Classical Music

Pianist Karine Poghosyan fell in love with Rachmaninoff's Six Moments Musicaux, Op. 16 as a little girl in Yerevan, Armenia. She has since loved and made a specialty of Russian works for piano. She has the perfect pianistic sensibility for these works, playing with great passion and sweep. Described as 'extraordinary,' 'larger than life,' 'the powerhouse pianist'... Award-winning Armenian-American pianist, Karin� Poghosyan, has been praised on the world stage for her "ability to get to the heart of the works she performs." Since her orchestral debut at the age of fourteen, Karin� has been enchanting concert audiences around the globe, with her masterful artistry and exceptional performances that leave them forever transformed.

Brilliant Classics proudly presents the 5-album sets series: QUINTESSENCE, attractively priced compact box sets containing essential core classical repertoire in outstanding performances. Aimed at attracting both the discerning classical connoisseur and the classical newcomer it presents the pillars of classical music freshly packaged with eye-catching colorful and booklets containing liner notes in English. A new series at an unbeatable price!

The present installment features Mozart’s complete piano sonatas, performed by pianist Klara Würtz.

Excerpt from a review of a previously released edition of this set:

The Hungarian pianist Klára Würtz's Mozart performances here are, in a word, miraculous. Listening to this set left me almost speechless. By the time I finished auditioning just the first six sonatas, I knew that Würtz’s Mozart was something special. Highest recommendation.

-- Jeffrey J. Lipscomb, FANFARE

"A pulsation marks time, it infuses its rhythm in it and also evokes the heart. Just like those composers whose music calls out to me and who, with their unique signatures, mark time, our time; Olafur Arnalds, Jean-Michel Blais, Ludovico Einaudi, Alex Baranowski, Craig Armstrong, Peter Gregson, Yann Tiersen, Abel Korzeniowski, Johan Johannsson, Max Richter, Dalal..." (Angèle Dubeau) One of the most prominent violin virtuosos of her generation, Angele Dubeau has been leading an exceptional career for over 40 years in the great concert halls of the world. While her virtuosity and musicality have seduced critics, the public has adopted Angele Dubeau for her captivating music, her uncommon gift as a communicator, her generosity and her outstanding ability to connect with her audience. She has garnered many awards over the years, and she is one of the rare classical violinists in the world to have been awarded gold records. She has sold over 600,000 albums in her career and the works from the violinist’s discography have been streamed over 75 million times across more than 100 countries.

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REVIEWS:

The rhythmic cycles and the melodic-harmonic motifs of many of these compositions are now part of the musical imagination, the characteristics of which are found in several film scores ... and in this album perfectly representative of the trend, interpreted with inspiration, accuracy and virtuosity by Angèle Dubeau and her ensemble.

– LaPresse.ca (Alain Brunet)

Pulsations brings together works that evoke strong images and possess a profound emotional intensity. She has a flair for finding and recording the works of remarkable composers, thus placing her at the center of the post-minimalist movement, one of the most relevant musical genres of our time.

– LaScena Musicale

Puccini’s late opera La fanciulla del West bristles with drama and intrigue in this newly remastered classic recording with Zubin Mehta conducting the Orchestra and Chorus of the Royal Opera House and starring Plácido Domingo, Sherrill Milnes and Carol Neblett. With its potent mixture of stark realism and gushing romanticism, this Wild West melodrama builds on the hard-edged style Puccini had used in Tosca, infusing it with Debussian harmonies and Straussian orchestral colours to produce his most distinctive and original opera. Featuring the stock in trade characters of a gun-toting heroine, a macho hero with a sensitive side, and a villainous Sheriff, Puccini eschews the signature lyricism of his earlier operas for a more seamless melodic style to produce a dramatic work of almost symphonic proportions. While critics of the time were somewhat bewildered by this subversive potboiler, modern audiences have warmed to this richly revealing opera which, unusually for Puccini, has a happy ending. This classic recording dating from 1977 is Gramophone magazine’s top choice for the opera and can now be enjoyed for the first time in full SA-CD hybrid multichannel sound. “Carol Neblett is a strong Minnie, vocally distinctive and well characterised, while Plácido Domingo and Sherrill Milnes make a good pair of suitors …. Zubin Mehta conducts with real sympathy for the idiom” (Gramophone). And the Penguin Guide to Compact Discs and DVDs (2003/4) enthused “Domingo sings heroically … but the crowning glory of a masterly set is the singing of Carol Neblett … Full atmospheric recording to match.” Although recorded in multi-channel sound, these memorable performances have previously been available only in the conventional two-channel stereo format. Using state of the art technology which avoids the need for re-mixing, PENTATONE’s engineers have remastered the original studio tapes to bring the performances to life as originally intended: in compelling and pristine multi-channel sound.''

The reserve collections of the Bibliothèque Royale of Brussels hold the sole printed copy of Telemann's Twelve Fantasies for solo flute...These fantasias considerably enrich the slender corpus of Baroque works for flute without bass, alongside two other gems, the Partita of J.S. Bach and the Sonata in A minor of C.P.E. Bach. A cycle for solo flute of this kind, arranged by tonalities and rising gradually from the key of A to that of G, is unique in the repertory...These fantasias, each with its own mood, are miniatures consisting of a succession of three or four movements in the same key. All of them have in common the concision, the formal brevity and the rapid alternation of their movements. Telemann plays on effects of contrast and surprise by switching between opposing characters and tempi. The open form of the fantasia offers teh composer an ideal field of freedom and expression for his inexhaustible imagination. A fervent champion of the reunion des gouts embracing German, Italian, French and Polish tastes, telemann covered all the genres, national styles and compositional idioms of his time. - Francois Lazarevitch

How many labels can boast not one but two recordings of Wolf-Ferrari's piano trios? But they're so good, they're worth recording (and hearing) more than once. As Norman Lebrecht remarked of the well-received album of Trio Arche (BC95624), 'The two trios... put an instant summer's smile on the sourest of faces. The gift for melody is abundant and the interaction of piano, violin and cello is as infectious and irresistible as a well-made goal in football. Barely half an hour long, either of these trios will make your day... Go on, treat yourself.' Both written early in his career, the trios share the inventiveness and communicative vibrancy of his better-known operas and symphonic works such as the wind concertos on another recent Brilliant Classics release (BC95875). The Op. 5 Trio shows off the confidence of Wolf-Ferrari with quirky juxtapositions of key and an abruptly offhand conclusion to the Scherzo, and a whimsical discursiveness of the Finale that might be described as the lovechild of Schubert and Faure. More ambitious in scope, the Op.7 F sharp minor Trio opens with an expansive, brooding opening movement (lots of harmonic unrest reminiscent of Cesar Franck) followed by two much briefer movements of uncomplicated charm. Wolf-Ferrari's writing for the notoriously tricky combination of instruments is notably sympathetic, allowing the two string instruments to flourish without being overwhelmed by the piano. This ensemble, highly praised in the pages of La Stampa, is led by Franco Mezzena, whose extensive discography of lesser- known Italian chamber music includes most recently the complete quartets of Viotti (BC95264).

The new studio album from Arcadi Volodos captures the master pianist’s finely honed interpretation of Schubert’s late Piano Sonata in A major D 959, as well as three of his very rarely recorded minuets: D 334, D 335 und D 600. After spending years performing and refining his interpretation of Schubert’s penultimate piano sonata, Volodos has now committed the work to “tape” for posterity.

For him, a recording is a personal testament to a creative period’s culmination – this explains the relative rarity of a new Volodos recordings. Volodos personally selected the three rare minuets to accompany the piano sonata, additionally choosing to pair the D 600 Minuet with the D 610 Trio. Volodos brings these extremely rarely recorded works to life with his unmistakable tonal brilliance and stylistic elegance. Released 17 years ago, Volodos’s first – and, until now, only – recording of Schubert’s works, coupling the Sonatas in E major D 157 and G major D 894, garnered much praise. “Here is irrefutable proof of Arcadi Volodos’s genius and versatility,” wrote Gramophone magazine at the time. The German specialist magazine Fono Forum observed that “Volodos makes the piano sing like few other pianists today”.

In the intervening years, Volodos’s relationship to the works of Schubert has only deepened. Reviewing his performance at this year’s Salzburg Festival, Der Standard wrote, “When Arcadi Volodos plays Schubert, time stands still.” So, too, this recording offers a snapshot of a master pianist at the height of his interpretative powers.

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REVIEWS:

Every phrase is so exquisitely turned, so perfectly graded in its nuances, so ideally blended – harmonically, melodically and in relation to what comes before and after – that it could be placed on exhibit for all to wonder at. Like all the great virtuosos, he knows how to bring spaciousness to the most technically demanding passages and inner life to the simplest.

– Gramophone

When you witness the palpable stillness Volodos conjures from the opening of the Andante, and when you hear his chiaroscuro, a light and shade beyond the reach of virtually any other pianist, you feel above all compelled to marvel at Schubert’s genius.

– International Piano

This historic release couples George Crumb’s earliest work for piano, the Five Pieces for Piano (1962) with his most recent piano cycle, Metamorphoses (2017). Margaret Leng Tan has long been a champion of Crumb’s music, and he composed Metamorphoses (Book 1) for her. This recording is of the German premiere at the legendary Donaueschingen Festival in 2017. Crumb’s Metamorphoses is a natural descendent of his monumental Makrokosmos I & II piano cycle of the early 1970s. With a nod to Mussorgsky’s Pictures at an Exhibition, each movement of the Metamorphoses is inspired by a famous painting. And, like the Makrokosmos, it requires the pianist to be a virtuoso not only at the keyboard but playing inside the piano and vocalizing as well. Ms. Tan is regarded at the “Diva of the Toy Piano,” and Crumb has also incorporated the toy piano and toy percussion instruments into some movements. Crumb says: “I have always been most fortunate to have had outstanding pianists who were willing to tackle the formidable technical and musical innovations in my scores. And among the very finest of these is Margaret Leng Tan for whom I wrote Metamorphoses (Book l). Margaret’s technical prowess and superb artistic sensitivity is a combination that must warm the heart of any composer!” The album also includes the early Five Pieces for Piano. All the components of Crumb’s mature compositional language are already evident: a broad palette of coloristic effects along with an extraordinarily sensitive command of nuance, his unmistakable musical gestures, an inherent sense of drama coupled with a magical suspenseful atmosphere and a battery of interior piano effects demanding that the pianist be somewhat of a harpist and percussionist as well.

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REVIEW:

This CD start out with George Crumb’s most recent piano cycle, the Metamorphoses, but closes with his earliest, the 5 Pieces for Piano from 1962.

Though Nocturne may be the most impressionistic piece in the set, the music depicting Dali’s Persistence of Memory is the most abstract, the most like the George Crumb most listeners know from such works as Ancient Voices of Children.

The 5 Pieces for Piano already show Crumb as an individualist, even at this early stage making the pianist play the insides of the instrument. It is, however, much more abstract than the Metapmorphoses, which you would expect in a work less tied to visuals. Although a difficult piece, both in terms of the technique it demands of the player and the listening aspect, it is worth your effort to absorb and understand it.

This is clearly an outstanding album, particularly for the Metamorphoses.

– Art Music Lounge

In this release, the prominent conductor Adriano with help from the world renowned Bratislava and Moscow Symphony Orchestras, among others, draws together the first complete series of orchestral works by Swiss composer Fritz Brun. This set sheds light on the little-known composer’s repertoire, from the rhapsodies, the concertos, to ten sweeping symphonies. Brun grew up in Lucerne and his time active as a composer coincided with a period of high creative output of Swiss music. Brun’s repertoire sits alongside other native composers such as Honegger, Schoeck, and Bloch. The crowded market, combined with the struggle to find a publisher, offers one indication as to why Brun’s works failed to reach the mainstream public. While not a household name, Brun is often touted as the Swiss answer to Vaughan Williams and Edward Elgar. Brun’s works have a nostalgic touch; they draw on the Romantic and Classical eras in their emotional sincerity and defined forms, but always with a modern flavor. After graduating from the Cologne conservatoire, Brun worked in Berlin, London and Dortmund where he took up various music posts. His music reflects his European travels and unites diverse inspirations from different countries and eras as equals on his musical plane. Modernist influences are skillfully interwoven into his compositions, the scherzo movements for example, draw on Stravinsky in their timbre and rhythms and Symphony No. 5 liberally experiments with tonality. However, similar to his English counterparts, his music remains rooted in his homeland. Symphony No. 3 is inspired by the Alps and it is his best known work, made particularly famous for its use of Italian-Swiss folk melodies. In his later life, Brun returned to Switzerland, where he served as director of the Berne Music Society until his retirement in 1941. The final portion of this release features historical recordings, in particular, the celebrated Paul Sacher brings his interpretation of Variations for string orchestra and piano, and Brun conducts his own Symphony No. 8.

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REVIEW:

This wonderful set is self-recommending and a real labour of love, reflecting Adriano’s commitment to perform, record and bring to a wider listening public the music of his compatriot and Switzerland’s leading symphonist Fritz Brun, providing on disc the majority of his music, including all the orchestral works.

– MusicWeb International

Making important decisions can be complicated. It can also be perfectly simple. Most of the time, though, it seems like it is both. Echoing such intertwined feelings of doubt and clarity, Niels Ronsholdt (b. 1978) presents a unique song cycle full of mirrors, sensitivity and undaunted experimentation. The music included on this release transcends the boundaries between classical and pop music. The work stood out at both November Music Festival 2015 (Holland) and SPOR Festival 2016 (Denmark), receiving the biggest audience applause at both festivals. Niels Ronsholdt teaches composition alongside fellow composer Simon Steen-Andersen at the Danish Royal Academy of Music in Aarhus, the former home of composers such as Per Norgard and Bent Sorensen. Of Ronsholdt’s previous release, Nordische Musik gave five stars and wrote: “Me Quitte is anything but difficult avant-garde music: it is emotional, fragile, moving, dreamlike, and yes, even charming.”

Ermanno Wolf-Ferrari (1876-1948) focused on instrumental music at the beginning and towards the end of a career that was otherwise largely devoted to opera. The two trios for violin, cello and piano are early works, written at the time he was studying in Munich, or shortly afterwards. The first Trio in D major dates back to 1896, was premiered at the Tonk�nstlerverein in Stuttgart in September of that same year and published as Op.5 in 1902 by Leuckart in Leipzig. The four movements of Op.5 abound in richly embroidered, Brahmsian melodies and impassioned statements and developments, free of the naivety that is often a feature of early works. That said, they do embody a certain innocence, a degree of gentleness, even a lightness of spirit that sets them apart from their composer's study of German models with teachers such as the organist Joseph Rheinberger. Parts of the Op.7 Trio may in fact have been written before Op.5, but the expression of the three-movement work as a whole is more individual, dominated as it is by a huge opening movement (almost 20 minutes in length), and often colored by a bitter chromaticism that Wolf-Ferrari would later relinquish in favor of a more light-hearted and lyrical idiom. Here is a technically gifted young composer stretching his creative muscles - and for all the breadth of expression, his writing for the notoriously tricky combination of instruments is notably sympathetic, allowing the two string instruments to flourish without being overwhelmed by the piano. This new studio album is the second recording of Trio Arch� for Brilliant Classics after their well-received debut of trios by another Italian composer, now even less familiar than Wolf-Ferrari, Marco Enrico Bossi. Both albums make a ready appeal to all those listeners who travel the musical byways of late Romanticism.

This release couples two of Reich’s “sextets” for the first time: the Sextet of 1984 and the Pulitzer Prize winning Double Sextet of 2007, which also makes its first appearance on LP. A striking difference between the two pieces is that the rhythmic world of Sextet mostly consists of a single-meter grooving, while Double Sextet works in the angular, off-kilter shifting meters reminiscent of Reich’s Tehillim (also of Stravinsky). Ekkozone impart a uniquely chamber music feel and color to these works while maintaining their propulsive character. Liner notes by Adam Sliwinski. LP lacquers and mastering by veteran Scott Hull at Masterdisk. Plated and pressed by RTI, California. Danish percussionist and conductor Mathias Reumert lives and breathes contemporary classical music. An in-demand soloist, he explores new percussive territory while remaining a committed interpreter of yesterday’s masterworks. As creator and leader of the acclaimed ensemble Ekkozone, he explores the bounderies between classical, world and experimental music in performances at rock and jazz festivals. Ekkozone is a Danish crossover ensemble that masterfully explores the lines between classical, world and experimental music. Formed by Mathias Reumert in 2013, the ensemble enjoys a special connection with Reich’s music and has performed a large part of his oeuvre, including several performances of Music for 18 Musicians.

REVIEW:

There is more than one way to skin a cat, and there is always more than one way to perform good music. Steve Reich’s Sextet is a long way past being ‘minimalist’, even though there are ostinato elements that recall that particular phase in Western music’s evolution. The first movement and other sections recall Reich’s The Desert Music, while the groovy low piano notes in the final Fast section have something of the finale of New York Counterpoint about them. Multi-layered percussion makes all of this a feast for the ear, and Ekkozone and their hyper-reality studio recording play the piece with a swing and uplifting sense of fun that is very infectious indeed. The bass drums on the second Moderate section are played with musical subtlety but have been balanced in such a way that you’ll enjoy seeing your woofers moving about at reasonable volume. Stereo spread is also a good feature of this recording for all but the piano sound, which is kept very much to the centre channel.

There are numerous recordings of Sextet around. Third Coast Percussion (review) is good, with marginally more measured tempi than Ekkozone and a close-miked balance that reveals superb playing while at the same time being less fun and involving. Steve Reich and Musicians on the Nonesuch label is a classic of course, but uses a rather heavy sounding organ in the opening – this first movement being a little faster than Ekkozone while the remaining movements are as close in timing as makes no difference. The LSO Percussion Ensemble is ok (review), but in this case is too light on the sustained organ notes in the first movement, and there are a couple of moments of imprecision in the ensemble playing elsewhere that dampened my enthusiasm somewhat – understandable for a live performance, but less desirable in repeated listening. Go back to the impact of Ekkozone’s opening after living the LSO for a while and you’ll be hooked straight away.

Double Sextet is also a fine piece, though to my ears not quite the masterpiece that is Sextet. Ekkozone put plenty of dramatic urgency into the first of its three movements, and once again the recording is full of detail and presence. The slow middle movement is soulfully melancholic and atmospheric – a cinematic scene of nocturnal regret, while the finale is even more of a bustling city street than the first.

I greatly enjoyed Ensemble Signal’s recording of the Double Sextet on the Harmonia Mundi label (review). The timings are a little shorter on this version, though not by enough to change the character of the music by a great deal. Ekkozone’s Slow movement has more emotional impact to my ears, their instruments more natural sounding in general, and the vibrato in the string sound adds an extra few ounces of heartstring tug to the cooler sound of Ensemble Signal.

All of these comparative notes are very marginal, and I haven’t come across any recordings of either of these works that are complete duds. As Adam Sliwinski writes in the booklet note for this release, Steve Reich’s music is “like a native language” to percussionists these days, and the chances are that if you walk down the corridor of any decently sized music academy’s percussion department you will hear one or other of his pieces being perfected. Ekkozone’s recordings of both works on this CD are second to none, and should be placed on your wish list forthwith.

-- MusicWeb International

This album collects for the first time four of the most important works from Radulescu’s later period, all composed for cello, and all performed by his widow Catherine Marie Tunnell. Radulescu and Tunnell began working together almost immediately upon meeting in 1995.By the time they were married in 1997, Radulescu had already composed for her two of the pieces on this disc (the solo Lux Animae and the cello sonata L’Exil Intérieur), and revised and rededicated her a third, older work (Das Andere, first composed in 1984). L’Exil Intérieur was Radulescu’s first and only work in the format of “sonata for instrument and piano.” A magical, otherworldly spectral composition using the combined sounds of cello and piano combined with folkloristic influences from his native Romania. Das Andere is a work that can be played on any stringed instrument tuned in open fifths. It features heavy use of extended techniques. The notes to the score describe the performer’s role in this work as being to “…create a sense of trance, close to a spiritism [sic] séance…” Pre-Existing Soul of Then for 2 cellos, is heard as on this recording as an “ideal version,” formed by meticulously overdubbing the cello parts in two individual layers. This provides a challenge in terms of both timing and tuning, but the results are far closer to the composer’s original intention than any live version that has been performed so far. Lux Animae is a set of 21 “windows” through which the light of the soul may shine. Radulescu utilizes several of his spectral techniques in service of the larger goal of making the theoretical or imaginary concretely manifest in the physical world, as the whole instrument of the cello becomes an emanation of an impossibly low pitch, and the time in which the work exists a sort of “ring-modulation” of time itself.

Silk Baroque presents a musical encounter between Wu Wei and Holland Baroque, performing a programme that ranges from Baroque greats such as Bach, Vivaldi, Telemann and Rameau to Chinese traditional tunes, all tied together by the musicians’ openness to improvisation, experimentation and cultural exchange. Wu Wei plays the sheng, an extraordinary ancient Chinese mouth organ, which looks like a bundle of bamboo reeds cased in a metal bowl. It is a miracle of harmony, melody and rhythmic possibilities, and Wu Wei’s abilities fully bring out the sheng’s beauty: whispering, charming, and compelling.

Age-old traditions come together in performances that sound fresh and contemporary. Silk Baroque carries listeners into a lively, enticing and fascinating sound world. Holland Baroque is an original and innovative baroque orchestra that approaches baroque repertoire through a fresh and contemporary approach, with a focus on improvisation and collaborations with outstanding artists from different traditions. On their first PENTATONE release, they work together with Wu Wei, who dazzles audiences worldwide with his virtuosic sheng playing.

Alb�niz wrote seven piano sonatas during the 1880s, but only Nos. 3, 4, and 5 survive as complete works. As with so much of his output they are now better known in the form of guitar transcriptions - at least for Nos. 3 and 5 - but the piano originals show the same fantastical imagination and romantic temperament as his masterpiece Iberia, while conforming to a more conventionally Classical form. Their craftsmanship in harmony, scoring, and voice-leading are beyond reproach, but it is the lyric sweep and often playful touches of harmony that secure their place on the fringes of the repertoire. As a pianist, Alb�niz was a noted interpreter of 18th-century music - not only Bach and Scarlatti but also Handel, Couperin and Rameau - at a time when such music was often disparaged as dryly academic or old- fashioned. The Suites anciennes are an early example of musical neoclassicism, comprising suites of gavottes, minuets, sarabandes and chaconnes in his own tribute to the Baroque era. But then the minuets, rondos and well-worked counterpoint to be enjoyed in the three sonatas also belong to an earlier era. The Fourth is a particular highlight, establishing Alb�niz as the leading Spanish composer of keyboard sonatas since Antonio Soler, but the others are every bit it's equal in craftsmanship and elegance. Sebastian Stanley is a British pianist who has specialized in the piano music of Spain, making well-received recordings of the Danzas Espanolas and Goyescas by Granados. This is his debut album on Brilliant Classics, enhanced by booklet notes by the noted authority on Spanish piano music, Walter A. Clark.

Any listeners who thrill to Iber�a and Goyescas will want to get their hands on Andaluc�a. Cast in nine movements, divided into three parts, it paints a vivid portrait in sound of the Spanish region, it's landscapes, it's people, folk-culture and traditions. It is the major piano composition by Manuel Font y de Anta, who was born in the region's capital of Seville on 10 December 1889. He is still well-known in the region thanks to a pair of religiously themed wind-band marches, which are unofficial anthems for the city, particularly during Holy Week. Font y de Anta studied music with his father, the composer Manuel Font Hern�ndez, with the Chapel Masters of the Seville Cathedral Vicente Ripoll�s and Eduardo Torres, and with Joaqu�n Turina. During his early twenties he toured the US as a pianist and conductor before settling in Madrid, where he became known as a composer of popular songs and marches. He died in the city, aged just 46, at the hands of Communist militia in November 1936. Andaluc�a mostly dates from 1913-14, except for two movements composed in 1918 and 1921. The cycle begins with an impressionistic evocation of romantic yearning, en el parque de Maria Luisa, and it's followed by two, briefer, more extrovert pieces. The central Cuaderno begins with Alhambra, an even more sensuous, nocturnal love scene set in the gardens of the palace. A dance movement with a central barcarolle is followed by the cycle's most ambitious and complex piece, Perchel. A sultry evocation of the mosque at Cordoba leads into the poetic masterpiece of Andaluc�a, en un patio sevillano. The cycle concludes with a virtuosic showpiece, en los Toros. The cycle as a whole is a worthy successor to Iber�a and Goyescas. It is championed here by the Italian pianist Riccardo Schwartz, a pupil of Paul Badura-Skoda. This major release will bring his name to an international public.

In their very first recording together, the Orchestre symphonique de Montréal and pianist Charles Richard-Hamelin render Frédéric Chopin’s concertos for piano and orchestra, two vibrant and poetic works that the composer wrote in his early 20s. Charles Richard-Hamelin is impressive with his extremely refined playing and the OSM, under the direction of Kent Nagano, offers wonderfully fluid performances that are charged with contagious energy. Charles Richard-Hamelin is a silver medalist and laureate of the Krystian Zimerman Prize at the 2015 International Chopin Piano Competition in Warsaw. He stands out as one of the most important musicians of his generation. In 2014, he also won second prize at the Concours musical international de Montreal and third prize at the Seoul International Music Competition in South Korea. Charles is the recipient of the Order of Arts and Letters of Quebec and the prestigious Career Development Award offered by the Women’s Musical Club of Toronto.

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Richard-Hamelin and Nagano render both Chopin concertos with such freshness and breathtakingly lithe phrasing that they seem a virtual revelation. Highly recommended.

– Audio Visual Club of Atlanta

Premier si�cle; One Century of Music celebrates the centenary of the Orchestre de la Suisse Romande. The boxset contains a collection of rare radio recordings that have never been released before, spanning French, German, Russian and twentieth-century repertoire. A unique asset of Premier si�cle is the 1943 recording of the musical legend Les Armaillis (1906) by Swiss composer Gustave Doret. The album showcases the rich history and musical development of the Orchestre de la Suisse Romande and contain performances by all it's musical directors, from founding father Ernest Ansermet until current musical director Jonathan Nott, including all their intermediate colleagues: Paul Kletzki, Wolfgang Sawallisch, Horst Stein, Armin Jordan, Fabio Luisi, Pinchas Steinberg, Marek Janowski and Neeme J�rvi. The release comes with a voluminous, full-color booklet with texts on the orchestra's history and the repertoire presented in English, French and German as well as unique photos and archival materials.

Maestro Marek Janowski leads a sensational cast — including star vocalists Lise Davidsen and Andreas Schager — on this new recording of Der Freischütz, the German Romantic opera par excellence. In the years after its 1821 premiere, the catchy melodies, picturesque charm and spooky scenes of Der Freischütz thrilled audiences throughout Europe. Janowski’s inspired reading lifts out the symphonic qualities of Carl Maria von Weber’s masterpiece, and makes clear why colleagues such as Hector Berlioz and Richard Wagner raved about the work. The excellent cast consists of Lise Davidsen (Agathe), Andreas Schager (Max), Sofia Fomina (Ännchen), Alan Held (Kaspar), Markus Eiche (Ottokar) and Franz-Josef Selig (Eremit). Janowski conducts the Frankfurt Radio Symphony and MDR Radio Choir. For this recording, the original spoken dialogues have been replaced by short narrations, written by Katharina Wagner and Daniel Weber and recited by Corinna Kirchhoff and Peter Simonischeck. Marek Janowski is one of the most celebrated conductors of our times, and enjoys a vast PENTATONE discography, including complete recordings of Bruckner’s symphonies and Wagner’s mature operas. Frankfurt Radio Symphony has also released multiple albums on PENTATONE, including a recording of Richard Strauss’s Salome (2017).

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REVIEW:

Lise Davidsen gives her finest performance to date, with both her arias sung with a big, radiant voice, but always lyrically. She is well matched by Sofia Fomina’s perky Ännchen. Janowski conducts Weber’s masterly score with atmosphere and the choir are thrilling in the Huntsmen’s Chorus.

– Sunday Times (UK)

Alpha is now reissuing three recordings from its back catalogue, the first album is of the conductor Teodor Currentzis. An opportunity to discover or rediscover three very different styles, and three facets of the talen tof ''the enfant terrible of classical music'', as Le Figaro called him, for whom ''music is intended to transport into the waking world the sentiments we feel when we dream''. With their invitation to travel through different periods and territories, these reissues may be appreciated both separately and as a triptych revealing the artistic approach of Teodor Currentzis and his ensemble MusicAeterna, from Purcell's Dido and Aeneas to Shostakovich's Symphony No. 14 by way of Mozart's Requiem, the Salzburg composer's last work, here given an invigorating reinterpretation.

Closing the distance between classical music and Broadway, between the old world and the new, this album is born out of a stunning encounter between two performers. Kate Lindsey is an opera star whose career is skyrocketing. She has stunned audiences with her performances of Mozart and Purcell, but grew up steeped in the music of Broadway, from Gershwin to Cole Porter. Baptiste Trotignon is a multie award-winning jazz pianist who plays with big names like Brad Mehldau or Tom Harrell, but who has a long-held interest in classical music, even composing a piano concerto for Nicholas Angelich. Together, they have produced a rich and varied programme around the songs of Kurt Weill, from Nanna's Lied to trouble Man, as well as the classics from The Threepenny Opera and Lost in the Stars. This journey through three European languages brings the listener to the very beginnings of jazz, and features all-new arrangements and deft improvisations by pianist Baptiste Trotignon. Lindsey and Trotignon also pay homage to three composers who, like Weill, all emigrated to the United States: Alma Mahler, Zemlinsky and Korngold. London-based American mezzo-soprano Kate Lindsey joins Alpha Classics for several recordings over the coming years.

For close to 300 years Bach’s Goldberg Variations have awed performers as well as listeners, through an unparalleled combination of a dazzling variety of expression and breath-taking virtuosity with stupendous polyphonic mastery. No wonder then that other musicians than harpsichordists have wanted to make it their own – pianists, first and foremost, but also accordion players and guitarists, flautists and harpists. Having performed and recorded much of the classical as well as the modern string trio repertoire, Trio Zimmermann began working on the Goldberg Variations several years ago, playing an existing arrangement. But in their own words, the three members – among the leading string players of our time – ‘soon became captivated by the original score and its innumerable beauties and details’. As a result they have jointly prepared a performing version which here receives its first recording. Playing an important part on this album are also the Trio’s instruments – all by Antonio Stradivarius, and featured in close-up on the cover.

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REVIEWS:

There is no wallowing in this performance, but there is also no lack in expressive depth. That gorgeous Variatio 25 moves along with a gently flowing momentum, but space is allowed for its musical narrative to unfold with poignant grace. There is no attempt to wrest more from the strings than the music would seem to demand, so Beethovenian profundity is not on offer here. Instead it is the shape of the variation as a whole from which the full effect emerges, the quiet towards the end taking our breath away with a glimpse of the infinite.

– MusicWeb International

The ensembles declared intention was an 'unveiling' of Bach's masterpiece – the result is a triumph of combined technical ingenuity and musical insight.

– The Strad

Their approach to dynamics is refreshingly flexible, and all three players bring a graceful approach to ornamentation.

– BBC Music Magazine

Whether it's a confident swagger or a balletic grace, a beguiling folk-melody or a quicksilver rondo, there is always something new to discover in the endlessly inventive symphonies of Haydn, especially in these firm favorites played by the Oregon Symphony under Carlos Kalmar in this new release. While Haydn wrote only one "surprise" symphony, there are surprises to be enjoyed aplenty here. From the bewildering Largo in Symphony No. 64 with its unexpected turns and derailments, to the ceremonial elegance and ear-tickling melodies of Symphony No. 53 or the mock-heroics and propulsive rhythms of Symphony No. 96, Haydn's irrepressible and dazzling ingenuity constantly delights and astonishes. "There is no one who can do it all," wrote Mozart, "to joke and to terrify, to evoke laughter and profound sentiment - and all equally well, except Joseph Haydn." This is Carlos Kalmar's fourth album for Pentatone with the Oregon Symphony. Their album Music for a Time of War, earned two Grammy nominations and was widely praised by music critics. Gramophone said of their album This England "Kalmar's Oregon performance certainly pulls no punches...a total success, gripping in mood and hot on specific instrumental detail," adding, "sound-wise, you couldn't ask fo rmore; nor could anyone expect finer recording from Pentatone." And in 2016, their critically acclaimed album of 20th century American orchestral works The Spirit of the American Range earned a Grammy nomination for Best Orchestral Performance. Carlos Kalmar, a Uruguayan national, is in his fourteenth season as Music Director of the Oregon Symphony. He is also the artistic director and principal conductor of the Grant Park Music Festival in Chicago. His Carnegie Hall debut in May, 2011 with the Oregon Symphony, was noted by New York critic Alex Ross as "one of the most gripping events of the current season".