For his second album for Chandos, the flute virtuoso Adam Walker explores the music of British composers with pianist Huw Watkins. Vaughan Williams’s Suite de ballet was commissioned by the French flute virtuoso Louis Fleury (who had given the première of Debussy’s Syrinx). The work uses eighteenth-century French dance forms, a common practice in ‘neo-classical’ composition. Bax’s Four Pieces rescue music from an abandoned ballet originally conceived for Diaghilev’s Ballets Russes. Sir Lennox Berkeley’s Sonatina was originally written for treble recorder; James Galway’s championship of the piece made it a staple of the flute repertoire. Howard Fergusson’s Three Sketches were composed intermittently over a period of twenty years. The theme of the third piece is a Hindu melody, ‘Koyalinya bole ambuvan’ (Cuckoos sing in the mango tree). Sonatas by York Bowen and William Alwyn complete this varied and engaging program.

REVIEW:

Seventy-seven minutes of British music for flute and piano might at first glance seem like 40 minutes too much. But that ’s without taking on board the nimble and dazzling skills of flautist Adam Walker, or the individual strengths of the works presented...a new pleasure is never far away in this most accomplished recital, full of the sounds of spring.

-- BBC Music Magazine

Fresh off a successful Rachmaninoff project, Duo Genova & Dimitrov turns to the American composer Amy Beach. Her compositional oeuvre marks a high point in the phase of consolidation experienced by U.S. art music between the Civil War and World War I. Amy Beach was not the first American woman who composed, nor the first to earn money with her compositions, but she created a stir in the music world by forging ahead into genres in which previously only men had garnered wide acclaim. However, it was above all the piano that was Amy Beach’s lifelong companion.

She honored her instrument with solo compositions in a total of twenty-six opus numbers distributed equally over her entire compositional career, from the 1880s to the 1930s. Even though her music for piano four hands and for two pianos is limited to a few compositions, they all attest to their author’s talent. The original version of Amy Beach’s Variations on Balkan Themes op. 60 is her most extensive composition for piano two hands and the one that is the most challenging in playing technique. At the same time, the variations represent one of her most significant endorsements of folk music.

REVIEWS:

Genova and Dimitrov perform this technically demanding and richly imagined music with enormous affection and flair, conjuring its atmospheres and textures seamlessly, as if with one mind. A must-hear album for all who want to explore Beach’s highly rewarding output.

-- BBC Music Magazine

Aglika Genova and Liuben Dimitrov are a polished duo, unfailingly musical, with an ensemble precision that sits well with their two superbly matched instruments. The disc, very well recorded, comes with an exhaustively detailed booklet and is a valuable addition to the Beach discography.

-- Gramophone

The extant music for violin by Franz Schubert fits comfortably on two discs, and Ariadne Daskalakis released the first disc of her survey in 2019, to critical acclaim. The disc included works for violin and piano as well as three pieces with orchestral accompaniment, in performances described in The Strad as having ‘a litheness and shimmering delight that capture the music’s innate charm and dance-like vivacity with a beguiling sureness of touch.’ The second installment focuses on the chamber music with piano, and once again Daskalakis is joined by Paolo Giacometti, playing a fortepiano by Salvatore Lagrassa. The instrument, of the Viennese school, was built around 1815 and is thus almost exactly contemporary with the sonatas recorded here, the ones in D major and A minor dating from 1816 and the Sonata in A major from the following year. Schubert, who was around 20 years old at the time, had learned the violin from an early age, but the sonatas were probably intended for his older brother Ferdinand, who led the family string quartet in which Franz played the viola. The disc opens with a later work, however – the so-called Rondeau brilliant, from 1826. As the nickname indicates, the B minor Rondo is virtuosic, composed for Josef Slavík who before his early death was hailed as Paganini’s successor by the Viennese critics. In her liner notes, Ariadne Daskalakis describes the piece as ‘in turn dramatic, playful, gentle, seductive and wild’ and together with Paolo Giacometti she brings out each of these aspects.

The recording project Northscapes weaves works-from the first decades of the twenty-first century by composers from the Nordic and Baltic countries of Europe-into a tapestry of soundscapes, vibrating between landscape and the imagination, between the external and internal, between nature and psyche. What these works for piano solo share is a particular attunement to nature, reverberating out of the ever-present reservoir of pagan myths, legends, and folk music of the region. Their sensitivity to the sonic environment allows these composers to explore the liminal space dividing yet connecting landscape, soundscape, and mindscape.

More than mere musical "representations" of the striking natural landscapes of the North, each work, in it's own way, attempts to transform the natural world into a sonic landscape, a mindscape, into imaginary geographies. More than simply pastoral nostalgia, these sonic meditations on nature reach beyond the physical to the spiritual, probing the limit dividing the objective and subjective. Whether it is vast cosmic space or the intimate, interiority of the expressive voice, these works harness the power of music to probe the emotional contours of the tension between world and mind.

Haunted by landscapes colored by memory, fantasy, dreams, decay and infused with emotion, this music shifts consciousness through a transformational synthesis of landscape, soundscape, and mindscape - a shift from imaginary soundscapes to soundscapes of the imagination. In the hands of Lithuanian pianist Ieva Jokubaviciute, Northscapes is a sonic Aurora Borealis, Northern Lights of the ear and mind. -- Christopher Zimmerman

REVIEWS:

A superb recital disc from a quite exceptionally talented pianist…I was consistently won over by the fabulous talents of Jokubaviciute. The representative of her agency described her in an email introducing this recording as “one hell of a pianist”. For once, such a comment is an understatement!

-- MusicWeb International

This fascinating, unusual and at times enthralling selection is performed with a great balance of precision, understanding and respect. Importantly for a program in which textural considerations are central, Northscapes is beautifully recorded with warmth, plenty of space and no brassiness in the upper registers.

-- Limelight

It is a fascinating, well-balanced programme, played with engrossingly undemonstrative virtuosity…Jokubaviciute navigates the contrasting demands of each work with hugely impressive skill and Sono Luminus’s sound is superb. This is an enthralling programme from the northern world that no listener wary of contemporary music need be fearful of (Vasks’s nostalgically evocative score, for instance), though demands are sometimes made of their ears. Recommended.

-- Gramophone

This is the penultimate release in the Chandos series of Brahms works for solo piano, performed by Barry Douglas. | Brahms is often considered both a traditionalist and an innovator with his music being rooted in the structures and compositional techniques of Baroque and Classical eras. | These recordings are being performed in the finest international venues including the Wigmore Hall and Concertgebouw. | This fifth volume is the most virtuosic of the series, including the Scherzo in E flat minor, technically demanding variations, several intermezzi, and three Hungarian Dances. | Barry Douglas is gainging a reputation of one the few world-class piano virtuosi of the romantic repertoire. | Barry Douglas won the 1986 Tchaikovksy Competition in Russia.

The uniquely influential Russian musical and theatrical dynasty of the Liadov, Antipov and Pomazansky families supplied Russian culture with nearly 20 musical and theatrical performers, conductors, composers, and ballet dancers over the course of 150 years. Including numerous world première recordings, these wonderful pièces de salon are gems of Russian dance music, full of charming grace, melodic delicacy and nobility. A quote from Anatoly Liadov can stand as representative for all: ‘such is my character: do everything so that every bar gratifies.’ Olga Solovieva is a laureate of several international competitions. In May 2019 she received the Glinka Medal for her contribution to musical art. She has performed in Russia and internationally, and has collaborated with musicians and ensembles across the globe. Dmitry Korostelyov was awarded the prize for Best Accompanist at the 2005 Rimsky Korsakov Wind and Percussion Instruments Competition in Saint Petersburg. As a pianist he has performed with the Russian State Orchestra, Volgograd Philharmonic Orchestra, and more.

One of Philip Glass’ most glorious themes, this release focuses on the subject of love. From his BAFTA award-winning music for The Hours to his iconic Music In Fifths, the genius of this composer is felt throughout the duration of this album. The Hours is featured here in its entirety, complete with three previously unpublished movements. The release also includes the breathtaking Modern Love Waltz and the world premiere recording of Notes On A Scandal. Performing these works is Nicolas Horvath.

Alexey Stanchinsky was considered an outstanding student by his teacher Taneyev, his work anticipating Stravinsky, Prokofiev and others, paving the way towards many aspects of twentieth-century style. His tragic early death and publishing difficulties meant that his music was hidden for decades. Volume 1 of this complete edition contains his entire output until 1910, including several world premiere recordings and revealing his early melodic gift and sophisticated virtuosity. Pianist Olga Solovieva was born in Moscow, graduated from the Russian Academy of Music, Moscow, and took a postgraduate course as an assistant to Leonid Blok. Since 2004 she has been a professor at the Gnessin State Musical College, and has given masterclasses in Ireland and Belgium. Solovieva was a prizewinner of the 1999 Taneyev Competition of Chamber Ensembles, a finalist of the 2000 XX Chamber Music Competition in Trapani, Italy, a 2010 Boris Tchaikovsky Society Award Winner, and was awarded the Best Accompanist Prize at the XII International Tchaikovsky Competition in Moscow. In May 2019 she received the Russian public award for her contribution to the development of the musical art and the Glinka Medal.

Charlie Siem returns with a new recording of Violin Sonatas, accompanied by his regular recital partner Itamar Golan – featuring Vaughan Williams' Violin Sonata in A Minor and Grieg's Violin Sonata No. 2 in G Major, Op. 13. Charlie Siem is one of today’s foremost young violinists, with such a wide-ranging diversity of cross-cultural appeal as to have played a large part in defining what it means to be a true artist of the 21st century. Siem has appeared with many of the world’s finest orchestras and chamber ensembles, including the Bergen Philharmonic, Camerata Salzburg, Czech National Symphony, Israel Philharmonic, London Symphony, Moscow Philharmonic, Oslo Philharmonic, Rotterdam Philharmonic, and the Royal Philharmonic Orchestra. He has worked with top conductors such as Charles Dutoit, Edward Gardner, Zubin Mehta, Yannick Nézet-Séguin, Sir Roger Norrington, Libor Pešek and Yuri Simonov. International festival appearances to date include Spoleto, St. Moritz, Gstaad, Bergen, Tine@Munch, Festival Internacional de Santa Lucía, and the Windsor Festival.

This new release is the penultimate volume in this acclaimed series of Medtner’s Complete Piano Sonatas performed by series pianist Paul Stewart. Medtner’s 14 piano sonatas, the most significant achievement in this genre by any major composer since Beethoven, span his career. The Sonata-Ballade explores a tempestuous musical allegory – the triumph of Light over Darkness, of Faith over Doubt; while the Sonata in A minor is cast in a single, terse movement, with folkloric elements and frequent use of bell-like features that exude Russianness. By contrast, the ‘Night Wind’ Sonata is a monumental epic of exceptional complexity that stunned Rachmaninov and led composer and critic Sorabji to call it ‘the greatest piano sonata of modern times.’

After four volumes exploring 20th century British works for cello and piano, the Watkins brothers come together again turning their attention across the Atlantic ocean and the American contribution to this repertoire spanning four decades of seminal compositional activity in the United States. The inspired performances of the Welsh sibling duo, both highly acclaimed in their musical endeavors further illustrate the confluence of the unique American influences with the development of early 20th century classical repertoire.

After the success of their debut disc, ‘Voyages’, Mary Bevan and Joseph Middleton present their second recital disc exploring Lieder in German and Italian by Schubert, Haydn and Wolf. The programme is woven around songs inspired by the ‘muses’ of the day, both mythological and divine.

REVIEW:

Mary Bevan is not just an exceptionally fine soprano. She’s also a superb actress. Those dramatic qualities – and her keen care for diction – shine in her latest album. She is at her best in the sprinkling of Wolf’s Mörike Lieder, including an ecstatic ‘Gebet’. Middleton’s playing is always sensitive, never overwhelming the singer.

– Gramophone

Gottlieb Wallisch continues his acclaimed survey of jazz-influenced piano literature. In this volume we explore le tumulte noir (‘the Black craze’) for African American music in the French-speaking countries after the First World War, taking us to Paris and Brussels where the mood was hot for dancing. This environment lured writers, composers, intellectuals and artists from all over the world, with American jazz music as the latest rage in the cafes and bistros of the day. The influence of dances from overseas spread like wildfire, taking hold amongst French and Belgian composers eager to free themselves from Germanic Wagnerism while riding the wave of popularity of hit records and cinema.

REVIEW:

Pianist Gottlieb Wallisch’s most enjoyable, ongoing exploration of the early 20th century music and dance craze, the Foxtrot, explores works by composers from France and Belgium. Less familiar names find a place among the famous, including Auric, Ibert, and Dutilleux before the disc moves to Belgium with five ‘World Premiere Recordings’, including a powerful Jazz Fantaisie from August Louis Baeyens.

-- David's Review Corner (David Denton)

His playing throughout is powerfully, emphatically rhythmic, as suits the music.

-- Pizzicato

Praise for prior volumes in this series from The New York Times:

20th Century Foxtrots, Vol. 1: Austria & Czechia / Wallisch

While jazz-inspired music by the likes of Stravinsky and Weill has never been forgotten, the similar efforts of dozens of other composers from the same period have fallen into obscurity. Now some of those experiments are enjoying a fresh hearing. Pianist Gottlieb Wallisch’s revealing and entertaining new recording is mostly made up of world-premiere recordings of these dance-oriented works, in their piano arrangements.

20th Century Foxtrots, Vol. 2: Germany / Wallisch:

In Wallisch’s latest batch of performances there are once again some discoveries from lesser-known artists. (Multi-movement works by Leopold Mittmann and Walter Niemann are a delight to encounter.) The new album kicks off with a spirited performance of a Paul Hindemith fox trot. And this edition also includes the world premiere recording of a piano arrangement of a “Tango” by Kurt Weill.

20th Century Foxtrots, Vol. 3: Central & Eastern Europe

Past editions surprised and delighted in equal measure; this latest album on the Grand Piano label extends the streak. The repertoire is principally devoted to jazz-age classical miniatures crafted in response to the global fascination with then-new dance rhythms. There are some familiar artists in both cases (think Shostakovich and Spoliansky), but also more obscure names: Yevgeny Mravinsky (“Fox-Trot,” 1929) and Alexandre Tansman (“Tempo Americano,” 1931). Who knew? Wallisch did, for one. As did the historian Mauro Piccinini, whose erudite liner notes are another valuable part of this zesty ongoing series.

To mark the 50th anniversary of Noël Coward's death, celebrated musicians and regular Signum artists Mary Bevan, Nicky Spence and Joseph Middleton join forces for this album of works by Coward and his contemporaries. Featuring songs such as Parisian Pierrot and The Man I Love, the album comprises of a collection of solos, duets and instrumental songs by composers such as Ned Rorem, Liza Lehmann, William Walton, and Benjamin Britten.

How do we even measure time? It is sometimes said that time is as old as humankind, but of course it isn’t. It’s just something we created out of a need for... what exactly? Earliest known evidence suggests we were measuring time already 5000 years ago. That way we could create predictability, for example concerning planting and harvesting. From there on we could more easily schedule and organize, which then helped us building a more sustainable life. When we had found a mutual understanding of what we would call time then other systems could be developed, kind of like a third-party software.

Music notation works as a fine example. Today our life is synchronized “to the beat.” Not only is every single footstep kept track of by our telephones or every breath by our smart wrist watches – even our thoughts are as good as monitored as we scroll casually through advertisements on social media. Without us even realizing, the idea of time and synchronicity is apparently encrypted so deep in our consciousness that the thought of viewing the world without it is beyond our comprehension. That doesn’t change the fact that time as we understand it has not always been the same. Our ideas on time have changed throughout the centuries and will most probably continue to do so. The works on Sonic Alchemy are of composers who offer a new perspective on how we can perceive time, each in their own way. - Páll Ragnar Pálsson

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'.

Florent Schmitt was a strikingly original composer whose influences were as varied as his own restless and imaginative music. A number of his solo piano works are little known and offer an important insight into his compositional development. Neuf Pièces, Op. 27, which includes a Spanish-infused Gitanella movement, was composed during his first period of travel. The expressive and vivid elements of Crépuscules, Op. 56 are infused with harmonic richness and quiet melancholy, while Ritournelle, Op. 2 No. IIbis displays an airiness and wit characteristic of French music of the Roaring Twenties. Internationally renowned pianist, Biljana Urban, presents a selection of neglected gems of French piano literature including many world première recordings.