Leroy Anderson occupies a unique place in American music. Rigorously trained in the classical tradition, Anderson wrote tunes that topped the pop charts, making compositions such as Sleigh Ride and The Typewriter world famous. Anderson was a meticulous craftsman who could seemingly compose marvelous tunes at will, and he has been praised by composer John Williams as 'one of the great American masters of light orchestral music.' This first set of Anderson's orchestral music includes several previously unpublished pieces made available by the Anderson family, with world premiere recordings included among many familiar and not so familiar titles.

The works in this collection emerged from the genre of duo concertant initially conceived as showcases for the virtuosity of Nicolò Paganini and his successors in the Franco-Belgian school of violin playing, notably Henry Vieuxtemps. He and Louise Farrenc remain attractive outliers in the chronology of French violin sonatas, which began proper in 1877 with the first performance of Fauré’s First Sonata, followed in short order by comparably significant works by Saint-Saëns and Franck. These three works considered together form a trinity linked by features which came to define the character of the French violin sonata as a genre over the next few decades: recitative-like sections, cyclical form, modal techniques and organ-like pedal points, especially in the piano part – all three composers having spent a good part of their career as titular organists at landmark churches in Paris.

A further spur to the flood of of violin sonatas from Paris during the first decades of the 20th century was the abundance of superb performers who had made Paris their home: foremost among them Pablo Sarasate, Eugène Ysaÿe, Georges Enescu, and Jacques Thibaut. The Wagnerian shadow falling over works by Roussel and Lekeu is decisively dispelled by Debussy’s late and sinuous masterpiece, and then more radically by Ravel in the lazy, seductive Blues of his Sonata. The collection evolves further with a bold Sonata of 1932 by André Jolivet, whose movement titles advertise his rejection of the classical forms honored by previous rarities – not only Louise Farrenc but also Rhené-Emmanuel Bâton, who composed in a richly mystical but traditional idiom as an outlet for the creative urges accumulated and repressed like Mahler during his occupation as a conductor.

REVIEW:

A sure-fire bet for collectors of unusual repertoire is Brilliant Classics’ set of French Violin Sonatas, which is headed, interpretatively, by the Debussy, Ravel (Second), and Franck sonatas, superbly played by violinist Kristóf Baráti and pianist Klára Würtz. All of these excellent recordings date from between 1987 and 2020.

-- Gramophone

Modernity in Russian music emerged despite its struggles with the Soviet regime in the early 20th century, with the mystical vision of Scriabin’s musical legacy providing a foundation on which to build. In these acclaimed albums we discover Medtner’s life affirming Sonatas, and hear Lourié’s journey from Impressionism to pioneering Cubist conceptions. Mosolov’s works are bold and complex, while Roslavets new tonal system brings ‘fi re and ice’, and Stanchinsky’s sophisticated virtuosity anticipates many aspects of 20th-century style. These remarkable works represent a time of profound change in Russian culture that is still being discovered and assessed today.

Past praise for previously released volumes included in this set:

Mosolov: Complete Works for Solo Piano / Andryushchenko

These are outstanding performances of works that deserve to be heard. The sonatas, in particular, are impressive and, though Scriabin’s spirit runs through much of these compositions they are fine works in their own right.

-- The Classical Reviewer

Louriè: Complete Piano Works, Vol. 1 / Koukl

Arthur Lourie turns out to be a pretty darn good composer—too good to have been left in the attic trunk all these years. The Five Fragile Preludes, Op. 1, have a natural flow to them, and an inevitability that is both rhythmically and harmonically arresting in an impressionism somewhat redolent of Debussy mixed with early Scriabin. While exceedingly brief, they are lovely, perfect jewels. All of this is well described in Anthony Short’s notes, a recording of demonstration quality, and a pianist totally in tune with the music.

-- American Record Guide

Medtner: Complete Piano Sonatas, Vol. 2 / Stewart

Paul Stewart’s love and admiration for Medtner’s music come through strongly in these performances, which require a great range of treatment from the gentlest of touches, sometimes merely brushing the keys, whilst at others displaying a towering emotional intensity. His ability to bring out the poetry in Medtner is impressive and the recording is crisp, which combination makes for a hugely satisfying experience.

-- MusicWeb International

Roslavets: Complete Piano Works / Andryushchenko

For those listeners yet to encounter this fascinating figure, please fear not—Roslavets’ work is appealing on a number of levels and you will find much to enjoy on this terrific pair of discs.

-- MusicWeb International

Louriè: Complete Piano Works, Vol. 2 / Koukl

I am glad to have had the opportunity to hear so much of Lourié’s music which is so interesting and so tuneful and so varied it seems he was a chameleon in more than just his assumed persona but in his music as well and it’s all the better for it; variety is the spice of music as well as of life itself. Giorgio Koukl is nothing if not a consistently impressive advocate of whichever composer’s music he takes it upon himself to focus on and I thoroughly recommend this disc to all lovers of solo piano music.

-- MusicWeb International

Stanchinsky: Complete Piano Works, Vol. 1 / Solovieva

The short-lived Alexey Stanchinsky (1888-1914) has shown up on my Want Lists before, but despite devoted advocacy by a few pianists, his Scriabin-inspired music hasn’t caught on. It’s not clear why: His works are wildly inventive in their treatment of rhythm, harmony, and counterpoint—and while he died before he got to solidify his style, the dizzying sense of adventure in even his earliest works is palpable. May this new release by Olga Solovieva (the first volume of a complete cycle) be the one that turns the tide.

-- Fanfare

As pianist Andrei Hoteev puts it, Vladimir Sofronitzki's interpretations included an "improvisatory style", which corresponds with what musicologist Sigfried Schibli has noted as a characteristic of Scriabin's own playing, going on to say Scriabin "developed his own style of playing the piano" with "alertly varied rhythms and dynamics...combined with a delicate touch and spontaneous agogics." Indeed, Sofronitzki's Scriabin performances have often been praised for their idiomatic, "poetic" rubato together with a flair for musical architecture and rhythmic precision. In his desire for fidelity to the original, Sofronitzki's highly sensitive use of the pedal reflects his striving to abide by the composer's expressive markings as closely as possible. His affinity with Scriabin's oeuvre may derive from the fact that both the composer and the pianist himself were influenced by the music of Frédéric Chopin. Having spent his childhood in Warsaw, where his family had settled when he was two years old, Sofronitzki came to be regarded as setting new standards for Chopin interpretation - an artistic focus that goes back to his first piano tuition in the Polish capital. In 1949, the centenary of Chopin's death, Sofronitzki performed all his piano works on five successive days at the great hall of the Tchaikovsky Conservatory in Moscow.

REVIEWS:

The flow of melody and the highest transparency of musical events were top priorities for Vladimir Sofronitzky, whom Emil Gilels called the greatest piano player in the world and of whom the famous Heinrich Neuhaus said, « He plays like a god and looks like a god. » Let’s look closely at these two statements: Gilels speaks of the piano player not of the pianist. Consciously or unconsciously? And Neuhaus speaks of the god. God, is that power? Mightiness? Because Sofronitzky’s playing is powerful. It is dramatic and sonorous. This is Sofronitzky’s individualism: his feelings are those of sovereignty, of control. Poetry and tenderness are not his thing. And so the recordings of this edition impress me more than they touch me.

However, those who are intoxicated by consummate piano technique will be happy with this. In addition to the Etudes, Mazurkas, Preludes, Impromptus, Nocturnes and Poèmes, this box includes the legendary near-complete recording of the piano sonatas with Vladimir Sofronitzky. Only the first three movements of the 1st Sonata and the 9th Sonata, which the pianist never recorded out of respect for Scriabin, are missing and replaced by recordings by other pianists. Sofronitzky’s interpretations are phenomenal: he literally chisels the music into sculptures, relentless, accented, yet often very restrained and labored for nuance. Nevertheless, it is the enormously powerful playing that dominates and captivates the listener[.]

-- Pizzicato

These are historical recordings from 1946 to 1962, played primarily by Sofronitski; all the others are listed as guests. Profil celebrates Scriabin’s 150th birthday with a nearly complete collection of his solo piano works. This remastered collection has cleaned things up to today’s standards.

"Historical Recordings 1946-1962" is correct for all the recordings here except Scriabin’s tracks. There is not a bad performance in this collection. A few choices were made that I didn’t agree with, but, by and large, this is spectacular Scriabin...I was amazed at the musical concentration Sofronitsky summoned to play such beautifully shaped phrases on such an instrument. Anyone who enjoys Scriabin’s piano music will find exceptional performances on each disc here.

-- American Record Guide

Robert Schumann’s songs are not only one of the high points of musical Romanticism, they also represent a unique marriage of words and music. Not since Dietrich Fischer-Dieskau’s pioneering recording in the 1970s has there been a singer who has explored Schumann’s entire lieder output in such detail. As one of the foremost lieder singers of our day, Christian Gerhaher has gone even further than Fischer-Dieskau and together with his brilliant pianist Gerold Huber has realized one of his dearest wishes after more than three decades of intensive engagement with Schumann’s music.

Their 11-CD edition of Robert Schumann: The Complete Songs will be released on September 3, 2021 and will be available digitally as well. A co-production between Sony Classical and BR-KLASSIK, with the support of the International Song Centre Heidelberg, initiated by the Heidelberger Frühling music festival, this set features 299 songs – almost the whole of the composer’s lieder output. The approach adopted by Christian Gerhaher and Gerold Huber is artistic and biographical rather than encyclopaedic. Schumann famously focused on lieder composition during two periods in his life: 1840–41 and 1849–53. By analogy with this focus, the first six CDs are devoted to the earlier period, the remaining five to the later years. Within this arrangement, Gerhaher and Huber have consciously eschewed a purely chronological or purely thematic approach, their aim being to preserve what for Schumann himself was the essential unity of his song cycles and to embed the individual songs within a chronological and thematic inner context. The songs that Schumann wrote during his youth and that were not published during his lifetime have not been included in this project. Also omitted are the melodramas and the works that deviate from classical song form or that are a part of much longer works. In the wake of these recordings, Gerhaher has also subjected his earlier Schumann releases to a critical overhaul. The bulk of the songs that appeared in his earlier albums Dichterliebe and Melancholie in 2004 and 2007 respectively have been re-recorded (among these songs are Dichterliebe op. 48 and the Sechs Gedichte und Requiem op. 90); conversely, other earlier recordings, including the Eichendorff Liederkreis op. 39, have been taken over into the present set. This unique project acquires an extra appeal as a result of new recordings of the cycles for female voice, the rarely heard duets and trios and works for several voices such as the Spanisches Liederspiel op. 74, in which Schumann raised the medium to a whole new artistic level. Among the other eminent artists featured in this edition are Sibylla Rubens, Camilla Tilling, Julia Kleiter, Wiebke Lehmkuhl, Martin Mitterrutzner, Christina Landshamer and Anett Frisch.

The extensive booklet includes all the song texts together with an introduction by the German musicologist Laurenz Lütteken, while Gerhaher himself has set down his personal thoughts on the individual songs. A detailed index completes the documentation. These recordings were supported by the Robert Schumann Research Centre in Düsseldorf.

REVIEWS:

A wonderful achievement and a marvel of sustained artistry: subtle, intelligent performances, impeccably prepared and movingly executed.

– Gramophone (Editor's Choice, October 2021)

It’s undoubtedly a fine, constantly rewarding set, with every song delivered with the fastidious attention to detail and to the individual coloring of each phrase that has always been a feature of Gerhaher’s lieder singing.

– Guardian (UK)

This collection brings together Globe Theatre productions dating from 2009 to 2015 – during the artistic directorship of Dominic Dromgoole – of twelve of Shakespeare’s most celebrated Comedies. Featuring the finest actors and leading directors, it is part of a project committed to creating ever wider access to this rich cultural heritage. The films in this set capture the unique atmosphere and theatrical space of the Globe Theatre. The exhilarating sense of interaction between the actors on stage and the audience in live performances is exquisitely maintained on screen.

REVIEWS:

"Dominic Dromgoole's zesty production succeeds in captivating the audience to a degree that I would not have thought possible...It's a treat." (The Independent on Love's Labour's Lost)

"This is a crowd-pleasing production...and the laughs come thick and fast" (Evening Standard on The Taming of the Shrew)

"Eve Best and Charles Edwards are gorgeously well-matched and sublimely ridiculous." (Time Out on Much Ado About Nothing)

"Naomi Frederick's superb Rosalind is a woman of wit and intelligence...Laskey's Orlando is equally bewitched, bothered and bewildered, and the playfulness between the two is a pleasure." (The Guardian on As You Like It)

The young John Barbirolli was hardly known in America when the New York Philharmonic-Symphony Orchestra chose him to be Arturo Toscanini’s successor starting in 1937. The 36-year-old Londoner’s first season was a triumph with both players and audiences, and although his years in New York would be increasingly marred by unfair rivalry with Toscanini – lured back to lead a specially created NBC Symphony – and by partisan hostility from two influential critics, Barbirolli’s tenure can now be looked back on as a real success.

From 1938 until 1943, when he returned to the UK to take over Manchester’s Hallé Orchestra, Sir John made a series of recordings in New York for American Columbia and RCA Victor which are still essential for a full appreciation of this revered conductor’s career, “performances that are as competitive today as they were when initially released” (Fanfare). Sony Classical is pleased to reissue them in a newly remastered six-CD set.

Among the treasures here are Debussy’s Iberia and Tchaikovsky’s Francesca da Rimini (both recorded in 1938) and the first-ever recording of Schubert’s Fourth (“Tragic”) Symphony (from 1939), together cited by Gramophone as “a demonstration that the Philharmonic-Symphony had few rivals in the world at the time as a recording orchestra … A forceful, high-powered reading [of the symphony] which yet has a Schubertian smile … The crisp attack in the Tchaikovsky, even tauter than in Barbirolli’s superb 1969 HMV New Philharmonia version, is thrillingly caught. The Debussy brings the most vivid sound of all, weighty and full of presence, with castanets and brass leaping out from the speakers. This is a white-hot performance, every bit as exciting as those of Toscanini, and with a moving vein of tenderness in the slow second movement.”

There are several works by Mozart, among them the Clarinet Concerto with Benny Goodman (from 1940) and the Symphony No. 25 and Piano Concerto No. 27 with Robert Casadesus (both from 1941). The Piano Concerto’s opening Allegro “is beautifully shaped with an almost palpable sense of wonder in the music and the pianist is definitely having a ball of time,” said Classical Net. “The final Allegro is also very commendable for its grand sense of pomp and majesty … The exquisite symphony also receives wonderful attention and care from Barbirolli and the NYPSO. Here one can sense the conductor's love for Mozart’s inspired melodies … Benny Goodman is a characterful interpreter of the Clarinet Concerto.”

“The generous flavor of Barbirolli’s Brahms comes through in the Academic Festival Overture and the Second Symphony [both from 1940],” wrote Audiophile Audition’s reviewer. “The Overture is rife with ceremonial grandeur and jolly spirits. The D major Symphony has a debonair airiness and bucolic relaxation about it.” And Sibelius’s First Symphony (from 1942) “should delight fans of Barbirolli’s 1960s complete traversal of the symphonies … The conductor’s warmth, vision, and emotional urgency has lost none of its appeal in the more than half century that has passed” (Fanfare).

Also from 1942 is Nathan Milstein playing the Bruch Concerto with “the Philharmonic-Symphony in tremendous form,” exclaimed MusicWeb International’s critic. “Barbirolli opens powerfully and Milstein responds in kind; not over emoted and with vibrato perfectly scaled to the demands of the music. He is really quite withdrawn and introspective in the Adagio, powerfully so indeed, and Barbirolli brings out the horn harmonies in a way that seems to reveal them for the first time. There is romantic fervour but also passagework clarity and digital cleanliness in the finale … a model of concerto accompaniment and creative collaboration.”

CONTENTS

DISC 1:
Purcell (arr. Barbirolli): Suite for Strings, Woodwind and Horns (Remastered)
Debussy: Images pour orchestre, L. 122: No. 2, Iberia (Remastered)
Tchaikovsky: Francesca da Rimini, Op. 32 (Remastered)
Respighi: Antiche danze et arie per liuto, Suite No.3 (Remastered)
Respighi: Fontane di Roma (Remastered)

DISC 2:
Schubert: Symphony No. 4 in C Minor, D. 417, "Tragic" (Remastered)
Schubert: 5 German Dances, D. 89 (Remastered)
Brahms: Symphony No. 2 in D Major, Op. 73 (Remastered)

DISC 3:
Sibelius: Symphony No. 1 in E Minor, Op. 39 (Remastered)
Sibelius: Symphony No. 2 in D Major, Op. 43 (Remastered)

DISC 4:
Smetana: The Bartered Bride, JB 1:100: Overture (Remastered)
Rimsky-Korsakov: Capriccio espagnol, Op. 34 (Remastered) with Mishel Piastro, violin & Joseph Schuster, cello
Ravel: La valse, M. 72 (Remastered)
Berlioz: Roman Carnival Overture, Op. 9 (Remastered)
Brahms: Academic Festival Overture, Op. 80 (Remastered)
Debussy: Petite Suite, L. 65, No. 4 "Ballet" (Remastered)
Debussy: Première rhapsodie, L. 116 (Remastered) with Benny Goodman, clarinet
Bach, J.S. (arr. Barbirolli): Sheep May Safely Graze, BWV 208, No. 9 (Remastered)

DISC 5:
Mozart: Clarinet Concerto in A Major, K. 622 with Benny Goodman, clarinet
Mozart: Piano Concerto No. 27 in B-Flat Major, K. 595 (Remastered) with Robert Casadesus, piano
Mozart: Symphony No. 25 in G Minor, K. 183 (Remastered)

DISC 6:
Bruch: Violin Concerto No. 1 in G Minor, Op. 26 (Remastered) with Nathan Milstein, violin
Tchaikovsky: Suite No. 3 in G Major, Op. 55: IV. Tema con variazioni. Andante con moto (Remastered)
Various (arr. Barbirolli): An Elizabethan Suite (Remastered)

-----

REVIEW:

It is surely no coincidence that this retrospective set is released in the 50th anniversary year of Sir John Barbirolli’s death. It focuses on almost all – but not quite all – of Barbirolli’s recordings with his Philharmonic-Symphony Orchestra of New York, here updated to ‘New York Philharmonic’. The missing item is the Schumann Violin Concerto with Menuhin, the rights of which now lie with Warner. The inclusion of Bach's Sheep May Safely Graze is very welcome here, and as Leonard Slatkin showed in his Bach ‘Conductors’ Transcriptions’ album, it’s a most effective and affecting piece of work.

The first of the six well-filled discs disinters Barbirolli’s arrangements of Purcell. The six-movement Suite proves memorably sonorous and full bloodied with highlights being Fairest Isle and When I am Laid in Earth. This is followed by a splendidly recorded and vividly played Iberia with the Victor engineers on top form, and Francesca da Rimini. Respighi’s The Fountains of Rome and the Arie di corte from the Ancient Airs and Dances are similarly charged.

The Schubert Fourth on Disc 2 - the first recording of the work ever made - is tremendously impressive: powerful, lyrical, excellently controlled. Brahms’ Second Symphony however is exceptionally fast – not a criticism that could ever be levelled at the older JB – and if one thinks that Monteux in San Francisco in 1945 was fleetness itself that would be to reckon without Barbirolli. The Allegretto is uncomfortable to listen to and in fact the whole performance is unconvincing on a number of levels.

Sibelius comes to the rescue in disc three where there are memorable recordings of the First Symphony (1942) and the Second (1940). Sibelius was a known Barbirolli strength but his tempi in the 1950s with the Hallé are predictably more driven than those he took in the following decade. If sound quality is king then the Hallé recordings from the 60s are preferable but interpretively the 1957 First and the 1952 Second – along with the famous RPO Second – are indispensable, along with these two New York recordings.

The fourth CD is a bits-and-pieces affair. There’s lusty Smetana, a brightly recorded but idiomatically played Rimsky Capriccio espagnole, and La Valse which faced predictably strong competition on disc from Munch and Monteux. If the string tone in Le Carnaval romain is a touch acidic, the Academic Festival Overture is more rounded, and the performance a strong B plus. Benny Goodman joins for a timbrally distinctive Debussy First Rhapsody. There’s more Goodman in the penultimate disc where he plays Mozart’s Clarinet Concerto. Casadesus and Barbirolli make a fine team in Mozart’s Concerto No. 27. Symphony No.25 completes this all-Mozart disc; athletic, youthful and vibrant.

Nathan Milstein’s excellent Bruch G minor heads the final disc and whilst the recording is not top-drawer, Milstein’s playing is. Tchaikovsky’s Tema con variazioni from the Orchestral Suite No.3 is slightly cut. Finally, we end with Barbirolli’s An Elizabethan Suite, his arrangements of Byrd, Farnaby, and Bull, a synchronous way to end given that the first piece of the first disc was his Purcell arrangement.

Each disc is housed in a retro, 78rpm album sleeve and the booklet is filled with 78 and subsequent LP sleeves – very colourful and tactile – as well as job and recording sheets from the sessions and black and white photographs of Barbirolli.

This box is a finely produced and concentrated focus on Barbirolli’s New York shellac years and comes with a fair-minded, level-headed booklet note from James H North.

– MusicWeb International (Jonathan Woolf)

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

As the central figure of Spanish music in the first half of the last century, de Falla (1876-1946) came to define the sound of Spain for listeners beyond its borders. Folk music, romanticism, neoclassicism, modernism: all the prevalent styles of his time were assimilated and absorbed within a personal idiom that advanced the work of notable predecessors such as Albeniz and Granados in establishing a distinctively Spanish idiom for art music, making him a worthy contemporary of other composers outside the central European mainstream from Vaughan Williams in England to Bartók in Hungary and Sibelius in Finland. Falla’s cycle of Seven Popular Spanish Songs is a perfect synthesis of artsong and folksong, performed here in Luciano Berio’s orchestration by Marta Senn and the Simon Bolivar Orchestra of Venezuela under the baton of Eduardo Mata, the Mexican conductor renowned for his dynamic interpretations of Hispanic repertoire. The songs return in their instrumental guise as the Suite populaire espagnole, with the cellist Timora Rosler accompanied by Klára Würtz. Rafael Puyana is a uniquely sympathetic soloist in the Harpsichord Concerto which gave the instrument new life beyond its Baroque associations. Benita Meshulam is widely recognized as the inheritor of Alicia de Larrocha’s mantle with her superbly atmospheric recordings of Spanish piano music.

REVIEW:

Manuel de Falla Collection is an honest title, since the five CDs present only a selection of his works, including well-known ones such as Nights in Spanish Gardens, El Amor Brujo, and The Three-Cornered Hat. The recordings with the Simon Bolivar Symphony Orchestra from 1981 convey particularly well the intensity of Spanish emotional worlds that Central Europeans like to assume. The round is opened with El Amor Brujo in a striking and lively performance. The interpretation of the Seven popular Spanish Songs, as well as Homenajas let the listener dive into Spanish worlds. The three dances from The Three-Cornered Hat in the version for orchestra will be joined by others in the piano version on a later CD.

For the recordings made in Venezuela, the conductor Eduardo Mata certainly holds the orchestra together and inspires it to effective performances. One could well imagine more sensitivity here, the nocturnal sultriness of the tango instead of the midday heat, so to speak, but there is little more to offer in the way of fire and color. More delicacy without sacrificing the technical quality of the recording is offered by the oldest recording.

In Nights in Spanish Gardens, the Berlin Symphony Orchestra performs under the judicious direction of Günther Herbig. The singers go along with the emotional South American approach, not without delicately savoring the music.

The two pianists offer mature quality. Benita Mehuslam, who has also recorded the complete works for piano by De Falla on the label, is featured here with excerpts, Dances from the The-Cornered Hat and Spanish pieces. In the only chamber work, besides the piano music, Klara Würtz accompanies cellist Timora Rosler on the piano in the Suite Populaire Espagnole. The two artists, who have also won awards as a duo, give the top dance of sensitivity and European noblesse, so to speak, with their interpretation that concludes the collection. Harpsichordist Rafael Puyana from Colombia can show all the registers of his skills in the harpsichord concerto. Here and also in El Retablode Maese Pedro as well as in Psyche the Solistas de Mexico play, again conducted by Eduardo Mata. Those who want to experience this composer intensively will find in this compilation a good opportunity to be infected by the joie de vivre of the music.

-- Pizzicato

SPECIALLY PRICED 4 DISC SET


This is as fine a Sibelius cycle as any available, and the performances of Symphonies Nos. 1, 3, 4, 5, and 7, as well as the Violin Concerto, are uniformly top recommendations. All of the individual discs have been previously reviewed, and my only reservations (incidentally not shared by my colleague Victor Carr Jr, who covered the original release) concern Symphonies Nos. 2 and 6, particularly the latter, which strikes me as just a touch lacking in energy and directness. That doesn't mean the playing isn't very beautiful: indeed, it may be excessively so, and that takes some of the Sibelian edge off of the performance. Still, for the most part these are wonderful interpretations, and if you want a complete Sibelius cycle from top Finnish performers, then this set represents an obvious first choice, alongside Vänskä's very different and equally fine Lahti series on BIS. You simply can't go wrong either way.

--David Hurwitz, ClassicsToday.com

‘Arguably one of the strongest recordings in the whole Mörbisch operetta series, this is strongly recommended, and not just to die-hard operetta fans.’ (Fanfare on Der Graf von Luxemburg). This Operetta Edition presents popular works by Franz Lehár that were recorded at the Mörbisch Festival and feature the Mörbisch Festival Choir and Orchestra under the direction of Rudolf Bibl and Wolfdieter Maurer (Der Zarewitsch). The edition comprises Das Land des Lächelns, Giuditta, Die lustige Witwe, Der Graf von Luxemburg and Der Zarewitsch.

REVIEW:

At the helm of the Mörbisch Festival Orchestra is Austrian conductor and pianist Rudolf Bibl (1929-2017), except for Der Zarewitsch under Wolfdieter Maurer. The cast of artists in each of these delightful operettas is far too extensive to identify individually but be assured, each production is echt Lehár and, of course, unmistakably Viennese. The librettos are sung in German.

-- The Whole Note (CA)

Jean Fournier (1911-2003) was a French violinist and professor of classical music. Fournier’s intonation, while lean, was gentle on the ear. He made an impressive career for himself. He was a soloist with some of the great French orchestras as well as with celebrated international ones. Concert tours took him to many of Europe’s centres of culture (Belgium, Germany, England, Italy, Ireland, Yugoslavia, Luxembourg, the Netherlands, Austria, Poland, Portugal, Switzerland, Scandinavia, Spain), as well as to North and South Africa, India and the Far East. In addition to his solo work, Fournier was above all an excellent chamber musician. Together with his wife, the French pianist Ginette Doyen (1921-2002), he performed duets for violin and piano. In the 1950s he founded a brilliant piano trio together with the Italian cellist Antonio Janigro (1918-1989) and the Austrian pianist Paul Badura-Skoda (1927-2019). In addition to his active concert activities Jean Fournier also made many recordings. This 10-album compilation is testament to the violinist’s diversity. It includes recordings such as the Sonatina No. 5 op. 32/1 for solo violin by Jean Martinon (1910-1976), and of course numerous duet works (many of them with his wife Ginette Doyen), piano trios (usually together with his trio partners Antonio Janigro and Paul Badura-Skoda) and violin concertos by Mozart or the Double Concerto op. 102 by Johannes Brahms with the Vienna State Opera Orchestra under Milan Horvat (Mozart) and Hermann Scherchen (Brahms).

Dr. Graham Griffiths writes: “Every recording of Stravinsky’s ‘complete works for solo piano’ is a considerable achievement. However, this latest 5-album cycle with Russian pianist Alexey Zuev is a cause for special celebration for it also includes all of Stravinsky’s piano transcriptions and arrangements, many of which have never before been recorded – indeed, until now, some have remained completely unknown. This project, therefore, represents a significant milestone in Stravinsky recording history. Alexey Zuev and Outhere Music are to be congratulated for bringing every corner of Stravinsky’s pianistic catalogue into the wider musical conversation, and for making the case most convincingly that all of this solo repertoire, whether original or transcribed, deserves to be performed and appreciated as part of this great composer’s innovative canon of piano works.”

Sergey Prokofiev’s seven symphonies are acknowledged as one of the major cycles of the 20th century, and these recordings with Marin Alsop and the Sao Paulo Symphony Orchestra have received widespread critical acclaim. From the crisp vitality of the youthful ‘Classical’ Symphony to the viscerally exciting Third, the Fifth Symphony which for Prokofiev represented ‘the grandeur of the human spirit’ and the deeply moving and heartfelt Sixth Symphony, this is an unforgettable collection crowned by the bittersweet Seventh Symphony, the composer’s final significant work.

Past praise of previously released volumes included in this set:

Prokofiev: Symphonies No 1 "Classical" & 2 / Alsop

Without minimizing the Second’s violent energy, Alsop plays the piece with a vivid sense of its long melodic lines. The first movement, in particular, has plenty of excitement but also a certain lyrical emphasis that gives the music something to be excited about. It’s very convincing.

As for the Classical Symphony, well, just about everyone does it well, and while I can imagine a first movement with a touch more snap to its rhythms, the performance picks up steam as it goes, culminating in a delightfully crisp account of the finale. The early tone poem “Dreams” drifts about prettily for ten minutes, sounding like Debussy or Scriabin or basically anyone but Prokofiev. Does it deserve greater exposure? Perhaps not, but this lovely performance makes as strong a case for it as you might imagine possible. Vivid sonics make this the best release in this series so far.

– David Hurwitz, ClassicsToday.com

Prokofiev: Symphony No. 7 & Other Orchestral Works / Alsop

Alsop captures the lyrical aspects of the Seventh work really well. She also has the advantage of a superior recording in the acoustically friendlier Sala São Paulo. The orchestra is superb throughout, but special mention should be made of the woodwinds that have notable solos in the work.

– MusicWeb International

Born in Nuremberg in 1564 within a musical family, Hassler received his formative musical instruction from his father and quickly developed into a keyboard player of formidable gifts: in the dedication to his 1591 Cantiones sacrae he noted that he was ‘from a tender age more talkative with the fingers than with the tongue’. In 1584 Hassler left Nuremberg to continue his education in Venice, becoming one of the first in a long line of German musicians who journeyed south of the Alps for study in Italian musical centers. While his motets and other vocal works were widely disseminated during his lifetime and have attracted recordings by period-instrument luminaries such as Philippe Herreweghe, his output for organ and harpsichord has received much less than its fair share of attention. Manuel Tomadin demonstrates that across its range there is no reason for music of this invention and lively originality to be hid under a bushel. In a 1593 portrait, Hassler is described as a ‘most esteemed organist’, and a single-manual chamber organ with pedal is prominently included in the frame. After moving back to Germany, taking a succession of prestigious posts in musical centers across central and southern Germany including his home city, he became known as an expert in organ design, and his own music for the instrument exploits every possible technical and coloristic refinement of the new instruments of his age.

On this set, Manuel Tomadin plays a collection of historically appropriate instruments in Italian churches, and the collection is highly attractive as a gallery of Italian organ-building in its own right. The formal weight of Hassler’s output falls on instrumental paraphrases and elaborations of the Magnificat hymn, complemented as in Frescobaldi with ornate and harmonically adventurous ricercars and more lyrical canzonas.