Signum’s first album with Mexican composer Rodrigo Ruiz combines the composer’s musical and literary passions in performances by world-class soloists Kerenza Peacock, Huw Watkins and Laura van der Heijden. Born in Tijuana, Mexico, Ruiz has attracted commissions from a number of artists, with both the opening Violin Sonata and ‘A riveder le stelle’ commissioned by Kerenza Peacock for this recording. The second work is a duo for violin and piano that is accompanied by poetic quotations from Canto XXXIV of Dante’s Inferno. The booklet notes include an interview with the composer by Jessica Duchen, who describes how the programme “clearly shows Rodrigo´s roots in the traditions of Beethoven and Brahms, but with individual twists that clearly indicate we are in fact on new territory”.

"The opening "Candide" Overture is particularly poignant, for it reveals a band full of life and spirit eagerly responding to Mr. Judd's forward-leaning and even accelerating tempo. But perhaps the most valuable item here is Bernstein's Symphony No. 2, "The Age of Anxiety," a strong work -- alternately atmospheric and excitable, and ultimately carefree -- that is not overrecorded. Jean Louis Steuerman is a deft piano soloist, and the orchestra again does itself proud under Mr. Judd's steady hand." - James Oestreich, NEW YORK TIMES

Matei Varga writes: “To paraphrase Tolstoy, all happy memories feel more or less the same; but the unhappy times are experienced differently by each one of us. We’ve all had some really tough weeks, which sometimes turned into months, and (with a bit of bad luck) into years… I like to think that “off” years help us grow and prepare for the beautiful things that will undoubtedly come our way (I am an optimist at heart), but living through dark times is a complicated process.

The year 2020 was complicated indeed. The world was put on hold and we hardly remember what we did in February, or May, or September… Many suffered from isolation and the inability to socialize - and they probably prefer to think back to 2020 as a year that never happened… I, on the other hand, felt liberated by the lack of schedules, appointments and the pressure to be productive - that horrid word which is killing our souls, slowly but surely. Instead I embraced seclusion and enjoyed the time off which was forced upon us. Yes, I did miss performing in front of a live audience and traveling to beautiful places, but I found that staying home, with my piano, offered me a better view towards my inner self and a chance to experience the joy of a new discovery. That was for me the Cuban master Ernesto Lecuona…Two years later, the pandemic isn’t over and neither is the collective anxiety- but at least I can offer you this very personal recording, which I hope will take your mind away from current realities. This is music’s most phenomenal power- to bring joy when we really need it!...”

REVIEW:

The Year That Never Was in Romanian pianist Matei Varga’s title here is 2020; he writes of how he came to embrace the COVID-era isolation and explored the work of Ernesto Lecuona, a composer about whom he had previously known little. The output of Cuban composer Lecuona is sometimes categorized as salon music, and while it includes a few classical hits like the opening Andalucía (from the Suite española), much of his large production of some 600 works remains little explored. Here, the excerpts from the Danzas cubanas del siglo XIX and Danzas Afro-Cubanas will be worth the price of admission for Lecuona fans. He wants to expand the notion of salon music to include some of its predecessors, not only Chopin but going back as far as Domenico Scarlatti. That pandemic seems to have produced a boomlet in recordings of salon music, which is probably understandable, and Varga’s release is a novel take on the idea.

-- AllMuic.com (James Manheim)

This new collection of pieces for Lyrical Clarinet follows Michael Collins’ first volume which included sonatas by Poulenc and Saint-Saens. This varied repertoire ranges from short, cheerful numbers to romantic and enchanting, and brilliantly displays the incredible technical and dynamic range of the instrument. Clarinetist Michael Collins has won multiple awards for his performance, namely the Royal Philharmonic Society’s Instrumentalist of the Year Award in 2007. He has also become increasingly regarded as a conductor, and currently serves as Principal Conductor of the City of London Sinfonia.

The effervescent and communicative energy of Bavouzet and Takacs-Nagy is encapsulated again in this second volume of their Mozart series. These exhilarating interpretations of Mozart’s piano concertos of 1784, faultlessly supported by the Manchester Camerata, follow highly praised concerts as well as a first volume which was “Editor’s Choice” in Pianist. The two concertos presented here are among the six that Mozart composed in Vienna in an extraordinarily productive year. As Bavouzet states in an exclusive personal note, they “share their association with operatic and symphonic styles. The contrasts of mood in their first movements relate them more closely with music for the operatic stage, while their finales are conceived in purely instrumental terms and make reference to the symphonic domain. On the other hand, these two works are complete opposites as far as their use of wind instruments is concerned. In KV 449 their inclusion is ad libitum, whereas they very often play the principal role in KV 459.”

REVIEWS:

Led by Adi Brett, the ensemble is ideally sized for this repertoire, especially in the string department. Because clearly only players of the highest calibre are engaged, the character here is much more akin to the intimacy of a chamber group ensemble than a true symphonic ensemble, the clue, of course, partly being in the name. But that is not to say that there is not power-a-plenty when called for. The very opening of the E flat Concerto, in fact, says it all in a nutshell: absolute precision in the ornaments, great clarity of line where any instrument that has something important to say at any one point stands out, but never dominates the texture, and the impressive attack as the music goes into the relative minor (C minor, and one of the composer’s favourite keys for drama) around twenty-five seconds into the exposition. These all mark out this performance as something special, even before the soloist has made his own telling first contribution. It is clear that both sheer dynamism and enthusiasm in the orchestral playing emanates from the man at the front, Budapest-born Gábor Takács-Nagy, who also works just as hard to nurture the more lyrical side of the music. That is something he is more able to do by forsaking the baton, and itself something perfectly feasible for this size of ensemble.

But when Bavouzet makes his first appearance, he takes over exactly where the Camerata have left off, attesting to a great feeling of empathy between soloist and conductor. All too often, the soloist’s body language can suggest a degree of displeasure at the way the orchestra deals with the opening themes that the soloist will then make use of in the ensuing solo exposition.

In discussing his previous Mozart CD, Bavouzet explains his choice of the Yamaha CFX instrument: “When considering a piano for this project I immediately thought about a Yamaha. The wonderful comfort of the keyboard action, the refined sound, and the natural balance between bass and treble were qualities that made my choice obvious and perfect for the Mozart Concertos.” Although a life-long Steinway aficionado, I have to agree with his comments, in as much as the piano-sound on this new CD is concerned, enhanced, of course, by the outstanding fidelity of the recording as a whole, and the warm acoustic of the venue.

With the added generosity of two well-known and much loved Divertimenti—in D major, KV 136, and F major, KV 138, respectively—where the Manchester Camerata really comes into its own with some stunning playing, there can be little doubt that this new CD is the perfect successor.

-- MusicWeb International

Their third duo album on Signum Classics, husband and wife Alessio Bax and Lucille Chung unite to bring an album of French works by Debussy and Ravel in versions for piano duo and four hands. With arrangements by Dutilleux and Ravel himself key works include ‘Prélude à l’après-midi d’un faune’ for four hands and La valse for two pianos.

Previously unreleased recordings by one of the great conductors of the 20th century.

Karel Ančerl. One of the most important conductors of post-war Europe. A man who survived the Nazi concentration camps and the avowed anti-Semitism of communist Czechoslovakia. An artist who, through enormous patience and dedication, built the Czech Philharmonic into a world-class orchestra and introduced it successfully at the most important concert halls.

From 2002 to 2008, Supraphon issued the highly acclaimed Ančerl Gold Edition with the bulk of his artistic legacy, containing nearly his complete studio recordings with the Czech Philharmonic on 48 albums. But that was far from everything. Hidden in the archive of Czech Radio, there is a wealth of concert recordings that gives us a more complete picture of this conductor. From that treasury, on 15 albums, Supraphon has selected repertoire of which studio recordings were not made; that repertoire covers a broad range from Mozart to works by Ančerl’s contemporaries.

The recordings include masterpieces by Dvořák (Symphonies Nos. 7 and 8, Biblical Songs) and Suk (Asrael, Ripening), music by composers admired and promoted by Ančerl (Martinu Symphony No. 1 and Kabelác Symphony No. 5), and major works of the worldwide 20th-century repertoire (Debussy, Ravel, Strauss, Prokofiev, etc.). The only exception of a “duplication” of a studio recording is Smetana’s Má vlast. This taping of a Prague Spring Festival concert in May 1968 was one of the last recordings Ančerl made before his definitive departure for Toronto. The concert recordings from the years 1949-1968 document the maturing of this remarkable artist perhaps even more clearly than his studio legacy.

REVIEW:

-- Gramophone (Rob Cowan)

The 1921 musical comedy, Shuffle Along, was a soaringly successful Broadway show. Contained inside this show are songs that would eventually become staples in the repertoire, such as “I’m Just Wild About Harry” and “Love Will Find A Way.” This musical also served a civil purpose. As an all black musical, the show desegregated theaters all across the country. This album is being release alongside the April 2016 revival of the show, and features Tony Award-winning stars such as Brian Stokes Mitchell and Audra McDonald.

REVIEWS:

This fascinating release combines original recordings made in the acoustic era by members of the Shuffle Along company in conjunction with later performances, primarily by Noble Sissle and Eubie Blake, who wrote all the music and lyrics. It is, of course, by no means perfect, but it is representative of what was considered a landmark show in the history of black theater and the first “jazz” musical to hit Broadway...

Singer and lyricist Sissle was originally a drum major and vocalist for Lieutenant Jim Europe’s “Hellfighters” 369th Infantry Band in World War I...not even the Original Dixieland Jazz Band had yet made an appearance in New York. To them, jazz was what we now call “hot ragtime.”

Nevertheless, Shuffle Along remains a vitally important historical moment in the history of black entertainment. It was the first all-black show to have a wide appeal to white audiences, first gaining attention at the Howard Theatre in Washington for two weeks, then moving to the 63rd Street Theater in New York City in May before racking up 504 performances(!) at the Cort Theater on 48th Street. The cast included several names that would become famous over the next few years such as Adelaide Hall, Florence Mills (who replaced Gertrude Saunders after the first year), Fredi Washington and Paul Robeson—none of whom recorded anything from the show!—and a very young Josephine Baker in the chorus line.

-- The Art Music Lounge

The superb Kalichstein-Laredo-Robinson Trio is heard in all of Schubert's music for Piano Trio- the two great masterpieces (the B-flat and E-flat Trios), as well as the rarely played "Sonatensatz" and Notturno. In addition, Sharon Robinson and Joseph Kalichstein perform the lovely "Arpeggione" Sonata. This specially priced release includes notes by Schubert specialist, Malcolm MacDonald.

Eclipse encompasses world-premiere recordings of inventive, virtuosic, and impassioned chamber works, written in a present-day musical language by the strikingly original American composer and pianist Mischa Zupko. Joining him are two close friends and accomplished colleagues, the sublime violinist Sang Mee Lee, who chairs the string department at the Music Institute of Chicago, and internationally renowned cellist Wendy Warner, a protégé of Mstislav Rostropovich. Eclipse explores themes of separation, contrast, and convergence on cosmic as well as intimate levels. In the album’s centerpiece and title track, Eclipse, violin and cello approach like two celestial bodies, their musical lines merging and becoming one luminous entity. Mischa Zupko is currently the composer-in-residence at the Music Institute of Chicago. He has received plaudits from The New York Times and the Los Angeles Times, and he has been featured in the Chicago Reader and New Music USA’s New Music Box, which called him “a humble, energetic, and constantly searching artist.”

}Gramophone (2/97, pp. 53-4) "...I was as impressed by [Frith and Tinney's] attunement of phrasing in lyrical contexts as by their synchronization in all the brilliant semiquaver passagework....a not-to-be-missed opportunity to explore the precocious young Mendelssohn..."{

Lullabies for Mila is dedicated to Alessio Bax’s daughter, Mila. The album begins with a moving dedication: “This album is not only a carefully curated playlist of soothing classics to calm a baby and perhaps make him or her fall asleep quicker. It is also a gift from parents to their children, with the hope that they will share music with their loved ones, not just to entertain them but also to enrich their lives.”; This disc compiles works from Bax’s past Signum albums, including performances with Southbank Sinfonia and Lucille Chung. It also contains a new recording of the Grieg’s Nocturne from his Lyric Pieces.; Alessio Bax is a celebrated and award-winning pianist. Gramophone says “His playing quivers with an almost hypnotic intensity,” and the Dallas Morning News calls it “an out of body experience.” He has performed as a soloist with over 100 orchestras.

EarlWild, the legendary piano virtuoso, who died on 23 January 2010 aged ninety-four, was fondly known as the Peter Pan of pianists on account of his perennial youthfulness and stamina when tackling the great romantic blockbuster concertos that formed the centrepiece of his repertoire. Throughout his life, Wild composed a large quantity of music, from television scores to ballet music, but mainly piano transcriptions of other composers' works, which he imbued with his own distinct voice. Famous for a unique style that encompassed many influences, both classical and popular, he will be remembered as one of the great interpreters of Liszt, Rachmaninoff, and, perhaps most significantly, George Gershwin. This CD comprises Earl Wild's arrangements of well-known Gershwin tunes, as well as the Piano Sonata, an original composition from 2000, which carries strong imprints of jazz, blues, rag, and American folk music, while still remaining firmly rooted in the classical form. Wild's Grand Fantasy on 'Porgy and Bess' explores well-known songs presented in a free-flowing way that ultimately produces the feel of a single work. Simply to list the songs as they are heard would be misleading, as they drift in and out, receiving different treatments. For example, phrases from 'Summertime' are used throughout the piece in transitions from one section to another, and 'I got plenty o' nuttin'' is presented as a complex and lively march while 'There's a boat dat's leavin' soon for New York' brings the work to a flashing conclusion. In contrast to the Grand Fantasy, which uses several of Gershwin's melodies within one single span, the Seven Virtuoso Études does exactly the opposite. Here seven Gershwin songs are treated separately, each showcasing challenging piano techniques and thus placing great virtuosic demands on the performer. 'The man I love' makes extensive use of difficult polyrhythm, and demanding scales and arpeggios govern 'Embraceable you' while 'Somebody loves me' uses legato to evoke a colourful but dreamy mood. The works on this disc are performed by the young American pianist Xiayin Wang who with her consummate technical brilliance and fine musicianship has already achieved a high level of recognition for her commanding performances in such venues as New York's Carnegie Hall and Lincoln Center. Very active on the concert platform, she was the featured performer at the conference of the League of American Orchestras in June. She has been championed by one of New York's great musical patrons, Bill Schwartz.

As a Swiss composer, Arthur Honegger was probably the bird of paradise among the Paris composers of the "Groupe des Six". The fact that he managed to combine the simplicity and plainness demanded above all by Jean Cocteau with his fascination for Wagner and Debussy indicates a strong personality. It is also reflected in his numerous song compositions and can be experienced wonderfully in the selection that Holger Falk and Steffen Schleiermacher have made for their latest album - including many a surprise. As with the other Five of the "Groupe des Six", Honegger preferred to set contemporary poems to music; Apollinaire and Claudel were particularly popular. But older texts also seem to fascinate him: The wonderfully purring stories by Saluste du Bartas and Pierre de Ronsard transport us into a baroque world in which biting irony and the most serious passion can hardly be distinguished. Honegger - unlike his colleagues - was also fond of the large symphonic form, including some stage successes. Some of this can be found in his songs; the early "Quatre Poèmes" surprise with harmonic opulence, far from any neo-classical attitude. Even at a ripe old age, the composer still counted these pieces among his best. The works presented here by Falk and Schleiermacher with an unerring sense for fine nuances span an entire composer's life. The consistently demanding piano part remains a constant and creates an atmosphere with sometimes almost endless, yet never obtrusive ostinati, on which Holger Falk's supple baritone can unfold most beautifully.

The Sacred Veil - a project led by Eric Whitacre and Charles Anthony Silvestri - was created following the passing of Charles’ wife, Julia in 2005. It represents a journey towards the answer for many questions, including whether departed loved ones are truly gone, and how can we mourn those we have lost whilst still moving forward? In Charles’ own words, the project became “a significant part of my journey toward healing and wholeness after great loss.”

Poet, author, composer, and speaker Charles Anthony Silvestri has worked with other artists from all over the world to create texts tailor-made for their commissions and specific artistic needs. He enjoys the challenge of solving these creative problems and has provided custom choral texts, opera libretti, program notes and other writing for composers including Eric Whitacre, Ola Gjeilo, Kim Arnesen, and Dan Forrest, and for ensembles ranging from high schools to the Houston Grand Opera, from the King’s Singers to the San Francisco Gay Men’s Chorus, from Westminster Choir College to Westminster Abbey.

Grammy® Award-winning composer and conductor Eric Whitacre is one of the world’s most performed living composers. His works have been programmed worldwide by millions of amateur and professional performers, while his ground-breaking Virtual Choirs have united singers from over 120 different countries. Eric, a graduate of the prestigious Juilliard School of Music, is presently Artist in Residence with the Los Angeles Master Chorale, following five years as Composer in Residence at the University of Cambridge, UK.As conductor of the Eric Whitacre Singers, he has released such chart-topping albums including Light and Gold and Water Night. In high demand as guest conductor, he has drawn capacity audiences to concerts with the Netherlands Radio Choir, London Symphony Orchestra, Flemish Radio Choir, and Minnesota Orchestra.

REVIEWS

The Sacred Veil is notable simply as one of the most deeply personal pieces of concert music heard in quite some time. Yet there is more to its profound effect than this. Whitacre responds to the texts with a sober language akin to but quite distinct from his usual style, something like the dark language cultivated by Renaissance composers for the requiem mass and other serious texts. The performances by the Los Angeles Master Chorale, under Whitacre's direction, are superb, and the sound, from California's Musco Center for the Arts, is exemplary.

– AllMusicGuide.com (James Manheim)

Composer Eric Whitacre and poet Charles Anthony Silvestri, longtime collaborators and close friends, come together for their most personal and expansive work to date. Whitacre has created a powerful score for Silvestri’s heartfelt poetry in the 12-movement work The Sacred Veil. Silvestri’s wife, Julie, died of ovarian cancer at age 36 in 2005, leaving two young children. His texts, written collaboratively with Whitacre, and the intimate, compelling score tell a story of courtship, love, loss, and the search for solace. Whitacre leads the Los Angeles Master Chorale in the world-premiere recording.

– WFMT-FM (Lisa Flynn)