Classical Music

Classical Music

Cantus angelicus

Hermann Prey's performance of Papageno was historic, and turned him into the most popular opera singer in Germany. This CD includes a collection of previously unpublished recordings made during the legendary Sunday Concerts with the Menchner Rundfunk Orchester from 1966 to 1992. In a representative series of roles ranging from Bach to musicals, the great baritone shows US all his facets: From the sensitivity of the comic actor to the intense, inmost sincerity of the Lieder performer. At a time when the opera was still an integral part of Germany's media landscape, Hermann Prey made it impressively clear that a broad repertoire and depth of interpretation are not necessarily mutually exclusive.

Classical Music

This recording combines all the major works of bassoon repertoire written between 1770 and 1830, with Mozart's magnificient concerto as the undisputed masterpiece of the entire repertoire. He was able to bring the full range of bassoon's possibilities into play, making use of its entire tonal range in the opening movement, with semiquaver passages, glorious cantabile sections and maniacal trills. Matthias Rácz, probably one of the best bassoon players of our generation, present this work as well as the two concertos of Hummel and Weber with the greatest of ease.

Classical Music

BEETHOVEN Piano Sonatas Nos. 27, 28, 30, 31 • Dina Ugorskaja (pn) • CAVI 8553299 (77:35)


Dina Ugorskaja, the daughter of the pianist Anatol Ugorski, is a Russian pianist and composer trained in Germany. Early in her career, she has already recorded Beethoven’s “Hammerklavier” and op. 111 sonatas, the Chopin preludes, and a disc of Handel suites. The Sonata No. 27, the first of the 32 in which Beethoven uses German to indicate the movements’ tempo and character, is the piano work in which Beethoven’s late period begins, and Ugorskaja’s playing is fully alive to the quick changes of mood in its stark, febrile first movement, with extremely sensitive pacing of the rise and fall of each phrase, and careful weighing of tone. Her tempo for the second movement is on the slow side, but the melody is patiently shaped, as if sung, never in a hurry. This is a terrific performance of an elusive work.


Ugorskaja’s well-projected, unforced sound, and instinctively rhapsodic, though tasteful, responses to the music’s changes of character, are a good fit with the predominantly lyrical sonatas Nos. 30 and 31, though there’s real grandeur in her playing in the sections that need it. How beautifully she plays the right hand melody in No. 30’s third movement’s first variation, in which Beethoven uncannily anticipates the ornamented singing line of Chopin’s nocturnes, pieces that I’d love to hear her play. No. 31 receives a properly serious, thoughtfully savored reading, with highly expressive playing in the mystical latter sections of the piece. There are one or two moments in the first movement where Ugorskaja’s impulse to move the music forward detracts from the movement’s benign, stable character, but that’s a small quibble.


In op. 101 (Sonata No. 28), I was a little disappointed in her reading of the second movement, a tricky, fast march. In it, her espressivo approach, so winning in the sonata’s first movement, isn’t always rhythmically consistent enough in the repeated dotted rhythms. (Igor Levit’s splendid performance on a recent Sony disc has more speed and better control.) Nonetheless, Ugorskaja’s late Beethoven is cognizant of the sonatas’ details and structure, and manages to sound personally expressive without being self-indulgent. Cavi’s engineering captures the depth and variety of her splendid, “open” sound. Highly recommended.


FANFARE: Paul Orgel

Hailed for Their Outstanding Musicianship, the Arianna String Quartet - Violinists John McGrosso and Julia Sakharova, Violist Joanna Mendoza and Cellist Kurt Baldwin - Has Firmly Established Itself As One of America's Finest Chamber Ensembles. Their Performances Have Been Praised for Tonal Warmth, Fastidious Balance... Expressive Vitality (Chicago Tribune) and Emotional Commitment and Fluent Virtuosity, (Pretoria News, South Africa). This Double-Disc Set Finds the Group Initiating a Complete Beethoven String Quartet Cycle with the Earliest of the Quartet Opuses, Op. 18/1-6.

This is an extraordinary journey through the most preeminent of classical symphonies. With an ensemble of only 12-16 top-quality musicians, the Pocket Philharmonic Orchestra explores Beethoven's musical origins. All the great conductors and orchestras have shown where Beethoven led: how his ideas paved the way for later masters like Schumann, Bruckner and Mahler. What hasn't been shown yet is where Beethoven was: where his musical language came from, how he shifted standards and developed techniques in a completely new and revolutionary way. The Pocket Philharmonic has a new approach to this idea: instead of a full chamber or symphony orchestra, the ensemble performs as a chamber ensemble in a symphonic manner – symphonic chamber music, or chamber music symphonies, so to speak. "This is the most vivid performance of the Eroica you have ever heard" said the critics. “It makes the revolution in his music audible. "An outstanding listening experience."

Pianist Richard Cionco – praised by Donal Henahan of the New York Times for his “sensitive pianism” – made his orchestral debut at the age of nine, and has since performed with the Phoenix Symphony Orchestra and the Seijo Symphony of Tokyo. He is currently a faculty member at California State University at Sacramento and is a Steinway artist.

Classical Music

To the best of my knowledge, Imogen Cooper has come only recently to directing as well as playing concertos. In October last year I heard her at the QEH with the Northern Sinfonia in Beethoven – her playing was as fresh and spontaneous as always. Here she is, on record, in Mozart, a composer clearly very close to her heart.

It is actually the 23rd concerto that we hear first on the disc. The opening is very serene, very unhurried, even slightly Romantic in feel. Maybe one should really start listening with K291 as K488 is almost too comfortable. That said, there are some nicely sprung rhythms later on and the cadenza is simply tremendous, exhibiting real depth. Throughout there is a chamber music feel to it all, the give-and-take between piano and - in particular - winds a joy. The famous F sharp minor slow movement begins with a piano rumination that had me in mind of Daniel Barenboim's early version of this work from his cycle of the 1960s and 1970s with the English Chamber Orchestra. Indeed, all credit to the Northern Sinfonia for sustaining Cooper's intensity so well and losing nothing to their more southerly colleagues. Cooper adds decorations to Mozart's large, bare intervals - towards the end, around six minutes in. The finale begins with Cooper opting for a completely different touch, a harder staccato that delineates the territory immediately. Again there seems to be very slight blurring from the middle frequencies of the orchestra, though.

The so-called Jeunehomme Concerto begins with Cooper rather surprisingly indulging in unnecessary point-making in her initial dialogue with the orchestra. Just one misjudgement – an over-tenutoed note on the orchestra around 1:28 in. But with Cooper's pianistic re-entrance, all is civility and expert balance. Cooper even relaxes enough to give a really cheeky end to the cadenza.

The middle Andantino is peppered with moments of magic; the finale contains large swathes of superbly even passagework, scampering around wonderfully. Perhaps Cooper milks the Menuet that forms the centrepiece of this finale rather, but one can still revel in the beauty of her phrasing. True, I still maintain much affection for Cooper's mentor, Alfred Brendel, in this piece - I refer to the earlier ASMF recording now on a Philips twofer - but Cooper's recording shall now ever be at its side.

There is little doubt that this disc will bring much joy. The applause at the close of both concertos is eminently deserved.

-- Colin Clarke, MusicWeb International

In September 2015 the Salzburger Hofmusik under Wolfgang Brunner presented a semi-scenic performance of the “Salzburg Haydn’s” Singspiel MH 118 during the Salzburg Haydn Week and in cooperation with the Michael Haydn Society and the Mozarteum University of Salzburg. More than two centuries had passed since its premiere in Salzburg, and Die Wahrheit der Natur (The Truth of Nature) is now also finally available on this album. Salzburg’s rich theatrical tradition was once inseparably linked to the Benedictine University. The final comedies presented by students at the university at the end of the academic year along with the participation of members of the court ensemble were in particular very popular and open to all local residents. As the music for this delightful comic and didactic poem penned by the Benedictine priest Florian Reichssiegel demonstrates, Michael Haydn also made original contributions to this genre. Reason, in the guise of Mentor, seeks true art with assistance from the three Graces, the daughters of Nature. During their quest for knowledge the four again and again meet curious types like the vain master of song Vollstreich, the braggart painter Wurmstich, and the ill-mannered schoolmaster Bockstolz and his wife Urschel. The plot includes scenes in which the quest for art is portrayed not only as a series of lessons but also as an entertaining adventure.

Includes work(s) by Wolfgang Amadeus Mozart.

After a cycle of Beethoven Piano Concertos, solo albums of works by Bach and Schubert in addition to a number of award-winning recordings of piano chamber music on Ondine label, pianist Lars Vogt releases an album of Piano Sonatas by Wolfgang Amadeus Mozart (1756-1791). In this album, two baroque-influenced and virtuosic early sonatas are coupled together with a touching A minor Sonata K. 310 - written at the time of the composer's mother's death - and a delightful, Haydnesque Sonata K. 333. Mozart wrote Piano Sonatas K. 280 and K. 281 (Nos. 2 & 3) most likely in 1774, at the age of 18. The elements of Baroque influence are clearly evident in the K. 280 Sonata. A prominent feature in the K. 281 Sonata is, besides it's virtuosity, the beautiful slow-movement, "Andante amoroso". The K. 310 Sonata (No. 8) was written four years later, during the summer of 1778, and is written in a minor key: a rarity among Mozart's Sonatas. The K. 333 was published in 1784, but the time of it's composition might have been earlier. This joyful work with virtuosic passages can be described almost as a Piano Concerto for the solo piano. Lars Vogt was appointed the first ever "Pianist in Residence" by the Berlin Philharmonic in 2003/04 and enjoys a high profile as a soloist and chamber musician. His debut solo recording on Ondine with Bach's Goldberg Variations was released in August 2015 and has been a major critical success.

Franz Danzi’s wind quintets tend to be the most well known of his works today and are still within the repertoire of many wind quintets. His rarely heard orchestral symphonies, which impressed Carl Maria von Weber, are also enjoyable works, enhanced by a richer palette of instrumental colors and graced with appealing Haydnesque melodies.

Classical Music

Classical Music

Louis Spohr composed string quartets throughout his career, the String Quartet No. 36 being his last completed large-scale work, composed in 1857 and modelled on those of Haydn and Mozart.

Like few other works, Beethoven's late string quartets have gained an almost undisputed standing as the very apex of their genre. Not many of Beethoven's contemporaries would have accorded them this: the composer Louis Spohr called them 'indecipherable, uncorrected horrors' and the quartets were widely regarded as the monstrous products of a madness which at best could be excused by the composer's deafness. One of the first to recognize them for the masterpieces that they are was Franz Schubert, who after having heard a performance of Quartet No.14 in C sharp minor is reported to have said 'After this, what is left for us to write?' Composers after Schubert have been as awestruck by this music, with Stravinsky famously describing the Große Fuge as 'an absolutely contemporary piece of music that will be contemporary forever.' The feeling that Beethoven in these works was giving form to a universal music which transcends genre conventions have also inspired many to adapt various of the quartets for larger forces, including the conductors Dmitri Mitropoulos and Arturo Toscanini. On the present recordings, originally released by the Altara label in 2006, it is the Norwegian violinist Terje Tønnesen's adaptations we hear, performed by himself and his Swedish string ensemble Camerata Nordica. Besides providing the greater dynamic spectrum that a larger ensemble can bring to the music, Tønnesen's main aim has been to strengthen the contrasts between intimate passages and fuller textures by employing solo players in certain passages, as in a concerto grosso. He and Camerata Nordica has also reinstated the Große Fuge in its proper context: that amazing 15 minute monolith was originally intended as the finale of Op.130, but proved indigestible to contemporary audiences and critics - one of whom described it as 'as incomprehensible as Chinese' - and was replaced by an easy-going rondo following a request from Beethoven's publisher.

Classical Music

While these pieces have been recorded and performed many many times, what makes this recording unique is the use of the tangent piano (Tangentenflugel.) The tangent piano was quite popular throughout Germany during the late 18th century. The instrument has strings which are struck by wooden slips that don’t have any soft coverings. The strikers move perpendicularly to the strings like harpsichord jacks. The pieces on this release were published between 1779 and 1787 as part of six books of Sonatas, Fantasias, and Rondos titled Fur Kenner ind Liebhaber (for masters and amateurs).

Classical Music

MOZART: Le nozze di Figaro, K. 492 (Highlights)

TARTINI, G.: Violin Concertos, Vol. 8 (L'Arte dell'Arco) -

Includes concerto(s) for flute by Giuseppe Tartini. Ensemble: L'Arte dell'Arco. Conductor: Giovanni Guglielmo. Soloist: Mario Folena.
Includes work(s) by Giuseppe Tartini. Ensemble: L'Arte dell'Arco. Conductor: Giovanni Guglielmo.

Kolja Lessing, one of the most versatile musicians of our time, has energized music culture with significant impulses as a violinist and pianist who combines interpretive and scholarly work. For cpo he has now recorded two violin sonatas by Carl Czerny. After producing several violin and piano sonatas Czerny wrote his grand Sonata Concertante in four movements in 1848, the year of the failed revolution. The contrast to his first Violin Sonata of 1807, a work of his youth, could hardly be greater: reconsideration of Mozartian rhetoric and compositional technique mark this work pulsing with astonishing kinetic energy and with a concertante character for the most part embodied by the piano, while the violin part instead is assigned more the role of brilliant commentary or pointed interaction. Kolja Lessing himself wrote the booklet text and expresses the greatest thanks to Anton Kuerti – not only for his tireless research, investigation, and revival of Czerny’s colossal oeuvre but also just as much for his meticulous transcription of what in part are Czerny’s difficult-to-decipher manuscripts into modern notation. “Accordingly, Anton Kuerti, as Czerny’s real rediscoverer, shall have the last word with a deeply felt statement about these treasures that have now been unearthed: It is a rare privilege to find music that has been so inexcusably neglected and now brought back to life.”

Bin Huang plays Beethoven on the "Guarneri del Gesi" 1742 owned by Nicoli Paganini and Bach on the Guarneri "Isaac Stern, ex Panette" 1737 owned by the famous violinist. Beethoven's Concerto in D major is an extraordinary work. The Partita No. 2 in D minor concludes with the Chaconne, one of the most memorable pieces of the entire violin literature.

If today no one questions the greatness of Mozart, the most famous composer in Europe at the end of the 18th century was probably Antonio Salieri. For many years court composer of the Austrian Emperor, Salieri wrote an enormous amount of music, some of the best of which remains that composed for the theatre. Les Danaïdes was premièred at Paris’s Opéra on 26th April 1784 and met with a triumphant success. The present recording, qualitatively very high also from a technical point of view, dates from 1983 and features an extraordinary Montserrat Caballé in great vocal form. Gianluigi Gelmetti conducts the renowned RAI Orchestra.