J. W. STAMITZ Flute Concertos: in D; in C; in D; in G • Robert Aitken (fl); Donatas Katkus, cond; St. Christopher CO • NAXOS 8.570150 (69:15)
The music of Johann Stamitz (1717–57) is largely known through a handful of works. For clarinetists, the B? Concerto is arguably one of (if not the) earliest written for the instrument that uses both the upper clarion and the lower chalumeau registers, and thus earns its reputation for its modernity. Orchestral trios foreshadow the emerging symphony; and his later works, including the La melodia germanica series published in Paris in 1756, not only are some of the earliest to establish the four-movement conventional symphonic pattern, but they also popularized the orchestral effects associated with the Mannheim orchestra, of which Stamitz was the concertmaster. These include rapid scales (the so-called coup d’archet), the layered crescendo (the original Mannheim steamroller), and the rapidly ascending triads known as the Mannheim rocket. Less well known is the fact that he was a prolific composer, who, in his position, was able to experiment with the capabilities of his instruments, the various textures that could be obtained, and with form and structure. As a result, his efforts had far-reaching impacts upon the music and composers that followed him.
Stamitz was active during a period that one either can characterize as galant or (to borrow a term from literature) empfindsam. Both of these are tricky to translate accurately in musical terms, the former meaning something like “polite” or “well bred” and the latter “emotional” or “sensitive” (and there are other words that work as well). But what it really means for the listener is that there is a new sense of freedom to explore the capabilities of the music, to play with rhythm and contrast, and to develop new genres and styles. This disc presents four of his flute concertos, probably written for Johann Baptist Wendling, a flutist who was arguably one of the best of the entire century. Considering that the instrument was made of wood and had only a couple of keys, both the tone production and technical capability was limited, making the instrument more appropriate to chamber work than playing versus an orchestra, particularly one the size and power of Mannheim. In all four works, Stamitz demonstrates a skill that focuses on a dazzling display of technical virtuosity that is rarely overshadowed by the accompaniment. Even when he adds horns, as he does in the two D-Major concertos, the use is sensitive to the overall sonority. As for the flute part itself, if the listener, spoiled by the long, lyrical lines and regular phrases of the two Mozart pieces, seeks such in these works, disappointment will follow. Instead, there is a virtual compendium of pyrotechnics that leaves the listener breathless (not to mention the poor flutist). Rapid runs, leaps between registers, perpetual-motion figuration, and the rapid oscillation between duple and triple rhythms make this a flute virtuoso’s delight, as these works push the envelope of what is technically possible with the instrument. Moreover, in the C-Major Concerto, even the orchestral ritornello is technically demanding for the strings. These are not student works, but require the utmost of agility and ability to perform.
Aitken, fortunately, is quite up to the task. He takes the break-neck tempos of the opening movements with apparent ease and clarity of tone, allowing the display to come through. In the slow movements, he pulls back the throttle, but never enough to dull the sometimes-sensitive lyrical writing. For instance, in the C-Major Concerto, the second movement’s minor key, replete with echo effects, is delineated with precision and displays considerable musical deftness. In the G-Major final movement, he allows for the folk-like main theme to peer through the leaps and runs, providing a contrast that is both pleasing and a welcome relief to the pyrotechnics. Only occasionally does he blur his scales and leaps, though this may be an aftereffect of using a modern instrument.
The Lithuanian St. Christopher group provides a precise and understated accompaniment. One might have wished for more presence in the recording, but perhaps this was a decision by the sound engineer to focus on the flute. It is true that the music on this disc is mostly all about the flute and its ability, and this lends a certain sameness to each of the concertos, but if one concentrates upon the remarkable technical display, then one will find a perfect example of what can happen when a composer of this pivotal period pushes the aerobatic envelope of a more reticent and intimate instrument. We would be lucky to have the remaining 10 recorded in the future. Highly recommended.
FANFARE: Bertil van Boer
Johann Stamitz is a name well known in musical history, but his voice is seldom heard. This latest Naxos disc of flute concertos - two volumes of symphonies and one of orchestral trios are already available - is therefore a welcome release.
Famous as a virtuoso violinist and then as Kapellmeister of the celebrated Mannheim court orchestra, Stamitz presided over the establishment of that band of players and over the development of what became the ‘Mannheim style’ – disciplined playing, thrilling dynamics and innovative instrumentation. He played a key role in developing the symphonic form, and in transforming musical composition from the Baroque style to the nascent Classical sound.
As well as symphonies, Stamitz left behind a large number of concertos, including fourteen for flute. The four featured on this disc probably date from the 1750s and may well have been played by the Elector Carl Theodor, and by Mannheim virtuoso Johann Baptist Wendling, who so impressed Mozart on his visit to Paris in 1763 and Mannheim in 1777-78.
They are beautiful works, but the main problem is that there is little to distinguish one from the other. The two D major concertos in particular sound very much alike, although the horn parts in the second at least differentiate it from it predecessor. The C major concerto’s shift into C minor for the slow Andante offers some tonal variety, while rapid triplet figures for the soloist in the first movement keep the momentum alive.
But one cannot escape the feeling that these works were really vehicles for Wendling’s – or someone else’s – prodigious talents. Attention therefore falls on soloist Robert Aitken. His flawless technique and lightness of touch make him perfectly suited to this kind of repertoire. He is particularly impressive in the hugely demanding cadenzas in each concerto, although his forward positioning in the recording can make the flute sound a little shrill on the ear in some of the higher registers.
For their part, the St Christopher (formerly Vilnius) Chamber Orchestra under Donatus Katkus have few opportunities to shine. Nevertheless, they keep the accompaniment chugging along nicely, hinting at Haydnesque and Mozartian sounds to come.
EIGHT VISIONS: A New Anthology for Flute and Piano – BEGLARIAN, E. / BUNCH, K. / CHEN, Y. / HUI, M. / LEÓN, T. / MORAVEC, P. / ROREM, N. / SANFORD, D.
Naxos
CD
$19.99Dec 15, 2009
New Zealand-born, American-based flautist Marya Martin enjoys an international career. She joins acclaimed American pianist Colette Valentine for this recordingwhich brings together eight contrasting yet complementary pieces commissioned for her f.
Flute Music (Complete), Vol. 1 –
Caprice Variations / Between Two Worlds, "Ukiyo-e III" / Slow Fires of Autumn, "Ukiyo-e II"
Naxos
CD
$19.99Mar 10, 2015
The few pieces that George Rochberg wrote for flute are as bold and individualistic as anything in his oeuvre. His ability to compose in an astonishing variety of voices is clearly shown in the Caprice Variations, based on Paganini's famous melody, in homage to composers from Bach to Bartok. Christina Jennings' transcriptions challenge the player with dynamic, technical and stylistic extremes. Rochberg's Ukiyo-e pieces are among his most beautiful and haunting works. Praised for her virtuoso technique and rich tone, flutist Christina Jennings is an acknowledged expert in Rochberg's music.
The flautist Sharon Bezaly has, over the past 20 years, released some 40 albums on BIS, recordings which have contributed to the international recognition that she enjoys. Both on recordings and in concert she has done much to champion new repertoire – she has had no less than 20 concertos dedicated to her. On her new release, however, she turns to core repertoire, although not necessarily that of her own instrument. The two sonatas by Cesar Franck and Gabriel Faure were composed with the violin in mind, and even though Prokofiev's sonata was originally intended for the flute it is often heard in the composer's own version for violin and piano. But joined by the legendary pianist and conductor Vladimir Askenazy, Sharon Bezaly now claims (and reclaims) the three works for her own instrument, in eloquent performances that make the best possible case for the flute.
During long periods the flute has been almost synonymous with France, the country from which the music, the great players and the finest instruments all came. The French flute - whether dreamy as in Debussy's Syrinx or sprightly as in Poulenc's Sonata - is simply unmistakeably French, in all its delights. On her new release, renowned flutist Sharon Bezaly - who herself studied in Paris - celebrates this tradition, with a programme consisting of works composed between 1889 and 1946. French Delights is something of a companion piece to a previous Bezaly disc: Café au Lait, a predominantly French flute recital accompanied by Roland Pöntinen. Upon its release that disc, and the artistry of Sharon Bezaly, were highly acclaimed, for instance in French magazine Diapason: 'The flute turns into the voice of enchantment, a lullaby of the senses or an invitation to dreamfulness, into planing light or the glitter of light on water - an instrument almost too beautiful.' Here again, with the support of eminent pianist Love Derwinger, Sharon Bezaly displays her prodigious talent.
Masterworks for Flute and Piano / Bezaly, Brautigam
BIS
SACD
$21.99Jan 01, 2006
Recently released recordings of Mozart's concertos, of three contemporary works for flute and orchestra and of a programme for solo flute have earned Sharon Bezaly epithets such as 'God's gift to the flute', 'an amazingly talented performer' and 'a First Lady among equals'. Here she has turned to some of the central works for flute and piano, and with Ronald Brautigam, familiar from many BIS releases, gives her interpretations of three master-pieces of the 1940s flanking Schubert's great Trockne Blumen variations, composed some 120 years earlier. Though written in the span of two years, Prokofiev's Sonata, Dutilleux's Sonatine and Jolivet's Chant de Linos each show the flute in a different light. Prokofiev was preoccupied with clarity of style and found the instrument a perfect vehicle: 'The sonata should be played with a bright, transparent, classical tone', he wrote. (David Oistrakh later convinced the composer to create a violin version, which quickly became very popular.) A distinctly different approach was taken by Jolivet, who wrote his Chant inspired by the ancient Greek concept of 'linos', a ritual lament punctuated by cries and dancing. It is thus based on musical material associated with Greek modes and explores the extremes of expression. Dutilleux, finally, composed his Sonatine as a set piece for the flute competitions of the Paris Conservatoire. But these academic-sounding origins are belied by the by turns atmospheric and spirited writing, so typical of the multi-faceted Dutilleux. Sharon Bezaly and Ronald Brautigam have previously collaborated on BIS-CD-1439, with violist Nobuko Imai. Upon its release this disc received a number of distinctions and highly favourable reviews, not least because of the superb ensemble playing.
Masterworks For Flute And Piano 2 / Bezaly, Brautigam
BIS
SACD
$21.99May 01, 2010
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
Another imaginative, well-executed offering from BIS.
3424690.zz4_MASTERWORKS_FOR_FLUTE_PIANO.html
MASTERWORKS FOR FLUTE AND PIANO II • Sharon Bezaly (fl); Ronald Brautigam (pn) • BIS 1729 (SACD: 59:23)
POULENC Sonata. MARTIN Ballade. REINECKE Sonata, “Undine”. MARTIN? Sonata. MESSIAEN Le Merle noir
This is the second volume of this series, the pithy and ecstatic review of the first by Peter J. Rabinowitz (where he quotes from other equally impressed Fanfaristas) appearing in 29: 6. There is really nothing much more to say about Bezaly’s playing; she is, if not the greatest, then one of the most outstanding exponents of her instrument today, and Bis was lucky enough to latch onto her some 20 albums ago and continues to make these wonderful Super Audio recordings.
On this disc we are a little more mainstreamed in approach, with several of the selections quite familiar, at least to flute lovers. Poulenc’s sonata leads the pack, one of his best from around 1957, simply effervescent and joyous from start to finish, the aural equivalent of dancing on clouds. I had to hunt down Wolfgang Schulz’s recording with James Levine from a mandatory 1989 issue of Poulenc’s chamber music (DG) to find a worthy comparison. The Reinecke, also a standard, was written in the composer’s 40s (1882) under the influence of Friedrich de la Motte Fouqué’s story about a mermaid who marries a young knight and acquires a human soul only to have her heart broken because of his infidelities; should have stayed in the water, I guess. But the story line is only ancillary, the sonata a wonderful example of romantic structure that characterizes a verbal outline without becoming slavish to it. My favorite to this point—now supplanted—is Jeffrey Khaner’s reading on Avie, a recording that should not be missed if for no other reason than its attractive romantic program.
The Martin? might be called a “sub-standard” not because of quality but because more flutists haven’t seemed to pick up on it yet. Like almost all of this composer’s work, it contains wonders aplenty and umpteen ear-opening examples of structural genius, aside from Martin?’s own deliciously unparagoned way with melody. Marc-André Hamelin (piano) and Alain Marion (flute) offer a somewhat different view on Analekta, perhaps more enervating and lively, but I doubt Bezaly will have you searching for alternatives. Two pieces here were written for competitions; Frank Martin’s inventive Ballade was written as a compulsory piece for Geneva in 1939 while Olivier Messiaen’s Le Merle noir (The Blackbird) was for the Paris Conservatory in 1951, the prototype of a series of pieces that explored the very intentional grounding of birdsong into the very fabric of an instrument. The Martin can be found in its orchestral guise (done a few years later by the composer) on a wonderful recording by Celia Chambers on an all-Martin album of his ballades (Chandos, conducted by Bambert).
So in short, this is terrific stuff, bedrock material for any serious collection and absolutely foundational for anybody claiming to have a good series of flute albums.
Sharon Bezaly and Ronald Brautigam are two of the brightest stars in the musical firmament, so BIS are indeed fortunate to have them on their roster of artists. Bezaly first came to my attention in Seascapes, but has since caught my ear in a number of recitals, among them Nordic Spell and From A to Z. Paradoxically, hers is a powerful yet unassuming talent, whereas Brautigam – whose Beethoven sonata series continues apace – strikes me as a much bigger, more forceful musical personality. That said, he scales the Mendelssohn piano concertos most beautifully qualities I was looking for here as well.
At first glance it’s quite an eclectic selection, but that’s no bad thing. All too often programmes clustered around broadly similar repertoire (stylistically at least) are apt to pall after a while. But three-quarters of a century and several musical traditions separate the pieces by Carl Reinecke and Francis Poulenc; the latter’s Sonata gets this disc off to a promising start. The ‘rolling boil’ of the flute’s opening phrases – not to mention the seemingly effortless trills – are well matched by Brautigam’s nicely nuanced pianism. There are no really extreme dynamics here – well, not unless one counts the mercurial Prestogiocoso – and that, along with BIS’s warm, well-balanced recording, makes for a most relaxing listen.
A hugely encouraging start, and a riposte to all those acid audiophiles who insist that non-DSD Super Audio CDs recorded at lower bit rates are a compromise too far. Indeed, one would be hard-pressed to find a better blend of sonic virtues than those on show here. Swiss composer Frank Martin’s Ballade is a case in point, the restless murmur of piano and flute at the start superbly captured. Bezaly’s range and control at both frequency extremes is just remarkable; high notes are firm and clear, the lower registers wonderfully liquid, especially in the solo passage that begins at 3:06. There’s a pleasing sense of proportion too, and one feels this really is a marriage of true minds, Brautigam scaling the music’s more rugged terrain with ease.
Predictably perhaps, Carl Reinecke’s ‘Undine’ sonata has all the evanescent charm one expects from such fare. And no, predictable does not mean humdrum; Bezaly conjures up the lightest, loveliest sounds, building a rainbow bridge under which the piano part flows most agreeably. But it’s the third movement, marked Andante tranquillo, where Brautigam seems to get the upper hand. As seductive as the flute playing undoubtedly is, I found myself following the pianist more carefully than before. And just listen to those giddy upward spirals in the final movement, Brautigam bringing the music back to earth with a mix of passion and power. As for the restraint and repose of the closing bars, it’s most sensitively done. No, it isn’t great music, but when it’s played this well who could possibly complain?
The soloists shadow each other to great effect in the Martin? Sonata, a work whose carapace conceals a surprisingly lyrical centre. Brautigam and Bezaly are very well matched in the animated first Allegro, the latter’s tone characterised by an appealing breathiness in the lower registers. As flute recordings go, this recital really does capture the velvet and steel duality of the instrument most effectively. Indeed, I can see this being used as a demonstration disc, especially when it comes to the long, sustained phrases that round off the Adagio. As for the piece itself, those who don’t know it will engage with its easygoing, yet entirely individual, character. Another nugget in this most desirable pot, and a piece I will return to with great pleasure.
But it’s Messiaen’s Le merle noir (the blackbird) that’s the most inspired choice here. For a composer who rejoiced in the monumental it’s good to be reminded that he is every bit as persuasive in miniature. And just as Hopkins delighted in the wonders of The Windhover, so Messiaen’s blackbird soars and sings above an undergrowth of dark, fleeting dissonances, Bezaly despatching those microtones and flourishes with great skill and confidence. Outwardly Le merle noir might seem a tad austere, but even those who don’t usually warm to Messiaen’s cooler idiom will surely respond positively to this miraculous miniature.
So, another imaginative, well-executed offering from BIS. I have yet to hear the first volume in the series, but if the present disc is anything to go by it should be on the wish-list of all those who enjoy the genre. It’s certainly on mine.
C.P.E. Bach: Concertos & Symphonies / Huss, Haydn Sinfonietta Wien
BIS
CD
$21.99Aug 12, 2014
Once valued even higher than his father J.S. and revered by Haydn, Mozart and Beethoven, the music of C.P.E. Bach has since become the preserve of musicologists and specialists. Highly regarded for bringing early and unknown music by Haydn to light, Manfred Huss has also been a long-time C.P.E. Bach champion; the present disc combines the prestigious Pasticcio-Preis awarded recordings that he made with his Haydn Sinfonietta Wien in 2005-06.
Ge Gan-Ru: Fairy Lady Meng Jiang - Lovers Besieged
BIS
CD
$21.99Jan 28, 2014
• Chinese composer Ge Gan-ru, whilst studying music at the Shanghai Conservatory, earned the designation of “China's first avant-garde composer”.
• Flautist Sharon Bezaly, heard here, is the Concerto for Flute's dedicatee.
• Enrique Diemecke leads the Orquesta Sinfónica de Castilla y León.
Flutist Sharon Bezaly has dazzled listeners and critics all over the globe, even being called “God’s gift to the flute.” With almost 40 releases to her name, her wide-ranging discography includes both standard repertoire and selections written specifically for her. This release is owed to two fellow world-class flutists, Jean-Pierre Rampal and Gunilla von Bahr. Rampal was the flutist who arranged Aram Khachaturian’s virtuosic violin concerto for the flute, at the suggestion of the composer. “Dances with the Winds,” Einojuhani Rautavaara’s 1974 composition, is dedicated to Gunilla von Bahr. Rautavaara’s “Dances with the Winds,” is an interesting addition, as the first and last movements are scored for bass flute, while the second movement is written for piccolo, and the third for alto flute. In a later revision, the composer replaced the bass flute with the alto. Bezaly includes both versions on this recording.
Bridge Across The Pyrenees - Ibert, Rodrigo, Etc / Bezaly
BIS
SACD
$21.99Oct 01, 2006
Separated by the Pyrenees, the musical milieus of Spain and France have sometimes been like oil and water - or maybe like oil and wine. It took Bizet's opera Carmen to open the ears of the French to the Spanish rhythms and inflections which were to become so important to so many later composers, from Debussy to Ibert. On the present disc, Carmen - in the guise of Borne's Fantaisie brillante - plays a similar role, creating a bridge between Rodrigo's Concierto pastoral and Ibert's Flute Concerto, two of last century's main concertante works for the flute. Soloist Sharon Bezaly will hardly need a closer presentation after her highly praised recordings of the past couple of years. Her recital with pianist Ronald Brautigam (BIS-SACD-1429) and her recording of Mozart's concertos (BIS-SACD-153901), to mention only two, have garnered such high praise and so many distinctions that it would be impossible to list them - suffice it to say that the reviewers have called her 'a sorceress of timbres', 'God's gift to the flute', 'a First Lady among equals' and a 'graceful Mozartean, with limpid tone, an impish sense of humour, and sometimes staggering breath control.' The present recording was made with the São Paulo Symphony Orchestra and conductor John Neschling, whose performances of the music of Brazilian composers Guarnieri, Mignone, Braga and Santoro have been praised for their vitality, rhythmic vigour and wide range of colours - all qualities that should be just the thing for building a bridge across the Pyrenees.
In September 2026, Ekkozone proudly presents Nsambia Mpungun from Cuban composer Louis Franz Aguirre, one of the foremost Latin American composers of his generation, and featuring three of his fiercest champions and interpreters, Karolina Leedo (flutes), Mina Fred (viola), and Adam Ørvad (accordion). This intoxicating collection of premiere recordings of solo and chamber works for viola, flute, and accordion bears all the hallmarks of Aguirre's mystical and spiritual musical universe. Many of the works are inspired by the Cuban Santeria religion and it's religious texts, realised in his unique, visceral musical language. In 2011, Aguirre had the idea to bring together, in a single ensemble, these three musicians who were both able and willing to confront the particular challenges of his music, saying, 'We have shared fifteen years of close collaboration-years of exploration, dedication, and deeply rewarding musical exchange, resulting in the works on this album. My gratitude to them is both profound and enduring.' Nsambia Mpungun for amplified solo viola and singer unfolds as a work of transcendental, mystical, and ritual intensity, shifting between a wide spectrum of complex scratch sounds and a more contemplative dimension. Olakun II for viola and accordion has a profound physicality, paying tribute to the powerful and mysterious marine Orisha of the Afro-Cuban tradition. Oggún Adeolá for flute, viola, and accordion reveals Louis Aguirre's most intimate, quiet, and mystical side. A theme presented in the bass flute is followed by eighteen variations, ending with a solo accordion chorale. The continually evolving, organ-like sonority pays homage to Bach. Fantaisie-Impromptu (after The Persistence of Memory by Salvador Dalí) for accordion is Aguirre's homage to Salvador Dalí, directly inspired by the Spaniard's masterwork The Persistence of Memory. In an unusual twist for the Cuban avant-garde composer, there is also a nod to Franz Schubert: a shadow of the Fantasia in F minor for four-hand piano. In Aguirre's own words, 'It's a melted Schubert, like Dalí's clocks.' The final work, Gardens of the Beloved (Three Tropes for Solo Alto Flute/Flute), is conceived as an instrumental monodrama based on texts by the Persian poet Rumi, combining Christian and Islamic references with Aguirre's ever-present connection to Afro-Cuban and Carnatic traditions. Multi-award-winning composer, violinist, and conductor Louis Franz Aguirre was born in Cuba in 1968 and is now based in Denmark. His music has been described by critics as 'music from hell' and 'not for the faint-hearted.' His numerous works include operas, orchestral and chamber music, works for soloists, vocal music, choral, electronic, and didactic music. He has received commissions from leading international ensembles and soloists, and his works have been performed at major festivals across the world. He was Chief Conductor and Artistic Director of the Camagüey Symphony Orchestra from 1995-2002 and has appeared as a guest conductor with the National Symphony Orchestra of Havana and the Santiago de Cuba Symphony Orchestra. In addition, he taught at the Camagüey Music Conservatory and was the Artistic Director and Chairman of the Camagüey International Festival of Contemporary Music (1996-2002), which he founded.
On this captivating new recording, the Czestochowa Philharmonic Orchestra under the baton of Adam Klocek presents a distinguished selection of works by Polish composers inspired by the flourishing spirit of Classicism. At it's heart stands Krzysztof Meyer's Symphony in D major, Op. 41, a masterfully crafted homage to Mozart, blending stylistic authenticity with the voice of one of Poland's most eminent contemporary composers. A true revelation is Antoni Milwid's brilliant Symphony in C major, a work long believed to survive only in incomplete form and now revealed in all it's inventive charm and orchestral brilliance. The programme is completed by the sparkling compositions of Franciszek Lessel, in which pianist Joanna Lawrynowicz-Just and flautist Anna Zmarzly display remarkable artistry, achieving a perfect balance between refined elegance and dazzling virtuosity. Together, these works illuminate the richness of the Polish classical tradition, offering a vibrant musical journey that bridges historical inspiration and enduring artistic craftsmanship.
September 2026, Metier Records presents Cliff Edge from Irish-born composer David Wallace: a striking new album of six works that illuminate his distinctive approach to material-led composition. Scored for forces ranging from solo bass clarinet to mixed chamber ensemble, the album presents a world where musical ideas behave like living organisms - shifting, resisting, and revealing themselves through pressure and transformation. The performers include Heather Roche, Chenyin LI, Jean Kelly (harp), James Widden (violin/viola), Heather Holford, and other leading UK and international soloists and chamber musicians. Wallace's compositional style blends classical elegance with modern innovation, often including elements of traditional Irish music, at times also featuring extended techniques or electronics. His music takes shape organically, instinctively allowing the music to go where it wants emotionally, balancing tradition with a fresh, contemporary perspective to create a unique voice. The pieces on Cliff Edge were written between 2006 and 2025 for different performers and circumstances, yet they share a common thread: each begins with a musical material that finds it's own path throughout the piece. These materials can be as simple as a grain of an instrument, the weight of a harmony, the friction between two lines, or the memory of a place. Some are intimate gifts; others are studies in instability or quiet acts of devotion. What unites them is a belief that music has it's own agency - that if you listen closely, the material will show you how it wants to unfold. At the heart of the album is the title work, Cliff Edge, a turbulent and finely etched piano piece that explores instability as a structural force. Surrounding it are five contrasting but deeply connected works: the fragile, breath-driven L'Oiseau mis en cage for bass clarinet; the ritualised, keening energy of Banshee for harp and voice; and H.B.J.W., a theme and five variations for violin and cello, written as a 50th birthday gift. The album also features Five Vignettes from the River Avon, a set of distilled landscape impressions for clarinet and basset horn, and Canticles, a luminous triptych for harp, flute, clarinet, and string quartet that closes the disc with a sense of quiet devotion. 'These works are not stories,' Wallace writes. 'They are environments. Each one begins with a material that behaves in a particular way, and the piece grows from listening to that behaviour.' David Wallace studied at the Guildhall School of Music & Drama with Richard Baker and in Ireland with Rhona Clarke, and his music has received international recognition, including awards from Boston Metro Opera and the Tracey Chadwell Memorial Prize. Residencies at the Guildhall School, the Cork School of Music, and Clapham Chamber Concerts have shaped his distinctive voice, and his works are performed widely in the UK and abroad. He is Head of Junior Music Courses at the Guildhall School.
Divine Art is delighted to present Made in Germany, from Texas-based Olmos Ensemble, the first in an exciting series of albums catalogued by country, presenting rarely performed and unrecorded works for mixed chamber instrumentation. Originally formed by the principal players of the San Antonio Symphony, Olmos Ensemble has established itself as one of the premier chamber music organizations in Texas, and features leading musicians from across the United States. Made in Germany will be released as they open their 32nd Season. Each album in the series will feature a works of varied instrumentation, creating a unique collection of recorded chamber repertoire that only an ensemble like Olmos - through their remarkable access to top musicians around the United States - could bring together. The Ensemble's concert programming has won great acclaim for it's focus on showcasing neglected works by female composers, and Olmos is thrilled to bring this to their recordings as well, with each album in the series featuring works by women composers, including many premieres. Made in Germany features three composers of German origin: Richard Strauss, Rudolf Tillmetz, and Ruth Schonthal. The album includes the first recording of Laszlo Varga's highly regarded arrangement of Strauss' Don Quixote for six instruments: clarinet, French horn, violin, viola, cello and piano, which includes every core member of Olmos Ensemble apart from flute. As the original primary voices in the larger orchestrated work (all but piano), these six instruments work wonderfully together in recreating the thrilling tale of Don Quixote. Also included is the first professional recording of Rudolf Tillmetz's only chamber work, the Nocturne for Flute, Horn, and Piano, Op. 31. One of the few Romantic-era trios for this unusual instrumentation, the piece reflects the salon music tradition of late 19th-century Germany, emphasizing lyrical writing and equal interplay between instruments, and although not widely known is a valuable work in the horn and flute chamber music repertoire. German-born Jewish composer, Ruth Schonthal fled Nazi persecution early in her life, first moving to Mexico and later America to study with Paul Hindemith. Completing the album is a rare recording of her late-career Theme and Variations for Solo Flute, which distills her lifelong commitment to melodic expressiveness and emotional narrative into a unique work for solo flute. Future albums in this series will focus on the Czech Republic, America, Italy and Austria. 'We are excited to record music that has never before been paired together on an album and present to the classical music loving public a unique set of all-encompassing recordings that will range from solo works through nonets and possibly larger. With the group consisting of people living in entirely different parts of the US, Olmos Ensemble is unique in it's ability to maintain 31 (and soon 32) seasons of existence, all while presenting lesser known works in addition to insightful interpretations of the great standards.' Members of Olmos Ensemble on this recording are: Artistic Director Mark Teplitsky, Assistant Principal Flute of the Naples Philharmonic, previously second flute at Houston Symphony; violinist Eric Gratz, a soloist, concertmaster, chamber musician, and Artistic Director of the American Chamber Music Society in Chicago; Ilya Shterenberg, Acting Principal Clarinet of the Winnipeg Symphony Orchestra (Canada), and Principal Clarinet of several orchestras across the US; cellist Julian Schwarz, first prize winner at the inaugural Schoenfeld International Competition 2013 and a founding member of the Frisson Ensemble; Jeff Garza, principal horn of the Oregon Symphony and the Bellingham Festival of Music; violist Colin Brookes, a founding member of the award-winning Ulysses Quartet, and award-winning soloist; soloist and chamber musician Elizabeth Dorman (piano), a regular guest Keyboard at the San Francisco Symphony, and faculty member of the San Fransisco Conservatory of Music.
Kraig Grady, an American based in Australia, is a microtonal composer. He explains it thus: 'Alternative tunings are a major inspiration for my compositional explorations. The pivotal point for me was meeting with tuning theorist Ervin Wilson and witnessing Harry Partch's U.S. Highball in 1975. I was convinced that working with different instruments and tunings was going to be a major artistic movement. I began studying tuning with Wilson which continued for as long as we knew each other. I'm interested in using acoustic instruments as sound sources to explore new acoustic phenomena that cannot be mistaken for electronic manipulation.' The starting point for the works on this CD was to record each performer playing individual notes in the given microtonal tuning with extreme pitch accuracy. The recordings are edited to capture the personal expressivity of the players and the individuality of their gestures in the recordings become inseparable from the composition process. These recordings of individual notes are then weaved together to form melodic lines and combined to build harmonies and shifting textures. Liner notes by Grady with illustrated samples.
After Brass (RCO 07002) and Brass Too (RCO 14010), recorded by the Brass of the Royal Concertgebouw Orchestra, the Woodwinds of the RCO proudly present their own CD. Traditionally most RCO members love to engage in chamber music as well and the woodwinds section of the orchestra is no exception. In the past woodwind ensembles like the Concertgebouw Sextet (1909-1937) and the Danzi Quintet (1958-1978) have even been very successful outside of the Netherlands. This SACD pays homage to this tradition.
Four sonatas from the middle period of this exceptional yet undeservedly overlooked composer reveal a distinctive musical voice, where echoes of Rachmaninoff's and Grieg's mature Romanticism intertwine with the shimmering colours of Impressionism and the refined sensibility of the English tradition. Though these works make undeniable virtuoso demands, it is their melodic and harmonic imagination that commands the foreground: long-breathed phrases, subtle expressive nuance, and richly intriguing sonorities. The recording brings together distinguished instrumentalists associated with the Academy of Music in Kraków, whose interpretations are marked by brilliance, passion, and a palpable sense of discovery as they illuminate the beauty, individuality, and enduring artistic value of Bowen's music.
Works for solo flute by some of the most respected British composers of the present day - performed with consummate skill on a variety of instruments by the virtuoso flautist Nancy Ruffer, who has been at the forefront of contemporary flute interpretation, giving numerous first performances - including the UK premiere of Ferneyhough's Superscriptio at the Queen Elizabeth Hall - and commissioning new works from composers such as Chris Dench, Michael Finnissy and others.
