2018 Gramophone Magazine Recital Album of the Year

Delphine Galou is renowned and admired for her musicality and her appealing timbre. She has taken part in many productions of Baroque music and recordings of operas (notably by Vivaldi), but this is her first recital. It is a programme of sacred music, motets, cantatas and excerpts from oratorios, which in the course of the seventeenth and eighteenth centuries were influenced by the increasingly fashionable genre of opera. From the famous ‘Agitata infido flatu’ from Vivaldi’s oratorio Juditha triumphans, here counterpointed by an aria from another setting of the story of Judith composed by Jommelli, to Stradella’s Lamentations and Porpora’s magnificent motet ‘In procella sine stella’, Delphine Galou covers a wide range of spiritual emotions. She is accompanied by the excellent Accademia Bizantina under its director and harpsichordist Ottavio Dantone. A concerto byGregori and a sinfonia by Caldara complete this release, which includes several world premiere recordings.

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REVIEW:

This is a treasure trove of rare music, and Galou is the perfect singer to introduce us to it, thanks to an agile and comfortable technique (hear the way she sails effortlessly through her full compass in a single phrase in the first aria of the Porpora). The orchestral playing is keen as mustard and filled with typically telling detail by director Ottavio Dantone. A lovely disc of discoveries.

– Gramophone

Julian Prégardien decided to record the Dichterliebe cycle after he came across the new Bärenreiter edition; he went on to explore the work in concerts with his constant accompanist, Eric Le Sage, inserting other works by Robert and also by Clara Schumann, whose bicentenary is celebrated in 2019. When Clara played the Dichterliebe in the 1860s, she used to slip extracts from Kreisleriana between the songs. Prégardien asked Eric Le Sage to record the same extracts on a Blüthner piano of 1856, the year of Robert’s death, and also include Romances composed by both Robert and Clara at a time when their future marriage was still uncertain. The sublime ballade Löwenbraut also forms part of the programme – a reminder of the young Robert’s anguish on Clara’s departure. At Julien’s suggestion, Sandrine Piau was invited to sing three duets: a simple Canon composed by Clara, and two duets by Robert, Wenn ich ein Vöglein wär, and the sublime In der Nacht. Four further songs complete the album: Sängers Trost, a short piece in belcanto style; Kurzes Erwachen, composed by Robert at the age of just eighteen; Aus den hebräischen Gesängen, a very melancholy song; an extract from the cycle Myrthen (Robert’s wedding present to Clara); and Mein Wagen rollet langsam, a song that was included in the composer’s first version of Dichterliebe.

After the success of the Red, Yellow, Blue and Pink collections (a total of 56 reissues), which brought the pearls from the Baroque catalogues of the house labels back into the spotlight, here are fourteen new titles offering a chance to rediscover more Baroque treasures and rarities. Like the last series, this fifth installment also opens up to the Classical (Mozart) or Renaissance (Dufay) repertories – recordings that are an integral part of Alpha’s identity and history. This series’ reissues are performed by the finest musicians in the field; most of these recordings received one or more awards on their first release. The albums come with proper booklets, including notes in three languages (French, English, German). Photographers from many different backgrounds illustrate the covers of the series with their works: this time the main theme is the color white. The present album features Johann Sebastian Bach’s Toccatas, BWV 910-916, performed by Blandine Rannou.

The harpsichord isn't the most ingratiating instrument to listen to for long periods, but when you hear one that's well-made--full-bodied, with a resonance that's complementary and well-integrated across registers (no clangorous bass trying to meld with tinny treble), you're in for what can be a very satisfying experience. And just how satisfying depends on the player and how he or she uses the particular instrument's registers and stops, and how clearly the fingering articulates the rhythms, which means a knowledgable and skillful managing of the spaces between the notes as well as the notes themselves. Gustav Leonhardt needs no introduction to fans of the harpsichord or of early music in general; he's one of the pioneers of modern technique and scholarship. And his instrument, a copy of the famous 1579 Lodewijk Theewes claviorgan by Malcolm Rose, is a magnificent example of 16th-century keyboard construction. This harpsichord can really make a sound--and the recording (you can really turn it up!) fully complements the instrument's very personable timbre and room-filling dynamic range. Not that Byrd's music is especially flamboyant--but the harpsichord's substantial tone allows these 14 pieces to move easily from parlor to concert hall with no degradation of their subtle structures or genteel dance origins. There's nothing overtly virtuosic in Byrd's writing--but that's the point. These works were for relatively ordinary folks to enjoy--and there's no doubt that if you have any interest in harpsichord music at all, when you hear Leonhardt's performances you will be among them. [1/12/2006]

--David Vernier, ClassicsToday.com

On this new release, Scott Dettra plays the 325-rank, 20,142-pipe organ of the Cadet Chapel at West Point United States Military Academy. Scott Dettra is Organist of Washington National Cathedral, where is the principal organist and assists Music Director Michael McCarthy with the direction of the Cathedral choirs. In addition to his work at the Cathedral, Mr. Dettra is also Keyboard Artist for both the Washington Bach Consort and the Cathedral Choral Society. He has previously held positions at St. Paul’s Parish, K Street in Washington; St. Mark’s Church, Philadelphia; and Trinity Church Princeton. Additionally, he was principal accompanist of the American Boychoir for many years. A prize-winning organist, he has performed at national conventions of the American Guild of Organists and the Association of Anglican Musicians and has appeared at many notable venues throughout the world. In his work with the Cathedral Choral Society, Mr. Dettra has prepared the ensemble for performances with the National Symphony Orchestra, the Juilliard Orchestra, and the Dave Brubeck Quartet. Mr. Dettra holds two degrees from Westminster Choir College and has also studied jazz piano at the Manhattan School of Music.

American organist James D. Hicks continues his exploration of organ music by Nordic composers, with performances upon the 1980 Virtanen pipe organ of Turku Cathedral, and the 2002 Gronlund's organ of St. Michael's Church, Turku, Finland. This installment features works by Fridthjov Anderssen, Peter Askergren, Juhani Pohjanmies, Arild Sandvold, and more. James D. Hicks lives and works in Bernardsville, New Jersey, and holds degrees in music from the Peabody Institute of Music, Yale University, and the University of Cincinnati. Other studies include instruction at the Royal School of Church Music in England. He is an associate of the American Guild of Organists. Hicks held liturgical positions throughout the eastern United States, and in 2011 retired after 26 years of service at The Presbyterian Church in Morristown, New Jersey. He has recorded seven collections of music on the Pro Organo label.

For this new album, Frederick Hohman plays original concert organ pieces by the Victorian Organ Virtuoso Edwin Henry Lemare, upon the Aeolian-Skinner organ of the Church of the Epiphany, Washington, D.C. Since his St. Louis concert debut in 1973, where a critic with the St. Louis Post-Dispatch heralded his pedal technique as “the best you’ll ever hear,” Frederick Hohman has excelled in many facets of the organ trade: as a concert organist, as a composer, as a creator of organ transcriptions, as a classical music audio-video media producer, and most recently as an instrument designer and an on-line music instructor. Concert organist Frederick Hohman is also recognized as a composer of organ and choral music, a creator of organ transcriptions, a modern on-line educator, a musical instrument designer, and a classical music audio-video producer.

Marie Francois studied at the Conservatory of Maastricht with Joop Celis and did her master's degree with Alan Weiss at Leuven. She graduated summa cum laude from both. To take her technique to the next level, she went on to study with the Russian Polina Leschenko and Eliso Virsaladze. She also continued to develop by taking numerous masterclasses and performed concerts in venues across the world. Her debut album is one of deep expression and commitment to the music, not only through technical skills, but also through emotion and intuition. It presents an eclectic program with works by Frederic Chopin, Alberto Ginastera, Muzio Clementi, Sergei Prokofiev, and Nikolai Kapustin which fit her personality perfectly, and with which she can tell her personal story. This is the beginning of a wonderful story that will lead her deeper into the music and present her to a larger audience.

Olga Pashchenko is in the process of creating a unique place for herself in the world of the keyboard: she moves with astounding ease and skill from the harpsichord to the fortepiano, the organ, and the modern piano. After a recording of Beethoven's variations in 2015, the young pianist has now gone to the legendary Beethoven-Haus in Bonn, a venue she knows well since she regularly gives concerts within it's walls, to record three monuments of the pianistic literature - the Appassionata, Les Adieux and Waldstein sonatas - on the original Conrad Graf piano of 1824 conserved there. She utilizes all the sonic possibilities and the full palette of colors of this instrument made around fifteen years after the composition of these sonatas, three of the finest in the corpus of thirty-two that Hans von Bulow called 'the New Testament of every pianist'.

The three works on this release span a period of fifteen years- years in which the young Schumann suffered forcible separation from his beloved Clara, followed by their marriage and a brief period of relative calm, to the increasing bouts of mental instability which were to close him off from the world around him until his death. The piano Fantasiestucke op. 111 was composed in 1851 during atime of deteriorating mental health and increasing disillusionment with his post as Music Director of the Dusseldorf Music Society. In contrast to the youthfully extroverted Fantasiestucke op. 12 of 1837, these three untitled pieces are “of a serious and passionate character,” as Clara described them. The Fantasie in C major op. 17 is one of Schumann’s most powerful large-scale piano works, composed during the bitter period of his enforced separation from Clara. Schumann completed his cycle of nine forest piano miniatures, Waldszenen, in 1849, while struggling with increasing bouts of mental instability and depression. Each piece is headed by a descriptive title. These masterly tone paintings display Schumann’s genius in creating miniature images consummate in expression, characterization and mood. Critics have praised Einav Yarden’s previous recordings for Challenge Classics: “She pairs Beethoven with Stravinsky to striking effect, merging that unlikely couple with imagination and exceptionally vivid playing.” (The Washington Post) “Yarden plays a wonderfully exuberant, vibrant Haydn, glowing, transparent, adventurous, at times intimately chamber-music-like, at times grand and orchestral. A voice for Haydn!” (Fono Forum)

On this album, Frederick Hohman plays a virtuosic program of his own symphonic organ transcriptions, transcriptions of Edwin Lemare, and standard organ literature upon the Great Organ of the Cathedral Church of St. John the Divine, New York City. Frederick Hohman is one of the best-known American organists, primarily through the frequent worldwide broadcasts of his concert excerpts and recordings through the radio series Pipedreams, through his popular YouTube videos, and on internet radio where in 2015 he was the most highly rated and most frequently rated organist on the OrganLive! internet channel. In addition to his career as a concert organist, he is also a sought-after classical music audio-video producer-director and engineer. He is also gaining regard a s a composer and arranger of organ and choral music, with over a dozen published scores now distributed under the Wayne Leupold Editions and Zarex Scores insignias.

John Johnson and Antony Holborne share much in common, in their music and in their careers, but this album, in setting their work side by side, reveals their individual style and approach to the instrument. It is assumed that they both were born in the 1540s, without authoritative record, but their work in the royal court of the 1560s is attested. Johnson made his career as an accomplished performer, while Holborne’s energies were focused on writing for the instrument. In the case of Johnson, the pavans, galliards and grounds recorded by Yavor Genov incorporate an amalgam of native and foreign (especially Italian) elements. His works show the English taste for cross-relations, surprising harmonic and tonal relationships and, above all, variation. However, like Holborne, he developed the form of the pavan during the course of his career, endowing it with increasing richness of ornamentation and expression, to be enjoyed in full in the melancholy undertow of the Passingmeasures Pavan. Holborne’s lute music is still more painstakingly elaborate, designed perhaps less for public show than private reflection, to give as much pleasure to the musician as to his courtly audience. With two albums on Brilliant, of music by Kapsberger and Zamboni, the young Bulgarian lutenist has introduced himself to international audiences and proved to be a thoroughly sympathetic interpreter of this idiom which trades on subtle intimacies of phrase, decoration and inflection.

This is volume 5 in Centaur's recording of the complete Pieces de Clavecin, performed on harpsichord by Mark Kroll. Mark Kroll has made a specialty of Couperin throughout his long and distinguished career. Mark Kroll has performed on four continents as a harpsichordist and fortepianist, in both solo recital and as a collaborative chamber musician. Highlights include an appearance as the official guest of the city of Barcelona; featured soloist in Germany’s Regensburg Early Music Festival, France’s Festival Ambronay and the Bordeaux Hummel Festival; two concerts for the Czech Republic’s Prague Spring Festival; and recitals at Lisbon’s Gulbenkian Foundation, Rome’s Conservatorio Santa Caecilia and Associazione Musicale Romana, Poland’s Dni Bachowski, and Slovenija’s Radovljica Festival. This recording was made on a 1978 Franco-Flemish style double manual harpsichord by William Hyman and D. Jacques Way at the Harpsichord Clearing House, Rehobeth, Massachusetts.

Robert Ballard was one of the most famous lutenist-composers of the first decades of the seventeenth century, during which the lute was the favored instrument of the Parisian aristocracy and upper bourgeoisie. Richard Kalb loves this literature, and it clearly shows in these loving performances. Richard Kolb has performed throughout North America and Europe as a soloist and with a wide variety of Baroque and Renaissance ensembles. He was principal lutenist of the Carmel Bach Festival for eight years, and has performed frequently with Opera Atelier, New York City Opera, Les Musiciens du Louvre, Chicago Opera Theater, Waverly Consort, Handel & Haydn Society, Pegasus, and Concert Royal. He completed a Ph.D. in musicology at Case-Western Reserve University in 2010, and has published widely used editions of music by Barbara Strozzi and Antonio Francesco Tenaglia. Kolb teaches harmony and continuo, and serves as scholar in residence for the NY Continuo Collective, whose fall project in 2015 featured performances of works by Strozzi using his editions and scholarship.

The Concordia String Trio explores and expands the eclectic repertoire of an under-appreciated genre - the string trio. This versatile ensemble has built a reputation for it's exciting performances and innovative programs, juxtaposing pieces from the standard string trio repertoire with new compositions and little-known works of great composers. On this release, the Concordia String Trio performs a program of great American works for String Trio, including works by Walter Piston, Alan Hovhaness, Leonard Mark Lewis, John Harbison, Henry Cowell, and David Colson. The trio is made up of Marcia Henry Liebenow, concertmaster of the Peoria Symphony Orchestra and professor at Bradley University, Leslie Perna, respected artist and teacher, and Karen Becker, active soloist and avid chamber and orchestral player.

Debussy wrote songs throughout his career, beginning at the age of 18 with Nuit d’étoiles, with which this collection also begins. Most of his vocal output was inspired by the singers he encountered as a young man in the fashionable salons of fin-de-siecle Paris, and in particular the soprano Blanche Vasnier: from that time, Debussy’s songs resembled an amorous diary of dreams and desires of infinite sweetness, entrusted to a voice capable of the utmost seduction. The epilogue to his love story with Vasnier is heard in Apparition, after which Lorna Windsor moves to the years of Debussy in Rome, and in particular his sumptuous settings of Baudelaire. There follow the much more elusive settings of Verlaine and Rimbaud, dating from his ‘impressionist’ and even ‘post-impressionist’ late years, and often inspired by his encounter with the soprano Mary Garden, the first Mélisande. Lorna Windsor has established a reputation as a specialist in contemporary music: her catalogue on Brilliant Classics includes the songs with piano by John Cage (8850) and a more recent, wide-ranging album of solo-vocal music by Feldman, Kagel, Kurtág and others. She also has considerable experience in French repertoire, having studied with the doyen of French baritones, Gérard Souzay, and given performances in France of Offenbach and Satie, as well as recording the songs of Satie. A further point of interest to the album concerns the piano used by Antonio Ballista: a 1923 Pleyel. Ballista himself was born just 13 years after the piano was made, and for more than half a century he formed half of one of the best-known and most recorded piano duos of their time, in partnership with fellow Italian Bruno Canino. Though he has accompanied many eminent singers such as Cathy Berberian, Anna Caterina Antonacci and Kim Criswell, his work with singers has been very rarely represented on record, making this album a collector’s item in Ballista’s distinguished career as well as a ravishingly idiomatic record of French song.

It was in 1958 that a fabulously talented 23-year-old French pianist made his name in the musical world with the release of his debut concerto recording for Columbia Masterworks. That coupling of the Grieg A minor and Rachmaninoff’s Rhapsody on a Theme by Paganini, with Eugene Ormandy conducting the Philadelphia Orchestra, was the first of many best-selling albums that Philippe Entremont would record for Columbia over the next two decades.

In 2014, Sony Classical issued a set containing all of his concerto recordings. Now, to mark Entremont’s 85th birthday in 2019, Sony is pleased to announce the release of his complete solo recordings at budget price.

Philippe Entremont was born in Reims to two professional musicians who were also his first teachers. He then studied with the legendary pianist Marguerite Long and entered the Paris Conservatoire, where he won numerous prizes. When he was only 16, he won the prestigious Marguerite Long-Jacques Thibaud Competition. European tours soon followed as well as his Carnegie Hall debut in 1953: playing concertos by Liszt E flat Concerto and André Jolivet, he “brought down the house” with his “technical and musical mastery” (New York Times). The new release, which contains many recordings never before issued, ranges from Entremont’s 1956 Chopin recital originally released on CBS’s Epic label to a recital of keyboard favorites he recorded in Vienna in 1985. There is Entremont’s Debussy, played “with bold splashes of color...and tremendous warmth” (High Fidelity) and his Liszt. The many other recitals in this capacious, newly remastered reissue showcase composers ranging from Rameau, Bach, Haydn, Mozart, Kuhlau, Clementi, Beethoven, Chopin, Schumann and Mendelssohn to Tchaikovsky, Rubinstein, Scriabin, Rachmaninoff and Prokofiev. There is Spanish music by Granados, Albeniz and Falla. And, naturally, there is an abundance of French music – works by Fauré, Ravel, Satie, Poulenc and Saint-Saëns. Two very special albums recorded in 1979 deserve separate mention: a coupling of Dohnányi “Nursery Song” Variations, the Strauss Burleske and the Litolff Scherzo, with Okko Kamu conducting the National Philharmonic, and the delectable recital from Paris in which Philippe Entremont accompanies the great soprano Régine Crespin in mélodies by Ravel and Satie.

Locus Iste celebrates two milestones for the Choir of St John's College, Cambridge: as well as 2019 marking the 150th anniversary of the consecration of the college chapel, this release is coincidentally the choir's 100th recording – 60 years on from George Guest’s iconic first recording of ‘Hear my prayer’ for Argo, released in 1959. Directed by Andrew Nethsingha, the programme makes great use of the chapel's renowned acoustic, and celebrates the choirs past, present and future – including an anthem by a former director of music, a motet by one of their recent student composers and the cello-playing of a current undergraduate. The Choir of St John’s College, Cambridge is one of the finest collegiate choirs in the world – known and loved by millions from its broadcasts, concert tours and recordings. Founded in the 1670s, the Choir is known for its rich, warm and distinctive sound, its expressive interpretations and its ability to sing in a variety of styles.

Owen Rees leads early-music consort Contrapunctus alongside The Choir of The Queen's College, Oxford in performances of John Taverner's masterwork, the Missa Gloria tibi trinitas. A virtuosic work, it has pride of place in the Forrest-Heyther partbooks (in the Bodleian Library in Oxford), which it has been variously argued originated at Cardinal College or at the Chapel Royal. It might well have been heard on Trinity Sunday in the chapel of Cardinal Thomas Wolsey's palace at Hampton Court. The work is accompanied by other sacred choral works by Taverner, including his Ave Maria composed for Wolsey's Cardinal College, Oxford, and one of his most widely copied works, Gaude plurimum - a dramatic work where Taverner exploits the power of his full forces to evoke Christ's harrowing of hell and the breaking of 'the bloody powers of the prince of eternal death' Contrapunctus is an early-music vocal ensemble dedicated to passionate interpretations informed by authoritative insight and understanding. Directed by Owen Rees, a specialist in music of the sixteenth and seventeenth centuries, the group presents imaginative programmes revealing previously undiscovered musical treasures and throwing new light on familiar works.

Folk songs are evidently one of the seminal sources of inspiration that Bohuslav Martinu drew upon in his music. The composer would take Su�il's extensive collection of traditional Moravian songs along with him wherever he travelled. The texts from the volume were used for the majority of the Songs on One Page, Songs on Two Pages and The New Chapbook. Just as Dvor�k had done in his Moravian Duets, so Martinu conceived his own tunes and accompaniment, yet his having been profoundly impacted by folk music, it's rhythm, melody and harmonic techniques is palpable. Created in the early 1940s, in the middle of World War II, during the composer's exile in the USA, the three song cycles represented for Martinu and his compatriots a connection with their beleaguered homeland. Jan Masaryk, a Czech diplomat and a skilled amateur pianist, often performed the songs together with the soprano Jarmila Novotn�, a MET soloist. Owing to their elliptical expression and modesty, the three cycles may serve as the clue to Martinu's late works. The New Slovak Songs constitute a unique piece in the composer's oeuvre; he himself had collected them during his visit to Slovakia in 1920 and subsequently wrote for them piano accompaniments. Three renowned artists, bearing an authentic relation to folk music and Martinu's work alike, have made a benchmark recording, in which they have succeeded in highlighting the songs' tender beauty. Bohuslav Martinu's songs - magnificent tiny pieces by a great master

This new release presents an absorbing portrait of Abel Carlevaro (1916-2001) through his music as performed by Cristiano Poli Cappelli, an Italian guitarist making his second album for Brilliant Classics. The first was of guitar music by another relatively forgotten figure, Alexander Tansman, and it was enthusiastically reviewed by Classical Guitar magazine: ‘Highly recommended!’ Like Tansman, Carlevaro studied with Andres Segovia, the father of the modern guitar, during the 1930s. However, he broke away from his master’s teachings in order to make his own experiments in both guitar manufacture and composition. His music caught the ear of Heitor Villa-Lobos, another South American innovator, and it embraces the widest stylistic range captured by Poli Cappelli on this album, from the delicate watercolours of the Preludios Americanos (1969-74) to the vivid brushstrokes and abstract form of Cronomias (1972). Carlevaro’s later music returned often to the milonga, a tango-related dance popularised in the classical sphere by Astor Piazzolla. Milonga para Ling (1999) is brief but saturated with melancholy, while to the Milonga Oriental (1994) belongs one of the composer’s happiest melodic inspirations. Later still, a pair of milonga suites describe a peaceful return to the composer’s heritage. An essential acquisition for guitar aficionados, but also a collection of beautiful South American melodies that deserve to travel more widely.

On this new release, Ton Koopman has gathered together every one of Bach’s cantatas. Finally reprinted after some years, this is a must-have reference collection. Antonius Gerhardus Michael (Ton) Koopman is a Dutch conductor, organist and harpsichordist. He is also professor at the Royal Conservatory of The Hague. In April 2003 he was knighted in the Netherlands, receiving the Order of the Netherlands Lion. Koopman’s Bach Cantatas project is the most ambitious project of his career. He finished the project in 2005.

Following his recording of J.S. Bach's solo cantatas for alto BWV 35 and 170 (issued by Outhere in 2009), and building on the success of that release - still a benchmark even today - countertenor Damien Guillon has continued his work of research and interpretation, devoting his second album to the Cantata BWV 169 for alto solo, and to the famous BWV 82 Ich habe genug; though better known in it's 1727 version for bass, from 1735 onwards it was also performed by an alto voice. To complement this cantata programme, organist Maude Gratton performs Bach's Prelude and Fugue BWV 543, as well as the chorales Allein Gott in der H�h sei Ehr, BWV 662, BWV 663 & BWV 664.

Following on from the success of the Red and Yellow series (a total of twenty-eight reissues), which have restored to the limelight the treasures of the label’s Baroque music catalogues, here are fourteen new titles offering a chance to renew acquaintance with further gems of the Baroque as well as a number of rarities. This third series also expands to embrace the Classical repertory (Mozart, Haydn etc.) and other cultures, notably those of the East, in recordings that form an integral part of Alpha’s identity and history. The fourteen reissues are performed by the leading musicians in the relevant repertory; most of these discs received one or more press distinctions on their first release. They are accompanied by full booklets, with articles in three languages (English, French, German) and richly illustrated chronologies. A wide range of photographers have provided the cover illustrations for the series, this time with the colour blue as the unifying thread.

Following on from the success of the Red and Yellow series (a total of twenty-eight reissues), which have restored to the limelight the treasures of the label’s Baroque music catalogues, here are fourteen new titles offering a chance to renew acquaintance with further gems of the Baroque as well as a number of rarities. This third series also expands to embrace the Classical repertory (Mozart, Haydn etc.) and other cultures, notably those of the East, in recordings that form an integral part of Alpha’s identity and history. The fourteen reissues are performed by the leading musicians in the relevant repertory; most of these discs received one or more press distinctions on their first release. They are accompanied by full booklets, with articles in three languages (English, French, German) and richly illustrated chronologies. A wide range of photographers have provided the cover illustrations for the series, this time with the colour blue as the unifying thread.