Tenebrae's latest disc on Signum sees their return to the repertoire of Russian composer Alexander Levine. The Divine Liturgy of St John Chrysostom is Levine's most significant large-scale religious work to date. Inspired by the humility and humanity of the murdered Russian priest (and friend of Levine) Fr. Alexander Men and composed over a three-month period of spiritual immersion, research and contemplation (similar to that described by his great forebears Tchaikovsky and Rachmaninov), the work traces a continuous spiritual growth towards the central point of the Liturgy - the Holy Communion.

Classical Music

A must-have for choral-aficionados everywhere that sees perhaps the world's finest a cappella ensemble The King's Singers join forces with The Concordia Choir - one of the USA's best collegiate groups - to perform works by choral composers Eric Whitacre, Bob Chilcott and Morten Lauridsen. One of the world's most celebrated ensembles, The King's Singers have a packed schedule of concerts, recordings, media and education work that spans the globe. Championing the work of young and established composers, they remain consummate entertainers; a class-act with a delightfully British wit. From Gesualdo and György Ligeti to Michael Bublé, The King's Singers are instantly recognisable for their spot-on intonation, their impeccable vocal blend, the flawless articulation of the text and incisive timing. The Concordia Choir of Moorhead, Minnesota is one of America's finest a cappella choirs. Since 1920, the 72-voice choir has performed in nearly every major hall including Carnegie Hall and Kennedy Center and has taken numerous international tours. The Choir is broadcast throughout the United States on public radio stations and on television via its Emmy-award winning Concordia Christmas Concert.

Beethoven's euphoric Symphony No.9, like his symphony No.5, is one of those pieces of classical music which transcends the barrier between musical genres - one of the few pieces of the classical canon in the popular consciousness. Few can fail to be uplifted and caught up in the joyous Ode to Joy finale. For this performance, recorded live at the Edinburgh International Festival in 1994, the Orchestra of the Age of Enlightenment were joined by the renowned conductor and long-time collaborator, Sir Charles Mackerras, a partnership between him and the OAE that lasted almost a quarter of a century. This is Signum's second release with the OAE, following a release of Monteverdi's Vespers (SIGCD237) earlier this year. The next release, planned for December, will feature Sarah Connolly performing Mahler's Totenfier and Lieder eines fahrenden Gesellen with the OAE under Vladimir Jurowski.

Domenico Scarlatti, the sixth child of the celebrated composer Alessandro Scarlatti, was a prolific keyboard composer, and is best known today for his 555 sonatas for keyboard. Domenico was employed by various members of European royalty and nobility in Italy, Spain and Portugal throughout his career. His style was unusual and innovative, but very few of his works were published during his lifetime.

The disc combines several of Scarlatti’s keyboard sonatas with Neapolitan songs by various composers of the era, exploring the influences of these songs on Scarlatti’s sonatas. Scarlatti’s style is notable for its improvisatory nature as well as its incorporation of elements of Spanish and Portuguese folk music (the composer having spent time in Lisbon, Seville and Madrid), and among the Neapolitan songs featured on the disc is the immensely popular Lo guarracino, a fast?talking and high?spirited number that narrates the story of a fish, and the lilting La Nova Gelosia. Two extracts from operas – ‘So’ li sorbe e le nespole amare’ from Leonardo Vinci’s Lo cecato fauzo and ‘Chi disse ca la femmena’ from Giovanni Battista Pergolesi’s Lo frate ‘nnamorato – are also present, both of which feature a light?hearted portrayal of women. Out of the many versions of the song Quanno nascette ninno, the one by the Nuova Compagnia di Canto Popolare was chosen for this disc, thanks to its fascinating minor modulation.

Acclaimed harpsichordist Francesco Cera is considered one of Italy’s foremost interpreters of early music. He has toured all over the world and his recordings include interpretations of 17th?century keyboard sonatas, French suites and harpsichord concertos by J.S. Bach. Italian soprano Letizia Calandro’s repertoire includes Neapolitan songs alongside the more traditional oeuvres of the Classical and Baroque periods. Having studied at the Santa Cecilia Conservatory in Rome, she won the Spoleto Award and has performed the lead role in operas by composers as diverse as Monteverdi, Mozart and Verdi.

OTHER INFORMATION:
* New recording, recorded September 2009, Chisea di S. Anatolia, Colle di Tora, Rieti, Italy.
* Extensive liner notes included in English and Italian.
* Sung texts available on the Brilliant Classics website.

Setting texts for chorus or solo songs occupied Samuel Barber throughout his creative life. In particular he sought out English and Irish writers, many of whose melancholic and nostalgic texts aptly matched his own musically romantic persuasion.

The Schemellis songbook is an all-too-rarely recorded collection of works from the Baroque's greatest composer. Most of the pieces, made by a melody and a figured bass, have been traditionally ascribed to Bach. On this disc - part of Ton Koopman's series - the star is 15-year-old boy soprano Constantine Emanuel.

In the finale to series one of the Sacred Music programme, Simon Russell Beale presents a special concert for Easter from LSO St Luke's Church, London, performed by the award-winning choir The Sixteen, conducted by founder Harry Christophers. The music takes us on a journey of over six hundred years, from haunting plainchant through to the celebrated music of Johann Sebastian Bach. Highlights include Palestrina's motet Assumpta Est Maria, and Allegri's Miserere. (See overleaf for full concert programme) Plus Bonus Features include: · Sacred Music Series One Preview · Exclusive Interview with Harry Christophers · Song Selection with Introductions from Harry Christophers (Audio Option) · Related Recordings by The Sixteen · Artist Biographies and Images · Downloadable Screensavers

Classical Music

What amazed me the most about these works, particularly the last two, which are pretty good and original music, is the fact that in each case Nielsen was forced to work on a short deadline, barely more than two or three weeks.



NIELSEN-BANGERT Cantata for the Opening Ceremony of the National Exhibition in Aarhus NIELSEN Music for Hans Hartvig Seedorf Pedersen’s Homage to Holberg. Helge Rode’s Prologue to Shakespeare: Ariel’s Song. 1 Cantata for the Annual University Commemoration • Bo Holten, cond; Ditte Højgaard Andersen (sop); Mathias Hedergaard (ten); 1 Palle Knudsen (bar); Jens Albinus (nar); Aarhus Cathedral Ch; Danish Natl Op Ch; Aarhus SO • DACAPO 8.226079 (65:52 Text and Translation)


Cantatas by Carl Nielsen? Yes! Surprised? So was I, and I’m sure you’ll be too. One reason they aren’t known is that they were composed for specific celebratory functions whose initial presentation was interrupted by speeches, cheering, polka bands, more speeches, and lots of drinking. Not exactly an atmosphere conducive to great art. Add to that the fact that Nielsen didn’t want to compose some of them, had to work with an over-verbose librettist in one (and assigned half the composition duties to one of his pupils, Emilius Bangert), and carried on a running argument with the committee that commissioned it over the libretto of another, and you can well imagine that these aren’t among the composer’s best works.


Of course, this doesn’t mean that they’re bad pageant music—certainly not as bad as Beethoven’s Wellington’s Victory, which the composer practically laughed at until it turned out to be a really popular money-maker—but the music is only occasionally interesting because the texts are only occasionally interesting. In the first cantata, the Nielsen-Bangert collaboration written in 1909, the most interesting piece by far is No. 4, the one that the two composers split pretty much down the middle (Nielsen wrote the first 117 bars, Bangert the rest). Bangert’s other contributions, Nos. 2, 3, and 7, are by no means “bad” music—the older composer supervised his pupil’s compositions and possibly made suggestions—but they lack character and originality. It’s the age-old battle between craft and art.


The second cantata on this album is in fact the last one composed, in 1923. This is mature Nielsen, and since he had a strong affinity for Holberg anyway, having set his text for the opera Maskerade to music almost 20 years earlier, his heart was really in it. The beginning is not promising—it starts with a pompous brass fanfare in the same vein, and even the same key, that ended the last piece of the previous cantata—but it soon develops into interesting music. Nielsen himself said, “It is … a shame that this music is only for this particular occasion, but it is constructed in such a fashion that it can be performed repeatedly and in other circumstances [emphasis mine].” The first movement features a quartet of Muses; here, soprano Andersen is joined by soprano Eline Denice Risager and mezzos Birgitte Mosegaard Pedersen and Bolette Bruno Hansen. The second soprano and mezzo are not terribly good, but they get by. The second movement features a baritone solo; the third is purely choral.


This is followed by one excerpt, a tenor solo, from a cantata celebrating the tercentennial of Shakespeare’s death (1916). It is so isolated because it was published and performed separately after the event, primarily by Danish tenor Anders Brems. It’s a very nice piece that, unfortunately, is sung by Hedergaard with unsteady tone.


The Cantata for the Annual University Commemoration , written in 1908, is the only one of Nielsen’s cantatas written for a recurring occasion. It is one of the most thoughtfully composed, and most cantata-like in alternating sung recitatives accompanied by piano with full choral-orchestral passages. Again, ignoring the text, this is music that could be performed to other texts for other occasions. There is an unusual touch of harmonic darkness to the music of the second number, where Nielsen also cleverly integrated the piano used in the recitative into the orchestral fabric; during the second recitative, the piano’s role expands into almost song-cycle-like accompaniment. This is a truly inspired bit of writing. Toward the end of the movement, the piano’s role changes again, accompanying four horns in concerto fashion before the chorus returns, then remaining as a prominent instrument along with the full strings. A slow tempo, muted violins, and ostinato bass create a mysterious mood in No. 3.


What amazed me the most about these works, particularly the last two, which are pretty good and original music, is the fact that in each case Nielsen was forced to work on a short deadline, barely more than two or three weeks. His lack of interest in the Aarhus cantata undoubtedly led to his creating the shallowest music. As to the performances, they are absolutely first-rate except for the aforementioned unsteadiness of tenor Hedergaard and two of the lady Muses. Andersen has a very light-toned, pretty Bach-Mozart-type soprano voice. Although baritone Knudsen also shows some signs of unsteadiness, he is generally very good. Diction is crystal-clear. Both the Aarhus Choir and Orchestra and the Danish National Opera Chorus are rock-solid, transparent in texture, and firmly committed to giving the best performances they can. Conductor Holten walks a fine line between creating excitement commensurate to the occasions in question and delivering excellent, well-contoured performances, and he succeeds handsomely in this task. And, happily, the sonics are crystal-clear, no muddiness of sound. If you can ignore the bombast of the first cantata, then, this is a worthy addition to your Nielsen collection.


FANFARE: Lynn René Bayley

SACRED MUSIC

Three of The Sixteen's celebrated Bach recordings in one stylish boxed set. Weihnachts Oratorium (COR16017) - The Christmas Oratorio is one of Bach's greatest masterpieces and this recording is one of The Sixteen's finest. Mark Padmore is one of today's greatest 'Evangelist's', and this recording shows him at his very best. Cantatas 34, 50, 147 (COR16039) - During his years as Leipzig's Director Musices, Bach supplied at least three complete annual cycles of Cantatas for the church year. The rich variety of his writing for solo voices and orchestra along with thrilling choral textures is well represented in the three cantatas on this disc. Mass in B minor (COR16044) - Bach's Mass in B minor displays all the ingredients that contribute to his supreme ranking amongst his peers of any age, and also demonstrates the breadth of compositional skills amassed during his lifetime. It demands choral singing of blistering athleticism but also sensitive, responsive and, at times, majestic orchestral playing coupled with virtuosic obligato. "All hail the über-choir" The Independent

This second volume of the series features 26 Ives's songs beginning alphabetically with "December" (1913) and concluding with "Grass" (1896). The performers include 14 singers, four pianists, and an organist. The organ appears on chronologically the earliest song on this CD, the hymn- like "Far From My Heav'nly Home" (1893). Ives's early and late, traditional and revolutionary are each represented. The highlight of this CD is Ives's 1914 setting of Vachel Lindsay's "General William Booth Enters into Heaven" a poem in it's character and enthusiasm made for Ives. Lindsay's poem and Ives's song capture the spirit of the founder of the Salvation Army as he ascends into heaven accompanied by the poor, the lost and the damned that Booth has brought to salvation. "Are you washed in the blood of the Lamb?" the songs asks. In it's raw liveliness, enthusiasm, changes of mood, and transcendentalism, this song is one of Ives's greatest efforts in the form. The bass David Pittsinger gives a convincing performance accompanied by pianist Douglas Dickson.

2 CD set in an elegant, book-like package. Sacred choral music from the Middle Ages to the Renaissance sung by Magdala directed by David Skinner. Music from both manuscript and printed sources of the fifteenth and sixteenth centuries; a mix of English and Italian polyphony with music from all corners of the Holy Roman Empire, including Robert Fayrfax's splendid Mass Tecum principium.

Classical Music

Classical Music

LIFE BELONGS YOU

The parade of aspirants to the title "Next Great Tenor" has, at times, seemed endless. But no one had been able to reach up and firmly grasp the brass ring, until Salvatore Licitra entered the fray armed with extraordinary natural ability and an impressive list of credentials. Trained by the venerable Carlo Bergonzi, the young singer has already established a considerable reputation through triumphs at La Scala and the Arena of Verona, and his Metropolitan Opera debut could become the stuff of legend. Called upon at the eleventh hour to fill in for an ailing Luciano Pavarotti, he was whisked to New York via Concorde with barely enough time to unpack a toothbrush before he wowed audience and critics alike. But the proof is in the singing, and his maiden recital disc offers that proof in abundance. Licitra, steeped in the Italian tenor tradition, wisely plays to his strengths and devotes the album solely to arias by Puccini and Verdi. He moves through these masterworks with poise and confidence, displaying a powerful vocal style and a sure sense of musicianship. It may be premature to anoint him just yet, but this auspicious debut augurs well for a bright future.

There's no stopping the Price/Johnson bandwagon just now. Here is yet another profoundly enjoyable and well-considered offering from the pair. With Johnson to devise intelligent, logical programmes, Price and himself to interpret them, a remarkable unanimity of thought and confidence of manner is being achieved, the delights there for the taking.

Here we begin with six contrasted settings of Heine, all reasonably familiar songs, each given with a nice balance between breadth of phrasing and warmth of feeling, on both sides admirably tailored to the Brahms ethos and melos in the matter of song-writing. Some of these pieces appeared some years ago on an Orfeo recital by Price (2/87): the readings have matured like a good wine and now-as in Sommerabend-go to the very heart of the matter with a marvellous intertwining of voice and piano. The account of its companion-piece, Mondenschein, not before recorded by the soprano, fully realizes its autumnal melancholy in phrases that seem to linger endlessly in the air. As an emotional relief comes the charm and lightness of Es liebt sich so lieblich im Lenze!.

The judicious choice of Volkslieder settings once more indicates Brahms's deep understanding of the originals and just how to clothe them in appropriate harmonies, as in the antique Dorian mode of Sehnsucht and Vergangen ist mir Gluck und Heil, both sung and played here with an exquisite sense of longing. The singer changes colour, brightens her tone, for the bantering duologue of Spannung. Then there is the Schwung given to the repeated lines at the end of Madchenfluch, characterizing the girl's spite and frustration. Da unten im Tale is entirely free from the sophistication, admittedly effective, brought to it by Schwarzkopf on so many occasions: here the sad little plaint is allowed to speak for itself, but the verdict goes the other way in Vergebliches Standchen where Price is a trifle too staid.

Finally, the partnership lavish a winningly uninhibited elan on the Zigeunerlieder. If we are occasionally aware of a momentary strain on Price's present resources, we are consoled by the passionate spontaneity of the results. The recording is ideally balanced, intimate yet open.

Price must surely now be placed in the royal line of female Lieder singers that runs from Gerhardt and Lehmann, through Seefried, Schwarzkopf and Ludwig, to Ameling. The length of her actual discography of Lieder must now at least rival theirs. Being greedy, I wish she and Johnson would now turn their attention to Hugo Wolf.

-- Alan Blyth, Gramophone

A collection of hymns and music which many will remember from Sunday school days. An album of warm, favourite songs of thoughtfulness and meditation from a more innocent age. Perfect to introduce the young to (or to remind the young at heart of) good quality music from the past.

You might call it youth serving youth. One of the finest singers to emerge in the 1990s, Bulgarian mezzo-soprano Vesselina Kasarova made this disc when she was thirty-two, by which age Gioacchino Rossini had written all of the operas represented within and twenty-five others. Kasarova, who counts Maria Callas among her idols, is an aficionado of the bel canto style and says she finds Rossini's low-voiced roles, many of which were influenced by castrato singing, interesting for their variety of vocal demands, as the many specialized categories of voice we have today weren't so set then.
On this program of arias and duets with tenor Juan Diego Flórez she sings the parts of heroes en travesti (male parts played by women) from 'Semiramide' and the little-known 'Bianca e Fallierro,' serious heroines from 'Armida' and 'La donna del lago' and comic roles from 'L'Italiana in Algieri' and 'La Cenerentola' as well as the tenor title role from 'Otello,' transposed as one might hear it done at a gala benefit. Of course Kasarova's voice is beautiful, smooth and rich, but most impressive is her absorption of the characters and their various moods. Perhaps she really has taken the Callas model to heart.

Classical Music

Classical Music

Classical Music

Classical Music