Signed copies of our October release COLCD 141. Choral settings of Shakespeare, Wordsworth, James Weldon Johnson, Charles Causley and others, by John Rutter

The three composers whose works appear on this album are interconnected: Ravel was a mentor to Lennox Berkeley, and Berkeley to Pounds. Le Tombeau de Couperin marks Ravel’s movement towards neoclassicism, its forms and style a re-invention of ones from the French baroque.

Originally written for solo piano, the movements of the suite were dedicated to friends whom Ravel had lost in the First World War. In 1919, he orchestrated four of the six movements (the version performed here). Berkeley met Ravel a number of times in the 1920s, working as an interpreter and tour-guide whilst Ravel was in London. Ravel advised him to study with Nadia Boulanger, which he did, between 1926 and 1932.

Commissioned by Sir Arthur Bliss for the BBC Symphony Orchestra in 1942, the Divertimento initially received a mixed reception, but has since found many supporters (including Pounds). The critic Peter Dickinson felt it showed an ‘instinctive and unimpassioned creativeness associated with the French aesthetic, but by no means restricted to it’.

Adam Pounds studied privately with Berkeley in London during the late 1970s, and in his own music has perpetuated the firm commitment of the two earlier composers to clarity and accessibility in everything they wrote. His Third Symphony was written in 2021 and is a response to the national lockdowns in 2020 and 2021 prompted by the Covid-19 pandemic. Pounds states that the piece captures the ‘sadness, humor, determination, and defiance’ which everyone faced at this time – not least musicians. Scored for relatively modest orchestral forces, the work is dedicated to Sinfonia of London and John Wilson who here give the work its world première recording.

REVIEW:

In the early 1730s Bach revised his E flat major Magnificat of 1723, transposing it to D major and omitting the interpolations peculiar to Christmas performances in Leipzig. (Recent research suggests such richly scored Latin Magnificats could be performed in Lutheran churches at some 15 annual festivals, not just the three – Xmas, Easter, Ascension – previously supposed.) The D major was apparently Bach’s preferred version and is the one commonly played today, as on this latest instalment of Masaaki Suzuki’s acclaimed survey of Bach’s sacred vocal music. Suzuki’s Magnificat, like his earlier Bach recordings, is sharply focused and performed with engaging conviction. My benchmark disc, by Philippe Herreweghe, grips with its palpable air of excitement. Suzuki’s reading is cooler, more nuanced and has a clearer acoustic; yet Herreweghe’s soloists retain a slight edge – few could match Barbara Schlick and oboist Marcel Penseele in rapt duet on ‘Quia respexit’. Herreweghe’s coupling is the splendid Cantata, BWV 80; Suzuki offers a trio of fascinating rareties. The Magnificat by Kuhnau, Bach’s predecessor at Leipzig, resembles Bach’s in instrumentation and division of text: it’s a lively, attractive piece, trumpets ringing out boldly in the bright opening chorus. Two shorter Magnificats by Bach’s Dresden-based contemporary Zelenka represent a very different and highly individual approach, the C major’s tripartite structure creating an almost concerto-like framework for soprano soloist. Suzuki’s excellent, scrupulous performances should provoke greater interest in Kuhnau’s and Zelenka’s church music – the latter’s Missa Dei Filii, by Tafelmusik/Frieder Bernius (DHM), is also highly recommended. Performance: 5 (out of 5), Sound: 5 (out of 5)

-- Graham Lock, BBC Music Magazine

Terra Infirma was directly inspired by the experiences of it's creative team. Reena Esmail, who resides in the Los Angeles neighborhood of Altadena, was forced to evacuate her home during the catastrophic fires of January 2025. Kondonassis, a committed advocate for the environment, is founder and director of the non-profit organization Earth at Heart; her initiatives include the widely-praised commissioning project FIVE MINUTES for Earth. Terra Infirma reflects not only the environmental passion and advocacy of both artists, but also their inspiration to innovate and expand the concerto form. In this bold new work, with a title taken from a poem by Robert Walters, the harp symbolizes the protagonist Earth, both fragile and powerful. The towering instrument is moved choreographically by Kondonassis across the stage as she journeys through various arrays of suspended percussion. In the composer's words, the work is "part virtuoso concerto, part performance art, and part theater." Esmail, who is Indian-American, has drawn on her extensive studies of Hindustani music in composing Terra Infirma. Her compositional voice is at once arresting, lyrical, haunting, and fierce. The work, which includes a defining movement titled "Immolation," incorporates elements of Raag Deepak, an ancient collection of pitches believed to invoke fire. Kondonassis, known for "a range of colour that's breathtaking," (Gramophone), brings the work to life with colorful authenticity. Says Esmail, "Terra Infirma sits somewhere between a harp/percussion concerto and a monodrama - Yolanda leads us through the trajectory of a wildfire, starting with the eerie moments before the first spark, and ending with the hope of new growth. The work explores our human relationship to fire - a force that can be at once devastating and illuminating. It has been a dream to work so closely with Yolanda, who has reinvented the role of the harp over and over again throughout her career. We have built the DNA of this piece together over so many years - experimenting in percussion studios, mapping stage plots, pushing our imaginations to the limit. I am so excited to share this work with the world." States Kondonassis, "The personal and musical resonance that I feel with Reena has resulted in a work that's deeply personal, uniquely colorful, and ground-breaking in so many ways. The harp is a highly visual instrument, and Terra Infirma utilizes that element to the fullest. In this work, the harp is actually a character in the musical drama onstage, and that gives me the chance to portray an enormous range of artistic emotion." The new concerto forms the heart of The Terra Infirma Project, a multi-year initiative of the Interlochen Center for the Arts, which boasts Kondonassis as an alumna (class of '82). The Interlochen Orchestra is featured along with Kondonassis and conductor Andrew Grams on the world-premiere recording, released in April 2026 on the Grammy-winning Azica label. The entire process, from initial workshops to the world-premiere and recording, has been captured by the award-winning film crew, Fulvew Productions, for an upcoming documentary to be released for airing on PBS Television in August 2026. The Terra Infirma Project is generously supported by the Allen B. Cutting Foundation.

This is the first of two volumes of George Walker’s complete piano works, both featuring performances by Alexandre Dossin. The three sonatas heard here offer compelling contrasts. Sonata No. 1 (rev. 1991) is his longest and utilises folk tunes, No. 2 is darker and unified by tonal relationships, while No. 3 (rev. 1996) displays contrapuntal mastery and translucent elements. The album opens with the serene and majestic Prelude and Caprice, while both Spatials and Spektra are atonal. Bauble is heard in a world premiere recording.

REVIEW:

Judging by the compositions on this album, his piano music is communicative, colorful, expressive and, above all, characteristic. As a student of Rudolf Serkin, he was himself an outstanding pianist with an impressive career in Europe and the United States. This may have been conducive to his talent as a composer. 

Pianist Alexandre Dossin shows himself to be an accomplished interpreter, making Walker’s tonal language his own with his flexible and sensitive playing.

-- Pizzicato

I Fagiolini’s re-discovery and recording of Striggio’s long-lost Mass in 40/60 Parts was ground-breaking when it was released in 2011. The premiere recording won awards around the world including the Gramophone Early Music Award and a Diapason d’Or de l’Année in France and remains a trailblazing account of this Renaissance epic. It is complemented by Tallis’ Spem in alium which it is said to have inspired. The Gramophone citation particularly mentioned the new lustre brought to the piece by instrumental involvement and the clarity brought to the detail by the use of viols, cornetts, sackbuts, dulcians and more. Eight further works by Striggio are also included, each of them premiere recordings in 2011.

The first of its kind, this duet album is a musical journey that draws back the curtain which has obscured gay love-stories for centuries. In the 17th century, Venice offered a liberal safe haven of sorts to the gay community of greater Europe. There are accounts of outed artists escaping to Venice to live and work amongst its more permissive culture. Almost 400 years later, we reconnect with this uncommonly tolerant place and time to share a history that is yet untold. The album includes vivid and charming duets from Monteverdi’s 7th book of madrigals as well as his touching musical love letters (lettere amorose). Additionally, there are four modern-day premieres of works by the little-known composers Boretti, Melani, and Castrovillari; including a moving duet for the lovers Hercules and Theseus as they exit the underworld hand-in-hand. Solo arias by Cavalli and Stradella depict the yearning of hidden love, and the recording culminates with one of the most beautiful duets of all time, ‘Pur ti miro’ from Monteverdi’s L’incoronazione di Poppea. This album is a recognition and celebration of gay love that spans the centuries.

FLORENCE B. PRICE. A composer advocates for the exchange of different traditions and cultures. Florence B. Price's works combine a fascinating spectrum of intense emotion, buoyant lightness, and playful charm, which captivated me from the very first moment. In particular, her songs, which bear witness to great sensitivity and melodic ingenuity, have made a lasting impression on me in terms of their expressiveness and complexity. However, it is not only her music that touches me; I also feel profoundly moved by her life story. Florence B. Price was a single mother of two children after separating from her husband. Tragically, she had to cope with the loss of one of her children at an early age-a fate that is sure to have shaped her life profoundly. As an African-American artist, she also had to assert herself in an era characterised by deep-seated racism, and in a world where women in classical music rarely found recognition. Astonishingly, her works have not yet been fully published or featured in the standard repertoire. Her music, culturally rich, full of history, and brimming with emotion, deserves to be elevated to it's rightful rank due to it's artistic quality. The apparent lack of widespread recognition of Price's oeuvre cannot be explained by a lack of compositional quality, but rather by socio-historical circumstances that marginalised artists like her. It is very surprising that her works have not yet been published in their entirety...(Excerpt from the liner notes by Sascha EL Mouissi)

For the last four years, IGOR LEVIT’s name has been the first to be mentioned whenever there has been talk of the most exciting of the younger generation of pianists. What is so surprising about Levit is not only the maturity of his interpretations, but his boundless appetite for new repertoire of works as difficult and demanding as possible. Following his landmark recording, Beethoven – The Late Piano Sonatas, for which he has won international acclaim, Levit is again tackling another complex and difficult major work, J.S. Bach’s six partitas. Written between 1726 and 1730, the partitas BWV 825-830 are considered one of Bach’s masterpieces and are among the most difficult and challenging works for piano. Igor has studied Bach’s work extensively and has reached a deep understanding of the partitas allowing him to play them with such emotionality and musical “thirst” that this recording will be a benchmark for all other pianists.

Igor Levit has received international acclaim since he appeared as the youngest artist ever at the Arthur Rubinstein International Piano Master Competition in 2005, where he won four awards. Born in Russia, Levit moved to Germany with his family at the age of eight. He is a graduate of the Hochschule fur Musik in Hannover, where he achieved the highest grades in the academy’s history.

Following an album dedicated to the forgotten Renaissance master Vicente Lusitano (Gramophone Editor’s Choice, Der Preis der deutschen Schallplattenkritik Quarterly Critic’s Choice), The Marian Consort makes an enthralling leap forward to the present day. True to its core mission of expanding the vocal repertoire, A Winged Woman showcases the ensemble’s commissions from a crop of the UK’s finest composers – including seven world premiere recordings – with music by Dani Howard, James MacMillan, Electra Perivolaris, Howard Skempton, Chloe Knibbs and others. The works challenge traditions and tropes in imaginative and refreshing ways, bringing together a rich array of musical styles and textual approaches. As Perivolaris’s titular work makes clear, this album puts centre stage the compelling work of some of today’s most exciting women composers.

Over the course of more than half a century, Wolfgang Rübsam has consistently brought new insights to bear on the keyboard music of Bach, firstly in sets of the canonic organ music for Philips, then the same for Naxos. In the last few years, his musicianship and understanding of Bach enriched by those decades of experience, he has turned to the harpsichord/piano repertoire for Brilliant Classics. A series of critically acclaimed albums has shed new light on The Well-Tempered Clavier, the Goldberg Variations, the Partitas and Toccatas with Rübsam’s performance of them on a lautenwerk – a ‘lute-harpsichord’ with a distinctive chime and colour which Bach himself would have been familiar with. Rübsam now returns to the organ, with new transcriptions and recordings of two Orchestral Suites and Chaconne from the D minor Partita for solo violin. While the Chaconne has attracted transcribers and arrangers ever since the 19th century, drawn magnetically to its evolving variations on a ground bass which accumulate an emotional power unusual even for Bach, the Orchestral Suites are much less often encountered outside their original garb. Yet we can be sure that Bach himself would have embraced Rübsam’s idea with enthusiasm. The Suites themselves are compilations of dances, probably not all originally designed for their eventual destination as high-class entertainment music for the concert series at Café Zimmermann in Leipzig, and Bach repurposed some of their movements as sinfonias and even choruses for his church cantatas. As in his fairly free transcription of the Chaconne, Rübsam has made full use of the instrument at his disposal, a magnificent Casavant instrument (1998) at the Church of St. Louis, in St. Paul, Minnesota. The booklet includes a full disposition for the organ as well as an essay introducing both the works and Rübsam’s uniquely imaginative approach to them. ‘If the sound of the lute-harpsichord highlights Bach’s debt to French lute music, especially in the First Prelude, the instrument clarifies that homage while Rübsam’s interpretation transcends it.’ (Fanfare, November 2018, The Well-Tempered Clavier, 96750)

Johann Kuhnau-Bach's immediate predecessor as Thomaskantor-in an 8-CD box that offers more than a mere collection of works: the individually issued recordings from 2013 to 2022 by Opella Musica, Camerata Lipsiensis, and Gregor Meyer are brought together as a complete sacred corpus with editorial coherence, making audible how Leipzig's church music takes shape at the threshold of the eighteenth century and beyond. From intimate, chamber-scaled pieces to representative festive compositions, one can trace how compositional technique, the relationship between voices and instruments, and the overall sonic architecture gain definition in the early decades of the eighteenth century-a sounding point of reference for what Bach would later adopt and develop in Leipzig.

Masterpieces of Baroque piano literature, in critically acclaimed recordings by pianists with a fine sensibility for the 18th century. Recordings made between 2005 and 2023; new booklet essay; an ideal budget introduction to the world of the Baroque keyboard, full of elegant dances and virtuoso playing. This survey of Baroque composers ranges from the high-point of 18th-century keyboard writing, the Goldberg Variations of Bach, to little known gems such as the sonatas by Espona, Galuppi and Giustini. It places the three great masters of the Baroque - Bach, Handel and Rameau - in the context of their influential predecessor, Sweelinck, and then those composers such as Galuppi and Espona who write in a new, galant style which overlaps with the Classicism of Mozart. Some of the artists on these recordings are still in their 20s, having grown up with a culture of historically informed performance practice which they then bring to their handling of a modern piano. Others, such as Yuan Sheng and Wolfram-Schmitt Leonardy, have been playing these pieces for many decades, and bring to them a career's worth of experience in teasing out the meaning and rhetoric of 18th-century phrasing and harmony on an instrument which none of the composers ever encountered. Handel is represented not by the familiar Eight 'Great' Suites but by an imaginative collection of earlier suites. Scarlatti's fertile invention is generously celebrated with 35 of his sonatas. Bach predominates, naturally, with the Six Partitas and the Italian Concerto as well as the Goldbergs, thus representing the stylistic range of his output. Keyboard styles from all over mainland Europe make an appearance, in the Dutch/Italian nobility of Sweelinck, the Hispanic-Italian flavour of Scarlatti, the French accents of Bach and Handel, and native French of Rameau, and the exuberantly Italian flourishes and proto-operatic gestures of Galuppi and Giustini. There is something here for everyone.

Following up her critically acclaimed recording of Heinrich Ignaz Franz von Biber's Rosary Sonatas (CCSSA37315), violinist and musical director Rachel Podger leads Brecon Baroque on Just Biber, an album of Sonatas from Biber's 1681 collection Sonatae Violino Solo and his theatrical Sonata Representivo. These works are extremely virtuosic with extensive multiple stopping and dazzling passages of stylus fantasticus. In Biber's time, harmony was something cosmic, vibrating in a God-given resonance between human, instrumental and celestial bodies. Dedicated to Archbishop Maximilian Gandolf, the sonatas were not only designed to delight, but also potentially to balm and heal; Biber described the sonatas as a kind of prayer for the Archbishop's longevity and good health.

A MusicWeb International Recording of the Month!

This is a marvellous new B Minor Mass and it is, without a doubt, the most French-sounding version of the piece to have yet come my way.

That might sound like a lazy stereotype. After all, it’s performed by that most renowned Francophile among musicians, William Christie, who has dedicated his life to rehabilitating the French Baroque and whose efforts have meant that names such as Lully, Rameau, Charpentier and Marais have been not only rescued from their specialist niche but have been given an uncontested place among the concert programmes of the Anglo-Saxons. With his ensemble Les Arts Florissants he has become one of the greatest champions of that music, so it’s hardly surprising that some of the interpretative dust of the French Baroque should rub off onto his Bach.

It’s not just a trope to describe his Bach as Gallic, however. It’s there right from the start. The opening Kyrie is the most mellifluous and honeyed I have heard since the advent of historical performance practice. The two great fugues proceed with cultured smoothness that sounds as though they have one eyebrow perpetually raised. It’s a sound of which, I suspect, Lutheran Bach would have profoundly disapproved. I rather liked it, however, and as a change from what has become the norm of period practice I found it very effective.

That’s only one example of one of the performance’s wider traits. Throughout, it has an elegance, an élan, a nonchalance, almost, that would make them seem entirely at home if performed in the court of ancien regime Versailles. The solos with their instrumental obligatti, for example, sound refined and polished in a manner that is a hundred miles away from the church and more from the realm of the theatre. There’s nothing wrong with that, though, and it’s in keeping with Christie’s vision. My favourites included Katherine Watson in the Laudamus te, with a wonderfully dusky violin, and André Morsch’s playful combat with the horn in the Quoniam. Tim Mead’s lovely countertenor is a repeated highlight, be it slotting into Watson’s soprano in the Christe or sustaining a blisterinly poignant Agnus Dei at the end.

Not only are the orchestral and instrumental playing super throughout, but the choral singing is top notch, too. That, however, will come as no surprise to those how know and love the work of Les Arts Florissants, and it’s great to hear them tackling one of the central works of the German repertoire. It’s a Teutonic world that they can’t be too practised in, but they bring something remarkably distinctive to it.

The main reason for the performance’s success, however, is Christie himself. Bringing his lifetime’s experience to the B Minor Mass must, surely, have been a labour of love rather than an expectation, and the results are wonderful. There is majesty aplenty in the Gloria, whose opening casts off the mellifluousness of the preceding Kyrie as though emerging into a new light, producing rumbustious, gloriously winning tone that brought a broad grin to my face, as did the outer bookends of the Credo. The Sanctus is taken at a rapid pace, with brilliantly detailed violin inflections to enliven the texture, and the final Dona nobis pacem is brilliantly paced.

Perhaps the highlight of the work is the Easter sequence, however, and, in particular, the Crucifixus. Here you get the unmistakeable whiff of the Opéra, because Christie slows down the pace and stresses the beat with what comes close to string (and voice) sforzandi in a way that surely mimics the nails being repeatedly battered into Christ’s suffering body. It’s this movement that will tell you whether this performance is for you. Some might find it vulgar or too overtly theatrical. I thought it wonderful, an example of the conductor using his experience in the theatre to enlighten and deepen his vision of Bach.

Choose for yourself, but I thought this the most memorable B Minor Mass to have come my way since the (entirely different) performance from John Butt and the Dunedin Consort. Explore it and be surprised.

– MusicWeb International (Simon Thompson)

Classical Music

Those who lament the austere, dispassionate, "scholarly" approach that more often than not informs today's original-instrument performances of Bach cantatas will find much to rejoice in Masaaki Suzuki's grand and heartfelt, if not overly devotional conceptions. For instance, as you listen to the opening Sinfonia of Christ lag in Todesbanden you're immediately struck by the emotive delicacy of the string playing and how perfectly it introduces the subject's necessary resolve and sadness. Moments later when the chorus enters and the momentum shifts, the urgency of the ensemble likewise changes to deftly communicate just the right measure of boldness and hope. Throughout the piece Suzuki's uncanny ability to extract every nuance from Bach's sublime score recalls the efforts of Karl Richter, Günther Ramin, Fritz Werner, Karl Ristenpart, and Helmut Winschermann--bygone patricians of this repertoire who were equally considerate of the music's every emotion, from deepest angst to overwhelming joy. Though BWV 4 is one of Bach's most famous and oft-recorded cantatas, Suzuki's rendering of it ranks with the very best.

The two other cantatas offered--Nacht dir, Herr, verlanget mich BWV 150 and Der Herr denket an uns BWV 196--also receive outstanding performances. In BWV 150, soprano Yumiko Kurisu's seamless and spirited rendering of the aria "Doch bin und bleibe ich vergnügt" is a marvel, as is the fifth-movement trio "Zedern müssen von den Winden", expertly performed by countertenor Akira Tachikawa, tenor Koki Katano, and veteran Dutch bass Peter Kooy. Also noteworthy is Suzuki's brilliant negotiation of the complex rhythms of the chorale "Meine Augen sehen stets zu dem herren", imparting a rarely heard uplifting quality to the setting. BWV 196 is highlighted by the final chorale "Ihr seid die Gesegneten", where Suzuki's sensibly dignified conclusion impresses more favorably than the overly exuberant let's-get-it-over-with treatment Konrad Junghänel and the Cantus Cölln offer in their fairly recent Harmonia Mundi recording (type Q1384 in Search Reviews).

BIS's sound is of audiophile quality, with an expansive yet detailed sound stage that spectacularly complements Suzuki's grand realization. As Volume 1 in a complete traversal of Bach's sacred and secular cantatas, this auspicious entry offers the promise of an extraordinary and very important cycle that shouldn't be missed by anyone who loves these works. This is the kind of Bach rarely heard anymore--performances that make you want to devote time to them, to listen at lifelike levels and follow the text religiously.
-- ClassicsToday.com

Schubert & Beethoven: Piano Trios

Danish Saxophone Quartet who has been widely known for their superb performance of contemporary music embarked on a new field of classical repertoire a few years ago. Their rendition of Bach’s Die Kunst der Fuge received acclaim from critics and audience a like and released on Kontrapunkt 32259. Present CD of Goldberg Variations was recorded live in concert in Rome with the superb arrangement by Italy’s foremost arranger/composer Francesco Frederico Venerucci. repertoire a few years ago. Their rendition of Bach’s Die Kunst der Fuge received acclaim from critics and audience a like and released on Kontrapunkt 32259. Present CD of Goldberg Variations was recorded live in concert in Rome with the superb arrangement by Italy’s foremost arranger/composer Francesco Frederico Venerucci.

From the early days of the twentieth century until the Anschluss forced him into American exile, Richard Stohr (1874-1967) was one of the more prominent personalities in Viennese musical life, as composer, teacher and author. Earlier releases in this series of recordings revealed him to have an individual voice, somewhere between Bruckner, Mahler, Korngold and Strauss. It can be heard in it's full glory in his Chamber Symphony of 1912, a sunlit score modest in it's orchestral demands but expansive in it's ambit and generous in it's ceaseless flow of gorgeous melody.

Bach's Coffeehouse brings together a selection of Apollo's Fire recordings - old and new alike - featuring repertoire that is believed to have been performed at Cafe Zimmerman in Leipzig, the city where Johann Sebastian Bach served as Cantor. Coffee houses were all the rage at the time, centres for socialising and musical soirees. Bach would have found respite from his formal duties as Cantor, by curating informal concerts at the thriving coffee emporium. Bach's Coffeehouse features new recordings of Brandenburg Concerto No. 4 with virtuoso soloists Alan Choo, the Singaporean violinist and Assistant Artistic Director of Apollo's Fire, and recorder player Daphna Mohr; the Double Concerto for Oboe and Violin with Debra Nagy and violinist Johanna Novom; and "Air on a G String" from Orchestral Suite No. 3. Rounding out the album, Apollo's Fire brings back catalogue favourites by two of Bach's contemporaries: Telemann's swaggering Don Quixote Suite, and Vivaldi's fiery "La folia", featuring Alan Choo and Spanish violinist Francisco Fullana.

For the first time with naïve, the counter-tenor Andreas Scholl joins the Accademia Bizantina and Alessandro Tampieri to present a Neapolitan programme, centred on the Virgin Mary.

Andreas Scholl and the Accademia Bizantina have for several decades enjoyed a successful musical partnership, encompassing the whole Baroque repertoire. As usual, this new album together includes both renowned and less well-known vocal and instrumental pieces. The figure of Mary, which has inspired a huge repertoire, both sacred and profane, runs through this Easter programme of exquisite affliction, virtuosic for both voice and orchestra. “Neapolitan music has a unique melodic vein and a great capacity to communicate emotion profoundly," says Alessandro Tampieri.

Thus, Vivaldi’s iconic Stabat Mater, which the German counter-tenor has enjoyed singing for many years, is placed alongside lesser-known airs from oratorios by Nicola Porpora and Leonardo Vinci, which had the character of the Virgin sung by a castrato. “I endeavour to place humanity before gender," says Andreas Scholl, “and I interpret the role of Mary with the greatest sincerity, without the slightest notion of 'travesty’. Love, despair and pain transcend the notion of gender."

We also find a Salve Regina by Pasquale Anfossi, requiring a particularly participative orchestra, a sonata by Angelo Ragazzi and a violin concerto by Pergolesi, both strongly echoing Pergolesi’s famous Stabat Mater. The solo violin parts are played by Alessandro Tampieri, first violin of the Italian ensemble, who conducts here from his instrument in the purest tradition of the Baroque orchestra.

The three main works on the CD are favourite pieces of mine that I often listened to as a student. One is the Suite No. 1 in E minor, BWV 996, by Johann Sebastian Bach. Another piece that I have always liked immensely, and which I thought that I will one day learn is the "Valses Poeticos" by Enrique Granados, and in the same way, I had started the "Sonatine pour harpe" op. 30 by Marcel Tournier, but never finished it. I then developed a plan to make a CD in order to create an additional project for myself using these three pieces as a basis.

I combined the three great works by Bach, Granados and Tournier so that they became ‘pathfinders’, so to speak, with the Renaissance pieces by Mayone connecting these three longer pieces with one another. This has the effect of creating a larger whole that can be experienced as a single concept. -- Markus Folker Thalheimer

This album celebrates the work of Thomas Ades, one of Britain's 'most imaginative composers' The Guardian, and Artist-in-Residence of the Halle (2023-25). Alongside a survey of his recent works for orchestra are two pieces by composers who have been championed by Ades. Conducted by Thomas Ades, 'one of the most accomplished and complete musicians of his generation' (New York Times) this album features three world premiere recordings, including Ades' Aquifer. Taking it's name from an underground geological structure through which water seeps and flows, the work features orchestral writing which is full of colour and movement, flamboyant climaxes and rich expression. Written during the first Covid lockdown, for an orchestra that had to play socially distanced, Dawn is constructed from a slowly unfolding passacaglia which passes between instruments, depicting the sunrise moving continuously around the world, in music of sonic beauty. Repetition is also at the heart of Shanty, as material is passed between orchestral voices, with hypnotic and captivating results. In contrast, ingenious use of imitation and repetition produce a gripping effect in the invigorating brass fanfare Tower. Premiere recordings of two works closely associated with the Halle complete this album. Leith's Cartoon Sun, described as 'mesmeric' (The Arts Desk), was commissioned by the Halle. The processional piece displays a rich soundscape, coloured with large tolling bells and stunning orchestral climaxes. The Halle and Ades gave the world premiere of William Marsey's Man with Limp Wrist' in 2023. Inspired by a Salman Toor oil painting and with writing which is rooted in historical melody and harmony, the music is full of emotion and expression. Thomas Ades, CBE: internationally acclaimed composer, pianist and conductor whose work has been presented in leading concert halls and opera houses worldwide. Recordings of his works have received numerous international awards and in 2024 Ades received the prestigious Royal Philharmonic Society Gold Medal from Sir Simon Rattle, who described him as being an 'outrageously gifted' musician.

Die Kunst der Fuge (The Art of Fugue) is the fifth album in the Bach series by Jorg Halubek and his ensemble il Gusto Barocco - the think tank for the music baroque master Johann Sebastian Bach. The new recording is led by Jorg Halubek, who plays the historic German Silbermann Organ from 1737. Together with the Early Music ensemble il Gusto Barocco, they present a unique interpretation of the world famous Bach composition "The Art of Fugue".

On the 150th anniversary of the birth of Charles Ives - acclaimed by his champion Leonard Bernstein as the "first great American composer", who, "all alone in his Connecticut barn, created his own private musical revolution" - Sony Classical presents the most authoritative recording collection ever released of works by this eccentric, prophetic genius.

The 5-CD box set Charles Ives - The Anniversary Edition is a unique and provocative introduction only released previously 50 years ago on LP by Columbia Masterworks under the art direction of Henrietta Condak to celebrate Ives's centenary.

The first disc examines "The Many Faces of Charles Ives" through eight diverse works recorded between 1964 and 1970: Bernstein conducts the New York Philharmonic in The Fourth of July and The Unanswered Question; General William Booth Enters into Heaven, one of Ives's towering achievements, and The Circus Band are performed by the Gregg Smith Singers; baritone Thomas Stewart sings the moving song In Flanders Fields; organist E. Power Biggs plays Ives's Variations on "America"; composer Gunther Schuller conducts The Pond for chamber orchestra; and the Largo cantabile Hymn is performed by the New York String Quartet and double bass player Alvin Brehm. CD 2, "The Celestial Country", offers Ives's early cantata by that name, composed in 1897-99 for his conservative Yale composition teacher Horatio Parker. It is sung by the Gregg Smith Singers (accompanied by the Columbia Chamber Orchestra), who also perform arrangements of four of Ives's most powerful patriotic songs with the American Symphony Orchestra and Leopold Stokowski conducting. "The Things Our Fathers Loved", CD 3, contains 25 of Ives's songs, delivered by the soprano Helen Boatwright, who specialized in American song. She is partnered by John Kirkpatrick, who studied and worked closely with Ives and is still regarded as the most authoritative interpreter of his piano music. Gramophone in 1974 praised this famous recording as "the finest selection ever to appear" on LP of "what may well turn out to be considered his most important, characteristic and consistently inspired body of music."

This album showcases a selection of Ives’ shorter works for orchestra. Experiments, marches, arrangements, and enticingly incomplete fragments are included alongside the Four Ragtime Dances and Chromâtimelôdtune, one of Ives’ most startling creations. Ives specialist James Sinclair conducts. Includes seven world premiere recordings. Released to mark the 150th anniversary of Ives’s birth.

Florence Price had an abiding love of literature, setting poets affiliated with the Harlem Renaissance as well as Byron and Robert Frost, among others. Her largest choral work is Abraham Lincoln Walks at Midnight, which sets a poem published in 1914 imagining Lincoln surveying the modern world with dismay. It's chorale-like passages and fugal finale, allied to her use of spirituals, gives the cantata a thoughtful, sometimes introspective grandeur. Song of Hope, which uses Price's own text, is an emotionally intense supplication that also draws on spirituals. Charming smaller settings devoted to the natural world, and two sacred numbers, complete the album.

This second volume of George Walker's piano music joins its predecessor on Naxos 8.559916 (April 2024), together forming a unique complete piano works edition. On this new release, Steinway Artist Alexandre Dossin performs the cyclical Fourth Piano Sonata, which alternates between sections of virtuoso muscularity and lyrical repose, and the Piano Concerto, which integrates expansive Classical forms with inspiration derived from songs by Duke Ellington, something also cleverly hidden in Guido's Hand. The album closes with Walker's passionate Fifth Piano Sonata.

REVIEW:

Dossin makes much of the alternately moody and energetic first movement of the Piano Sonata No. 4. His ability to grasp the long line of Walker’s music is a really big factor in one’s enjoyment of his performances. The pianist's ability to use “space” in his interpretations makes these performances fascinating and ultimately rewarding.

— Art Music Lounge

The two composers heard on this album, Giovanni Gabrieli (1553-1612) and Giovanni Bonato (born in 1961) have more in common than their first names: both hail from the Veneto in north-east Italy - there is no documentation of Gabrieli's birth, but he was probably Venetian, and Bonato was born in nearby Schio. Their music, too, is conceived in terms of it's sound in space, with Gabrieli using the cori spezzati that sang from the opposing galleries of St Mark's Basilica in Venice, and Bonato employing cori spazzializati to build a spatial dimension into the music itself. Juxtaposed, their styles offer a striking contrast, with Gabrieli's bold declamations set against Bonato's shifting, timeless suspensions.