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Ginastera: Orchestral Works, Vol. 3 / Wang, Mena, BBC Philharmonic Orchestra
In his final year as BBC Philharmonic’s Chief Conductor, Juanjo Mena completes a highly-acclaimed Ginastera series with this third volume. Like in his previous series ‘La Musica de Espana,’ Mena brings the composer’s creative genius to a more deserved fame, showcasing here three works that belonged to three different periods of his compositional life. While the Concierto Argentino is the most significant score of his early years, drawing directly on Argentinian folk music and full of youthful exuberance, the Variaciones Concertantes (more a concerto for orchestra than a set of variations) assumes a more personal and abstract form in accordance with the development of his harmonic ideas in the later stage of his life. The rhythmic energy and magic scoring of the ‘neo-expressionist’ piano concerto (as Ginastera defined the third phase of his life) is faithfully expressed by the highly technical and virtuosic playing of Xiayin Wang, widely praised for her recent solo recording of piano works by Enrique Granados.
Holst: Orchestral Works / Hickox, City of London Sinfonia
This 1994 recording is one of the first Holst collections made by Hickox and the City of London Sinfonia, an orchestra he conducted for thirty-seven years, until his death. Having brought neglected works by Holst to a more deserved fame in the early 1990's, Hickox returned to Holst in 2007, embarking on a new series with the BBC National Orchestra of Wales. He was recording what would have been the second volume of this new survey when he was suddenly taken ill. While he was never able to finish that second volume himself, the first instalment was released in January, 2009 and seen as a recording triumph.
Smyth: Mass in D & The Wreckers Overture / Oramo, BBC Symphony
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REVIEW:
With all the awareness of the need to promote female composers it is surprising that no national opera company has taken up Ethel Smyth’s masterpiece The Wreckers. This new recording of the overture reminds us of just what a splendid work it is.
The bulk of the new recording is given over to the Mass in D, which is an exultant outpouring, here given its head by the BBC forces under a conductor who seems to have an innate understanding of the British musical temperament.
– Lark Reviews
Gounod: Symphonies Nos. 1 & 2 / Tortelier, Iceland Symphony

After winning the Prix de Rome for his cantata Fernand in 1839 and spending two years in Rome, Gounod should have gone on to study in Germany, but he managed in 1842 to persuade the authorities that he should remain in Rome to work on a symphony. In 1843 he visited Mendelssohn who (while trying to dissuade him from wasting his time on Goethe’s Faust!) urged him to write another symphony. We do not know how much of the First Symphony Gounod had completed by then, but it is not surprising that Mendelssohn figures as one of the key influences on both symphonies. After performances of individual movements in 1855, premieres were given of the First on 4 March that year and of the Second on 13 February 1856. Yan Pascal Tortelier and his Iceland Symphony Orchestra demonstrate outstanding precision and musicality in these unjustly neglected works.
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REVIEW:
There’s a spring in Tortelier’s step with the Icelanders, a sappy bounce to the opening Allegro molto. The strings are alert and light and the woodwinds attack Gounod’s melodious writing with élan. If Haydn is the influence on the First, it is Beethoven who looms large over the Second.
– Gramophone
SONGS WITHOUT WORDS
Beethoven: Symphony No. 9 / Bohm, Bayreuther Festspiele
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REVIEW:
While a distinct improvement on previous exhumations which have done the rounds, Orfeo's excellent new transfer from a Bavarian Radio source only serves to clarify how much Gundula Janowitz dominated her colleagues on this occasion, though they were all more seasoned Bayreuth performers. A significant release from an historical point of view.
– Gramophone
Like to the Lark / Phipps, Swedish Chamber Choir
REVIEW:
This is a highly attractive and innovative programme of a cappella choral music which also makes use of solo instruments. The Swedish Chamber Choir, a beautifully honed sound with a versatile tessitura (and excellent English!), are directed by Simon Phipps, who brings a sympathetic set of interpretations to much of this inwardly melancholy repertoire.
– Gramophone
Elgar: The Black Knight - Scenes From the Bavarian Highlands
Prokofiev, Tchaikovsky, Etc / Leshenko, Argerich
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
J.S. Bach: Goldberg Variations
Sullivan: Songs / Norris, Riches, Johnson, Bevan
This exceptional recording gathers the finest young vocal talents in a unique program of songs by Sullivan, many of them very rarely recorded. Currently widely acclaimed for key operatic title roles in the UK and abroad, the "deeply touching, outstanding" (The Guardian)soprano Mary Bevan, the "elegant yet intense, impeccable" (The Guardian) tenor Ben Johnson, and the "increasingly impressive" (The Financial Times) bass-baritone Ashley Riches - who here appears on Chandos for the first time - span fifty years of Arthur Sullivan's large non-operatic vocal output. They are accompanied by the UK pianist David Owen Norris, who regularly appears in highly praised concerto performances at the BBC Proms. This album continues to celebrate the Shakespeare anniversary but also presents a wide variety of poets, drawing on texts from a vast range of sources, through the voices of today's greatest rising stars.
RECITAL
Sir Richard Rodney Bennett, Vol. 3 / Wilson, Connolly, BBC Scottish Symphony Orchestra
Bennett had a gift for human relationships – family, partners, friends, and fellow artists. Occasionally, his personal loyalty could become an obstacle to his creativity but overwhelmingly, his relationships were an inspiration. Each of the four works recorded here has connections to a significant individual in his life. The composition of his First Symphony coincided with the arrival in his life of Dan Klein, who would become his long-term partner. Zodiac is dedicated to the composer Elisabeth Lutyens, whose music and personality Bennett cherished throughout his life, despite her often caustic manner. A History of the Thé Dansant sets poems by his older sister, the poet Meg Peacocke, and doubles as a perceptive but unsentimental memoir of their long-dead parents. And Reflections on a Sixteenth Century Tune is dedicated to the conductor John Wilson, with whom Bennett shared a musical connection that deepened into a true and lasting friendship.
Symphoniae Sacrae I
Heinrich Schütz spent his whole life searching for that which is new in music. The Symphoniae Sacrae I, which were presented in 1629, also testify to this. Schütz composed them as a result of the impressions made upon him by his second journey to Venice. In addition to the numerous Italian stylistic traits which can be traced back to Monteverdi, the 20 concertos - all in Latin - particularly impress with their great variety of timbres: solo pieces, duets and trios for all voice type are combined with diverse string and wind instruments are are governed by the emotional and expressive world of the text. The recording impressively continues the award-winning Schütz complete recording with the Dresdner Kammerchor conducted by Hans-Christoph Radermann with the customary top-quality soloists such as Dorothee Mields, Felix Schwandtke and others.
Conus: Piano Music / Powell
Georgiy Eduardovich Conus (1862–1933) is one of the astonishing number of gifted Russian composer-pianists who helped shape what is known as the ‘Silver Age’ of Russian music, but whose achievements have since been obscured by the music of Rachmaninov and others. This first-ever recording of his piano music reveals a composer with his roots in Tchaikovsky, a harmonic sophistication akin to Skriabin’s and an emotional range that stretches from an easy-going charm to dramatic and powerful keyboard virtuosity. Jonathan Powell has established a reputation as one of the most fearless pianists currently active, spending his concert seasons touring blockbuster piano works. In the past decade he has presented the cycle of Scriabin’s ten sonatas in single concerts, Messiaen’s ‘Vingt regards sur l’enfant Jesus,’ Albeniz’s ‘Iberia,’ Beethoven’s ‘Hammerklavier’ Sonata, Reger’s Bach Variations, and more. This is his sixth recording for Toccata Classics.
Eller: Complete Piano Music, Vol. 6
Linike: Mortorium
Mozart: Piano Music, Vol. 4 / Laun
The fourth and final album of the complete recordings of the piano works by Franz Xaver Mozart also offers an interesting insight into the work of Leopold Mozart and Wolfgang Amadeus Mozart, grandfather and father. It includes early works by Franz Xaver, the Diabelli Variations from 1824 and two of the last compositions- Leopold composed the four short dance movements in the “Galanten style,” and The Praambulum is one of the few notated examples of WA Mozart’s art of improvisation. Susanne von Laun has recorded the works of the three Mozarts, most of which can be heard on album for the first time, on an original instrument from 1812, on which Franz Xaver could also have made music. It is a fortepiano by Joseph Brodmann, built in Vienna in 1812, from the Beurmann collection
Wordsworth: Orchestral Music, Vol. 2
Dodgson: Chamber Music, Vol. 2
Tabakov: Complete Symphonies, Vol. 4
Schütz: Complete Recordings, Vol. 20
Mozart: Missa in C Minor, K. 427 "Great Mass" / Bernius, Kammerchor Stuttgart
There can be no doubt – the Missa in C minor KV 427 by W.A.Mozart is a fascinating work. Simply calling it a “mass” is inaccurate; indeed, there is hardly more than a musical torso full of enigmas and problems – and brimming with magnificent music. What has survived is a fragment, in more ways than one. Mozart left the work unfinished; moreover parts of the autograph have been lost. Carus has now produced a new edition which is not only based upon a profound knowledge of Mozart’s music and the church music practice of that time, but also meets with the current demands of performance practice. Frieder Bernius is the co-editor of the sheet music edition; he and his Stuttgart Chamber Choir recorded this version. The album impresses with its outstanding musical quality, as well as with its quality of its recording. In addition to the new version of the mass, the release also contains a bonus track with the Credo fragment without completed instrumental parts. This album is a true discovery!
Ein feste Burg ist unser Gott / Meunier, Jacobs, Vox Luminis
This new release is devoted to the Lutheran liturgical repertory from Martin Luther himself to Heinrich Schutz. The first half of the release comprises compositions specific to the Lutheran liturgy: Deutsche Messe, Deutsches Magnificat, Deutsche Passion (the first German polyphonic Passion, by Joachim von Burck) and even a reconstruction of a Deutsches Requiem drawn from polyphonic works that set the same texts as those Brahms was later to use for his Deutsches Requiem. The second half presents a selection of motets arranged according to the liturgical calendar, from Advent to Trinity. These polyphonic pieces were written by a wide range of composers including Martin Luther, Andreas Hammerschmidt, Michael Praetorius, Joachim von Burck, Christoph Bernhardt, Heinrich Schu¨tz, Thomas Selle, Melchior Franck, Caspar Othmayr, Michael Altenburg, Samuel Scheidt, Johann Hermann Schein and Johann Walter. The organist Bart Jacobs completes the programme with a few organ pieces by seventeenth-century composers.
