, Chopin, and Schumann. His gift for melody is like Schubert’s, and he is ever inventive in creating and developing beautiful themes. While his symphonies and concertos are ‘public’ works, intended for large audiences and concert halls, the piano sonatas are his most personally-expressive works, revealing an individual outlook on a genre of music cultivated by that great triumvirate of the Classical period – Haydn, Mozart, and Beethoven.’

Ries also composed eighteen violin sonatas, which were brought out by Bonn music-publisher, Simrock, who also published much of Beethoven’s music. On this latest release from Naxos, Kagan is joined by violinist and fellow-American Eric Grossman, in an exploration of three of Ries’s violin sonatas, two from his op. 8 set, and his op. 19, all world-première recordings. However, unlike the piano sonatas, which have been released as part of a series of volumes, by starting here with a well-chosen selection from the eighteen extant examples, it gives the record company the option of releasing further violin sonatas in the future, or just letting this present single CD speak on behalf of the other fifteen.

It is interesting that the opening movements of the Sonata in F, Op. 8 No. 1, recorded first, and the Sonata in C minor, Op. 8 No. 2 that follows, have more than just a passing acquaintance with movements by Beethoven himself. While the latter first movement is very reminiscent of the corresponding movement from Beethoven’s Piano Sonata in the same key, Op. 10 No. 3, the F major Sonata opens in a pastoral vein, with a main theme which immediately hints at Beethoven’s ‘Spring’ Sonata for violin and piano in the same key. Rather than reinforcing the idea that Ries is merely mimicking his teacher – what follows, in both of Ries’s sonatas, after the initial ‘homage to Ludwig’, really does confirm that the younger composer has an individual voice, and subsequently embarks on quite a different musical journey from his master.

Of the violin sonatas as a whole, Kagan continues: ‘(They) are models of the Viennese Classical sonata style established by Mozart: most are in three movements, with first movements in sonata-allegro form, lyrical slow movements in ternary (ABA) form, and rondo finales. Like Mozart, Ries divides the material to provide equal interest for both instruments.’ The Sonata in F largely adheres to this pattern, though is, in fact, a four-movement work, with a sprightly Scherzo and Trio in the tonic minor (F minor) following the opening ‘Allegro ma non troppo’, before a conventional, though short slow movement, leads to the finale, with its essentially rustic theme. However, this soon contrasts with the central episode, where staccato triplets evolve into a vigorous fugato section (like a fugue, but not fully played-out), and something which, according to Kagan in her compact, yet succinct and informative sleeve-notes, is an unusual event in Ries’s music, where polyphonic writing is ‘generally avoided’.

The characteristic dotted rhythms and robust dynamics of the ‘Allegro con spirito’ that open the Sonata in C minor, imbue it initially with an almost martial character, but this soon turns lyrical, in which vein the ensuing ‘Adagio cantabile’ slow movement continues, and which also then acts as the perfect aperitif to the lightness of the closing rondo, with its staccato texture and preponderance of rapid repeated notes.

The so-named Grande Sonata in F minor, while the shortest of the three works on the CD, is nevertheless conceived in large scale, both with regards structure and content, and with its key, and the dramatic insistence of the opening movement’s main theme, link it in character to Beethoven’s ‘Appassionata’ piano sonata, written some five years earlier. Unlike Beethoven’s work, Ries’s sonata begins with a short and poignant ‘Largo espressivo’ introduction – not unlike the opening of Beethoven’s earlier ‘Pathétique’ sonata, but providing nowhere near as dramatic a lead-in. Ries maintains the feverish mood of the ‘Allegro agitato’ throughout, despite the occasional sections away from the over-arching minor tonality, and the movement’s calmly-understated close. The following slow movement, in a gentle triple measure, and in the relative major key (A flat major), has a simple charm and eloquence that makes it extremely endearing and pleasing on the ear, but with sufficient contrast within, to hold the listener’s attention throughout. The overall playful mood of the final rondo also has more than enough variety, both rhythmically and melodically in its main theme and episodes, to sustain it, with some real fireworks in the central episode. The music has a decidedly Schubertian feel, both thematically, and in Ries’s use of tonality, where more remote keys figure, and there is often a characteristic shift from major to minor and back. Yet again Ries chooses to finish like a lamb, rather than a lion – something Beethoven does in the opening movement of his ‘Appassionata’, but not in the work’s tumultuous and clattering coda to the finale.

Whichever way you look at this latest Ries CD from Naxos, you will surely not be disappointed. The playing, positioning and recording are first-rate, and the three pieces recorded are charming, entertaining and with a good feel for motivic development. Whether they form part of a more extended investigation into the composer’s repertoire for violin and piano, or remain just a one-off sampler, at the bargain price offered, they are simply too good to miss.

– Philip R Buttall, MusicWeb International

Valery Gavrilin was one of the most colorful and significant Russian composers of the second half of the 20th century. He was only 25 when he composed 'The Russian Notebook,' a 'poem of love and death' crafted in a new musical language that doesn't employ folk melodies but does use folkloric texts, and with a virtuosic vocal part. These stylized tunes are combined with rich melodies to form a haunting cycle heard here in a 2018 orchestration. The ten numbers from the ballet 'Anyuta' are lively, melodious and touchingly beautiful. Yuri Serov has toured across over 35 countries and has recorded more than 70 albums for record labels across the world. Serov is chief conductor of the Volgograd Philharmonic Orchestra and the St. Petersburg Mussorgsky Youth Symphony Orchestra, and is the author of many articles and essays on music.

In his second solo piano recital disc for Signum, this release further demonstrates Alessio Bax's dazzling skill and flair in performance and interpretation - this time with Rachmaninov's piano works. The programme is centered around the Preludes op.23, but takes in a broad selection of his other studies, etudes, melodies and transcriptions - in performance, Bax describes the programme as being a collection of 'visions and landscapes'.

- This recording illustrates the development of the Tuscan organ school of the 19th century. The collection ranges from Father Antonio Casini’s brilliant compositions, with their echoes of contemporary opera, to the classical refinement of Luigi Ferdinando Casamorata, whose work occasionally reveals a recourse to counterpoint, and to the heartfelt romanticism of Giovacchino Maglioni, where melodic élan and imposing sound require extraordinary virtuoso skills, including the extensive use of the Pedal.

- To capture the original sound and spirit envisaged by the composers, for this recording organist Matteo Venturini has selected two period instruments. With its brilliant, direct voice, the monumental organ at Corsanico lends itself perfectly to the brilliant compositions of Father Antonio Casini. The organ in the Basilica di Santa Maria di Nazareth in Sestri Levante, with its intriguing solo register sound and magnificent tutti voices, was chosen for the works by Casamorata and Maglioni. The technical specifications of these instruments are included in the booklet.

- Matteo Venturini, one of the foremost organists of Italy, has already successfully recorded for Brilliant Classics, works by Gronau, Weckmann and Müthel.

Witold Lutoslawski's few surviving apprentice works are suffused with the elegance of Ravel and the lush effusiveness of Szymanowski, and this is particularly true of the early Piano Sonata, heard here in Giorgio Koukl's new and corrected edition based on the original manuscript. Further premieres include the wistful 'A Kiss of Roxanne' and the technically complex 'Invention.' Including all of the folk-music tinted pedagogical miniatures, works for piano four hands and other occasional pieces, this is the most comprehensive edition of Lutoslawski's works for solo piano ever recorded. Virginia Rossetti began her piano studies with Massimiliano Ferrati, later attending the 'Antonio Buzzola' Conservatory in Adria where she graduated with honors. In May 2013 she obtained her Master of Performing Arts with distinction at the Hochschule fur Musik in Basle and in 2014 at the Royal Flemish Conservatoire of Brussels. Since 2011 she has been the pianist of the Lunaire Piano Trio. Giorgio Koukl is a pianist/harpsichordist and composer. He studied at the State Music School and Conservatory, and the Conservatories of Zurich and Milan.

Franz Schubert's rarely performed opera, more appropriately dubbed a Singspiel, Fierrabras, is heard here in a fine-sounding, well-sung 1959 Bern, Switzerland radio broadcast concert performance that features the one and only Fritz Wunderlich in the leading role. One of Myto's bestselling titles despite the lack of name recognition of nearly every other cast member, this recording of Fierrebras returns to the marketplace where its competition is slight and interest in anything Schubert is and will always remain high.

Naxos' triumphant march through Poulenc's complete chamber music continues with this latest release containing, among a host of smaller items, a smashing performance of the magnificent Sonata for Two Pianos, one of the composer's greatest large works in any medium. Alexandre Tharaud and Francis Chaplin play beautifully; their performance is a touch less expansive than Fèvier/Tacchino on EMI, but still hypnotically seductive in the slow introduction and third movement, while the faster music has the right rhythmic skittishness and crisp articulation. The other outstanding performance here is the Sonata for horn, trumpet, and trombone. This awkward but charming piece has seldom sounded better balanced and more natural (not to mention in tune), and it's very well recorded in a warm acoustic. The other pieces are trifles, but no less enjoyable for that. Another winner. --David Hurwitz, ClassicsToday.com

These brilliant, hard-driving performances bring back (happy) memories of Russian orchestras of the 1960s and a style of playing that has all but disappeared. The performances aren't subtle, but then neither is the music, and my how Theodore Kuchar and Co. deliver the goods! The playing isn't perfect: in Pictures, Gnomus sounds a touch frantic, and the trumpets smear their rhythms in Samuel Goldenberg and Schmuyle; but incidental imperfections count for little next to Kuchar's "pedal to the metal" approach. Listen to the plangent wind sonorities in the second Promenade, to the pounding attack on The Hut on Fowl's Legs, or to the totally uninhibited brass and percussion at the conclusion of The Great Gate of Kiev. This is the real deal, an impression only confirmed by scorching accounts of both versions of A Night on Bald Mountain (Mussorgsky's original and Rimsky-Korsakov's better-known rewrite). The other two short pieces, the Hopak and Golitsin's Exile, simply put the icing on the cake. Don't let the cheap price, the not-terribly-well-known performers, or the brevity of this review prevent you from trying out this really exciting and very well recorded disc (probably the best sonics from this source thus far). You'll be missing a real treat if you do. [6/7/2003]

--David Hurwitz, ClassicsToday.com

A musician of genius, Jean-Baptiste Lully put all his musical science at the service of intense oratorical emotion in the Grands Motets. These vast religious compositions, with their powerful dramatic character, were representative of the splendor deployed at the court of Louis XIV. The Dies Irae and the De Profundis, imbued with great solemnity, were both given at the royal funeral of Louis XIV's wife, Queen Maria Theresa of Austria, in 1683 in the Basilica of Saint-Denis. This extraordinary Funerial ostentation was magnified by Lully's works, making Madame de Sevigne remark that at their performance that "all eyes were welled up with tears". Stephane Fuget and Les epopees - a veritable army of generals - deliver a grandiose, shimmering, theatrical and oratorical version of this music, draping it in an abundance of brilliant glittering ornaments, like the sun invigorating the stained-glass windows, mirrors and gilding of Versailles, to the point of eternity.

GREAT RUSSIAN SYMPHONIES (10-CD Box Set)

The word ‘symphony’ is used to describe an extended orchestral composition in Western classical music. By the eighteenth century the Italianate opera sinfonia—musical interludes between operas or concertos—had assumed the structure of three contrasting movements, and it is this form that is often considered as the direct forerunner of the orchestral symphony. With the rise of established professional orchestras, the symphony assumed a more prominent place in concert life between 1790 and 1820 until it eventually came to be regarded by many as the yardstick by which one would measure a composer’s achievement.

The symphony came late to Russia. The first attempts at a Russian Nationalist symphony were made in the late nineteenth-century by Balakirev and his acolytes, Borodin and Rimsky-Korsakov as well as by Tchaikovsky, whose symphonies (despite his European leanings) have a distinctly Russian flavour. In their wake followed numerous composers, from Glazunov to Myaskovsky, similarly instilling their music with the melodies of their homeland. In the years that followed Russian politics had an unmistakable impact on the Russian symphonists, as Rachmaninov and Prokofiev (among others) went into exile whilst composers such as Shostakovich vented their political frustrations through the medium of music—his Leningrad Symphony being a prime example.

R E V I E W:

The most important works here also tend to get the best performances. So let’s proceed in order of overall quality. Best are Shostakovich’s Fifth with Petrenko, Borodin’s Second and Rimsky-Korsakov’s Scheherazade with Schwarz, Kuchar’s Prokofiev First and Fifth, and Kalinnikov’s First, and Antoni Wit in Tchaikovsky’s Fifth and Sixth. All the rest are fair to good. These include Glazunov’s Sixth and Rachmaninov’s Second (and The Rock) with Anissimov, Shostakovich’s Seventh and Miaskovsky’s 25th (Yablonsky), Tchaikovsky’s Fourth and assorted short works (1812 Overture, Romeo and Juliet) with Adrian Leaper, and Scriabin’s Poem of Ecstasy and Third Symphony with Golovschin. Topping it all off is a pretty respectable Antar Symphony conducted by André Anichanov. Yes, you can do better in most of this music, but this 10-disc set is well-chosen and an easy way to get a big pile of popular and unfairly neglected Russian symphonies, so who’s complaining?

-- David Hurwitz, ClassicsToday.com

Winner of a 2022 Gramophone Award for Best Orchestral Recording!

If one sought a musical manifestation of all the painful experiences and tragic failures of European history in the early 20th century, it would be impossible to overlook the symphonies of Gustav Mahler. Here, there is no harmony where discord is more fitting. Here, life cries out, with all the conflict and joy it proffers humanity. In their performances, Kirill Petrenko and the Bayerisches Staatsorchester have enabled these experiences to resonate in remarkable fashion. What better way to launch the Bayerische Staatsopers new label than with this outstanding live concert recording. (Nikolaus Bachler, General Manager, Bayerische Staatsoper) Kirill Petrenko, general music director of the Bayerische Staatsoper from 2013 until 2020, conducts Gustav Mahlers Symphony No. 7 a pinnacle of the symphonic repertoire in a dramatic interpretation. This is the first audio-recording with Kirill Petrenko as chief conductor of the Bayerisches Staatsorchester.

Classical Music

Heinrich von Herzogenberg (1843-1900) was a singular composer for the 19th Century. He found inspiration in the music of Wagner and Schumann, but was also the founder of the Bach Society and championed works of older composers such as Schütz as well as a personal friend of Brahms. While attracted to the music of the Lutheran church, he was a devout, life-long Catholic.

Herzogenberg's oratorio "The Birth of Christ" was quite extraordinary for its time. Large-scale religious music was no longer fashionable, and even most "Masses" were written for the concert hall rather than the Church. Herzongenberg's Die Geburt Christi is scored for a large orchestra, choir, children's chorus, soloists and organ and deftly combines the countrapuntal textures of Bach with the late Romantic harmonic language of Brahms. The result is a serene and oddly moving score, achieving some of its most touching moments with the simplest of forces (a lovely setting of Jesu, Lieber Jesu Mein" for solo voice and cello is just one highlight).

From the West Point Military Academy comes this great album that presents the Military Academy Concert Band and Glee Club. These wonderful organizations have a rich history, and continue to perform many concerts throughout the year that draw in thousands of listeners. This album features music for West Point including "The Official West Point March," "Pride of the Point," and "Alma Mater," along with patriotic classics like "Battle Hymn of the Republic" and "The Stars and Stripes Forever." Led by Lieutenant Colonel Frank G. Dubuy, the U.S. Military Academy Band and Glee Club play beautifully on each piece, allowing the listener to experience exactly what the Band sounds like "in concert." It is the diversity, excellence in performance, and technical showmanship of the Academy Band that places it at the top of it's class.

R. Strauss - Elektra, Chor der Deutschen, Staatsoper Berlin and Saatskapelle Berlin directed by Daniel Barenboim.

Includes italian song(s) by various composers. Ensembles: Juilliard School Trombone Choir, Joe's Jersey Jazz Jesters Big Band, Alessi Street Band, Extension Ensemble. Conductors: Virginia Allen, Sam Pilafian. Soloists: Joseph Alessi, Warren Jones, Barbara Allen.

“Devine’s harpsichord Goldbergs can stand among the best in a crowded field.” - Phillip Kennicot, Gramophone – September, 2011

=====

Harpsichord versions of J.S. Bach’s Goldberg Variations don’t seem to roll off the presses in quite the same quantities as piano versions these days, but this is still a hotly competitive field for any new entry. Just to pick on two good examples, I’ve been having a listen to Masaaki Suzuki’s recording on the BIS label, as well as making comparisons with another fairly recent harpsichord recording by Aapo Häkkinen on the Alba label (see review). Suzuki has plenty of drive and energy, going for brisk tempi and crisp articulation which keeps everything going with plenty of zip – something you may or may not want in your Goldbergs, but is good to have around if you are in the mood. Häkkinen is frequently more reserved in tempo, and more inclined to introduce a rubato flexibility into his musical narrative.

It’s a terrible thing to make sweeping generalisations, but Steven Devine falls somewhere in between these two players. He has a fairly flexible approach, using a certain amount of rubato to bring out the shapes of phrases but not distorting melodic lines in the process, and certainly not applying as much freedom as Häkkinen. Nor does he drive the music as hard as Suzuki. Tempi are decently forward moving without being tumultuous, and Devine’s articulation is clear without being overly picky, with a nice legato effect. Ornamentation is certainly not extreme, with a few extra passing notes here and there – certainly not exceeding the bounds of acceptable convention. There was only one point which made me check my references: Variatio 6 is played with a slightly odd semi-triplet rhythm, a sort of tum-ti-tum-ti effect, but not quite explicitly, and not quite all the time. Devine writes useful booklet notes about the history and some of the forms in this piece, but doesn’t go into his own interpretative choices when recording the work – probably not necessary when going for what is essentially an uncontroversial reading.

This is a fine recording made using a superb instrument by Colin Booth, indeed, the one seen pictured on the cover for this release. The microphones are placed close, but the lack of mechanical noise and the fine sonority of the harpsichord mean you can be close up and intimate without feeling assaulted by upper harmonics. There are some lovely effects in this piece, and the points at which the parts cross in the two-manual variations such as Variatio 8 are particularly distinguished here. Even after extensive listening it is however tricky to know where to place this recording amongst the pantheon. I have a nostalgia-tinted affection for Trevor Pinnock on the Archiv label, though even his fine recording can sound a bit ‘chunky’ these days. While I still like Aapo Häkkinen I accept his more obvious pulling around of the phrasing can sound a little mannered in places, and certainly by comparison with Steven Devine. The Alba recording is a little more respectful in terms of distance though and is ultimately a less fatiguing listen. Häkkinen’s Joel Katzman instrument also has a thrumming/ringing quality which I can take for long periods. The Booth instrument is a little more nasal in tone, though by no means unattractive. Both recordings are almost identical in terms of overall timing by the way.

It’s only when you start casting the net wider and encounter desperately pedestrian sounding recordings like that of Shin-ichiro Nakano on the Meister Music label that you come to appreciate the quality of these performances. There are also plenty of intolerably jangly ones around, but we’re still spoilt for choice. For every also-ran there’s another fine version, such as Ketil Haugsand on the Simax label, and the ancient and stately Wanda Landowska makes her own views on the piece more than emphatically clear despite an antique recording. All I can say is that Steve Devine’s recording of the Goldberg Variations is certainly amongst the best, making all of the crucial musical points very effectively and with plenty of expressive breathing room. There’s nothing stodgy about his playing, but neither is it lightweight and ephemeral. I can’t say it’s revelatory, but I doubt there are any of these left to come, at least, not on harpsichord. If you already have a much loved harpsichord version of this great work on your shelves then this might not push it aside, although you might by chance have one of the dodgy ones and not know what you are missing. Bearing this in mind by all means give this recording a try – you certainly won’t be disappointed.

- Dominy Clements, MusicWeb International

Tilting at windmills. The long-suffering Sancho Panza. Sighs of love for Dulcinea. The familiar and fanciful themes of the Don Quixote legend are brought to life by Apollo’s Fire in Telemann’s imaginative portrayal. The Don Quixote Suite sits alongside other suites and concertos by the composer that reveal his cosmopolitan air and whimsical nature.



REVIEW:

Avie deserves credit for spotting this 2002 Koch International label disc and putting it back into circulation once again, as it remains a sterling release. The Cleveland-based Baroque orchestra Apollo's Fire and conductor Jeannette Sorrell pick a program that shows exactly why Telemann was so popular in his own day. They apply just the right level of broad gesture to the two representational suites, which reflect their subjects but are in no way overdone. A wonderful release that holds up to repeated hearings.

– All Music Guide

Music from the Sebastian String Quartet’s native Croatia, by Croatian composers or by composers who spent a significant part of their careers in Croatia, forms a special focus in this ensemble’s work. Bozidar Kunc was one of the most distinguished Croatian composers of the twentieth century as well as an extraordinary pianist who was known as “the Croatian poet of the piano.” His only String Quartet very freely treats tonality, expands its space through the linking of instrumental parts, and often uses them as a colorful backdrop for melodies full of imaginative aspiration in which traces of folkloristic idiom sometimes come into view. Kunc’s deftly articulated and richly colored string sound reveals a composer of a unique individuality. The Czech composer Fran Lhotka exercised a strong influence on the Croatian music scene for more than fifty years. He brought the best Czech traditions to Croatia and fit so perfectly into the environment of his new home that it hardly would be possible to discuss the national musical movement that arose in Croatia during the first half of the twentieth century without mentioning his name. Lhotka’s captivating Elegy and Scherzo proves to be a fascinating work with contrasting themes invented in the spirit of folk music. Josip Štolcer Slavenski compiled one of the most interesting and most unusual life’s works that Croatian music of the twentieth century has to offer. This enthusiastic innovator was interested in a great many things and open to the most recent musical events in Europe even though he was absorbed in his own world. He composed powerful and unconventional works without direct models or formal and stylistic determinants. In 1938 he wrote his fourth and last Quartet to Balkan dance music and with highly varied and finely crafted themes.

Harry Christophers and The Sixteen continue their exploration of Purcell’s stunning music written for royal occasions on the second album in their new series. Charles II’s formal Restoration in 1660 marked both an end and a beginning: the end of England’s republican experiment and the beginning of a long process of monarchical reconstruction; and with a politically accident-prone king on the throne, Charles’s public relations machine could never rest. Purcell joined its small team of composer operatives just as the wave of Stuart propaganda swelled massively, and he surfed the wave with breathtaking panache, from his first court ode – the simple but rousing Welcome, Vicegerent of the mighty King – to the ambitious Fly, bold rebellion involving verse settings in up to seven parts and a six-part chorus.

This sixth Naxos American Classics album of the music of Richard Danielpour presents world premiere recordings of Richard Danielpours' last three string quartets. No. 7 includes the appearance in the finale of soprano Hila Plitmann. Each of these three quartets is informed by a particular theme: String Quartet No. 5, subtitled ‘In Search of La vita nuova,’ reflects Richard Danielpour’s relationship with Italy over the decades, conveying a sense of journey and discovery expressed in its ultimately elliptical trajectory. Concerned with the quartet as a metaphor for family, String Quartet No. 6 explores ideas of distance, time and ultimately, leave-taking. String Quartet No. 7, subtitled ‘Psalms of Solace,’ pursues the search for the Divine, successive movements taking intellect, the force of will, and romantic love as their subject before the appearance in the finale of a soprano voice.

Classical Music