“The project is inspired by the moment before the realization of something that drastically changes your life, the moment of just being, existing in the moment. That moment in time is free and full, mindfulness-ish and unaffected by misery, sorrow, regret, shame, anxiety and depression. In my mind it is bright and has a sense of nostalgia. The title also refers to a daily tradition on Icelandic radio Ra´s 1, where a song, “last song before the news” would be played just before the news hour at noon. The song would typically be an Icelandic one, sometimes a lullaby, a love song or an ode to scary and gorgeous nature. Or an Icelandic traditional, sometimes an Italian canzone or a Scandinavian sorrow. Jo´runn Viðar’s piece Icelandic Suite sums up all these elements, a piece written for the 2000 years anniversary of inhabitation in Iceland in 1974. The lightness and the longing are with us throughout the program except in the title piece of mine, Last Song before the News, where apocalyptic visions are awfully obvious and take over early on. The album is dedicated to my father, Sveinbjorn Rafnsson, whose lightness and passion for music, poetry and history along with his sense of humor has been a lifeline to many people.” (Una Sveinbjarnardottir)

REVIEW:

The chief attraction of this disc is to be found in the program. There is so much interesting music for the adventurous listener to discover that I can recommend this CD on those grounds. The performances of those works are more engaging.

-- Fanfare

Although he is best known for his film scores and The Godfather in particular, Nino Rota’s concert music combines traditional tonality and forms with characteristically heartfelt melodies and appealing clarity. Contrasts abound in this selection of chamber works, from bassoon buffoonery in the Toccata to the Brahmsian eloquence of the Clarinet Sonata, and from the dramatic Improvviso and melancholy moods of the recently discovered Fantasia, to the jocular instrumental exchanges in the exquisite Trio.

Today Lena Neudauer is in great demand as a musician who delights an international public with the clarity, power, charm, and emotional depth of her violin playing. For this reason, following her successful interpretation of Beethoven’s Violin Concerto for cpo, we now are also very delighted to have obtained her services for the interpretation of three violin concertos by Antonio Rosetti: she has a special place in her heart for this charming composer, and her stupendous virtuosity enables her to rise to the challenge of the high technical demands of his concertos. Movements of exuberant freshness flow and overflow with performance joy, and these three concertos once again display Rosetti’s tendency to endow the first movements of his solo concertos with extensive orchestral introductions and richly diverse musical material. This is listening pleasure of a special kind!

Recipient of the National Medal of Arts, Pulitzer Prize, and a GRAMMY Award, William Bolcom is one of America’s most senior and internationally acclaimed composers. Commissioned to expand upon the under-represented horn trio repertoire, Bolcom has written a modern counterpart to Brahms’ Trio for Horn, Violin and Piano, Op. 40, in which he incorporates multiple styles into a substantial composition. The Suite No. 2 for Solo Violin is by turns frenzied, melancholic and light-hearted. Bolcom states, “Both works are performed beautifully and well recorded. Bravi tutti!”

Vivaldi’s instrumental output is immense: at present, research has identified no fewer than 478 works bearing the title ‘Concerto’, of which 329 are concertos for solo instrument accompanied by string orchestra and continuo, the violin concertos alone numbering 220. Incomplete as they are, these figures give some idea of the difficulty of attempting even a superficial analysis of the, ‘concerto’ form in Vivaldi’s oeuvre. The variety of structures employed in these works is in proportion to their numbers; and though certain progress has been made in recognising and classifying the compositional styles of the Venetian master, we often find that these ‘rules’ have in fact been laid aside in this or that composition. It must also be remembered that the development of Vivaldi’s style is closely related to the definition and consolidation of a form that finds its roots in works by a slightly earlier generation of composers such as Torelli and Albinoni. As Vivaldi’s career as a composer went on, in fact, we see considerable changes in both form (structure) and in musical invention. Vivaldi’s music was greatly admired by his contemporaries; the large number of imitators of his style who flourished while he was still alive bears witness to his popularity, as does the esteem in which a musician such as Quantz held the Venetian master, indicating his concertos as supreme examples of the form.

Asked the question ‘How many sonatas for violin and piano did Johannes Brahms compose?’, many lovers of chamber music would probably answer three, and maybe also add their respective keys and opus numbers. When pressed, a number of them would also remember the so-called F.A.E. Sonata, a collaborative effort by the young Brahms, Albert Dietrich and their mentor Robert Schumann. But very few would probably think of the two Opus 120 sonatas, composed in 1894 for clarinet (or viola) and piano, but a year later published in the composer’s own version for the violin. As the range of the B flat clarinet goes a fourth lower than that of the violin, Brahms had been forced to make considerable revisions to the clarinet part – which in turned entailed changes in the piano part, and consequently the printing of a new piano score. The seasoned team of violinist Ulf Wallin and pianist Roland Pöntinen have now decided to record all the Brahms sonatas, and the results are being released on two albums, the first one including the first of the ‘official’ sonatas, No. 1 in G major, Op. 78, the F minor Sonata from Op. 120 and Brahms’s Scherzo from the F.A.E. Sonata. Wallin and Pöntinen round off the programme with transcriptions of two of Brahms’s more lyrical songs.

Joseph Boulogne, Chevalier de Saint-Georges was a brilliant swordsman, athlete, violin virtuoso and gifted composer, with a claim to being the most talented figure in an age of remarkable individuals. He was an early and important exponent of the hybrid symphonie concertante – a genre that draws on both the symphony and concerto traditions. This novel format was the ideal platform for expressive inventiveness, providing new textural possibilities through the addition of a second solo violin or viola. The Symphony in G major, which has all of the effervescence typical of Haydn, is an excellent example of the cosmopolitan French symphonic style.

Michael Halász’s first engagement as a conductor was at the Staatstheater am Gärtnerplatz, Munich, where, between 1972 and 1975, he directed all operetta productions. In 1975 he moved to Frankfurt to work as principal Kapellmeister with Christoph von Dohnányi, and here he conducted the most important works of the operatic repertoire. Many engagements as a guest conductor followed and in 1977 Dohnányi took him to the Staatsoper Hamburg as principal Kapellmeister. From 1978 to 1991 he was GMD (general music director) of the Hagen Opera House and in 1991 he took up the post of resident conductor at the Wiener Staatsoper for 20 years.

REVIEWS:

In content and style the concertante owe much to Haydn, each score in two movements that are never short of attractive thematic material, the soloist’s role musically dancing around a slender orchestral backdrop. Here they include the exciting young Russian-born violinist, Yury Revich, with a famous 1709 Stradivarius, and the deputy leader of the Czech Chamber Orchestra, Libor Jezek, Pavla Honsova the solo viola. Now 83, the conductor, Michael Halasz, obtains very neat playing from the Czech Chamber Philharmonic, his tempos never rushed but always buoyant. In three short movements, the disc is completed by one of the two symphonies written by Saint-Georges, again owing much to Haydn. High-class sound quality, and I greatly commend it to you.

– David's Review Corner (D. Denton)

Today Joseph Bologne is remembered as the first classical composer of African ancestry and also as a noted conductor, violinist, and as a pioneering exponent of the symphonie concertante, a genre that combined the structural characteristics of both the Classical symphony and the 18th concerto grosso, and one that he successfully explored and imprinted with originality.

Michael Halasz leads the Czech Chamber Philharmonic Orchestra Pardubice and soloists Pavla Honsová, Yury Revich, and Libor Ježek with a stylish command of Bologne’s charming music.

– Rafael's Music Notes (R. de Acha)

The four works on this first CD of Komarnitsky’s music are all that remains of his copious output of chamber music. Featuring the London Piano Trio, they “audibly believe in every note, and their dedicated performances are set within a bold sound frame […]” (Gramophone Classical Music Guide).

REVIEW:

I was bowled over by the music on this record and sincerely hope that there is more to be discovered of this composer’s works, perhaps lying in some archives somewhere which is often where such things end up. It is tantalising to have heard this music and not to be sure of being able to explore further examples of it. I wait with bated breath and great hopes that more from him will emerge.

The members of the London Piano Trio play all of this music with passion, commitment and great skill making me want to seek out music where they play as a trio. Robert Atchison’s notes are a useful commentary on the background to the pieces.

-- MusicWeb International

Sekles (1872–1933) was a leading figure in German music in the first decades of the20th century. In 1928, as director of the Hoch Conservatorium in Frankfurt, he established the 1st academic program in jazz studies, an act of courage that unleashed furious attacks from Nazi press. His music was banned during the 3rd Reich and was virtually forgotten until now.

•These three early works of the French composer Maurice Emmanuel (1862–1938) show him emerging from under the influence of César Franck. The ambitious Violin Sonata is here receiving its first recording. The Greek Folktunes Suite attest to Emmanuel’s deep knowledge of Greek music. The texts of the song-cycle Musiques, here receiving only its second recording, are by the poet, geologist and historian Louis de Launay.

REVIEW:

The performances here are persuasive and committed. We of course don’t have any points of comparison, and I could perhaps imagine something even more successful with a violinist and a singer with more inherently beautiful timbres. But these are at a level that is more than serviceable, and they convey the essence of the music thoroughly. Pianist Killian is particularly strong. The recorded sound is very well balanced and natural in the violin-piano works, though I find just a bit too much air around the voice. But do not let that stand in your way. The helpful, informative notes and texts and translations round out what is a very important release of music that should be a wonderful discovery for most listeners.

-- Fanfare

Encapsulating the voluptuous sound of the BBC Symphony Orchestra’s strings, Tasmin Little is both the soloist and conductor in this unique coupling: Vivaldi’s ever-popular ‘Four Seasons’ meets Roxanna Panufnik’s ‘Four World Seasons,’ the premiere recording of a set of highly inspirational pieces. As a complete cycle, ‘The Four Seasons’ offers a set of vivid tableaux, imaginative, enticing, and wonderfully contrasted, with ample chance for the violin soloist to display technique, sensitivity, and color. These are qualities that the British composer Roxanna Panufnik also sought for her own Seasons tribute, Four World Seasons, written for the violinist. Three of the pieces are dedicated to her, while the fourth, ‘Autum in Albania,’ is dedicated to the memory of Panufnik’s father, Polish composer Sir Andrzej Panufnik, who, his daughter says, was born, loved, and died in autumn.

This is the first ever album devoted to the chamber music of Helena Munktell, one of the earliest female composers in Sweden. The daughter of an industrialist, Munktell received private lessons in piano and song from an early age, but soon also training in music theory and composition. In 1877 she visited Paris, where two of her sisters lived, and during the next thirty-odd years the city would be a second home to her. Here she studied with composers such as Benjamin Godard and Vincent d’Indy, and became a member of Société Nationale de Musique (SNM), an organization promoting French music and providing opportunities for young composers to have their works performed. A selection of Munktell’s songs had been performed, in Swedish, at a Society concert in 1892 and in 1900 they were heard again, but now in the French versions released the same year by the reputed musical publisher Alphonse Leduc. The Dix Mélodies are finely crafted musical scenes displaying a wide expressive range and variety of moods. Five years later another SNM concert saw the first performance of Munktell’s Violin Sonata in E flat major, by none other than the renowned Romanian violinist George Enescu. Franck’s famous A major Sonata, which Munktell knew well, served as an important source of inspiration in regards to the cyclic form and harmonic writing. The sonata soon appeared in print, now from E. Demets, another French music publisher. The third work on this album is a small-scale piano trio, probably an early work and possibly composed for performance at one of the musical salons at the Munktell family home in Stockholm.

Rachel Barton Pine’s ‘Testament’ is one of the best of this set of peerless works to have been released since Isabelle Faust’s definitive volumes of 2010 and 2012.

There is in her interpretation a surprisingly striking contrast between its crystalline voicing, clear articulation, and warm tone that makes the listener feel that it is concerned with the plain and simple beauty of the music as much as with the genius of its counterpoint and relationships between movements. All this is further supported by the sensible combination of Baroque bow and metal strings on a period instrument in modern set-up – the tuning is unfailingly accurate and the strength of the bowing means there is never any interference with the musical line by a squeak or break.

These are thoughtful and generous performances amplified by great maturity and depth.

– Gramophone (Editor's Choice; June 2016)

Grigoriu (b. Moldavia, 1926) is one of the major Romanian composers in the period after Enescu. His vast output is little known outside his own country, although it includes oratorios, symphonies, cantatas, chamber music, film-scores, and much more. His musical roots reach back to Romanian folk-music and the modal melodies of ancient Byzantium.

Angelo Berardi (1636–94) maintained in his day that modern music had reached “greater perfection compared to the past” and that the practice of music was more important than theory; he asserted, moreover, that a good composition should also elevate the soul to virtuous thoughts. In terms of his stylistic profile, Berardi shows great richness of inspiration, so much so that this, his only work assigned to the violin, seems to cover the entirety of the instrument’s abilities and expressive variety.

Performed by the trio for whom it was written, Paul Schoenfield's new composition "Last Silence" picks up where "Cafe Music" left off. A show stopping tour de force of excitement and emotion. Schoenfield's "Four Souvenirs" is finally released here by violinist Lev Polyakin and pianist Frances Renzi, who commissioned the work. Beautiful trios by Rota and Cui round out the album. Paul Schoenfeld‘s music is widely performed and continues to draw an ever-expanding group of fans. According to Juilliard’s Joel Sachs, “he is among those all-too-rare composers whose work combines exuberance and seriousness, familiarity and originality, lightness and depth. His work is inspired by the whole range of musical experience, popular styles both American and foreign, vernacular and folk traditions, and the ‘normal’ historical traditions of cultivated music making, often treated with sly twists. Above all, he has achieved the rare fusion of an extremely complex and rigorous compositional mind with an instinct for accessibility and a reveling in sound that sometimes borders on the manic.”