In 1778, music was booming in Mannheim, thanks to its 90 players- strong orchestra’s unique blend of instrumental virtuosi and innovative composers: Johann and Carl Stamitz, father and son, the most original and prolific composers of the Mannheim school – a still somewhat underrated period. The importance of Carl Stamitz’s clarinet concertos cannot be overestimated; while laying the foundations for similar works by Mozart, Weber and Spohr, he also created inspiring masterpieces. Eduard Brunner is an ideal advocate, fusing the Mannheim idiom with modern sensitivity.

RODRIGO: Concierto Madrigal / Concierto para una Fiesta (Com

Classical Music

This selection is also available in Super Audio format.
This selection was nominated for the 2001 Grammy Award for "Best Classical Crossover Album."
Violin virtuoso Joshua Bell turns his attention to the music of Leonard Bernstein with a program that features music from the composer's Broadway musicals, most notably 'West Side Story.' The album opens with a suite constructed by William David Brohn of themes from that fabled score, a finely wrought musical tapestry that serves as a showcase for Bell's prodigious artistry. The violinist works his way through the familiar melodies and two cadenzas with his usual combination of dazzling technique and lustrous tone.
Bell further demonstrates the range of his talent in songs from other Bernstein musicals: Brohn's arrangements of "Lonely Town" and "New York, New York" from 'On The Town,' and John Corigliano's adaptation of "Make Our Garden Grow" from 'Candide.' The album also includes one of Bernstein's finest concert works, "Serenade after Plato's 'Symposium,'" here given a powerfully vivid reading by Bell. David Zinman and the Philharmonia Orchestra provide fine support throughout this well-conceived tribute to a musical giant.

Classical Music

This album is the debut release from the Irish Baroque Orchestra. The tracks chosen take the listener on a journey through the German courts of the 18th century. Concertos by Fasch, Telemann, Heinichen, Vivaldi, and Graupner have been chosen for this programme. “…what really makes the IBO so worth hearing is the unified artistry and joyous, focused energy of its music-making under Huggett.” (The Sunday Times)

Pierre Rode’s concertos represent the full flowering of the French violin school, the origins of which can be traced back to his teacher Viotti’s arrival in Paris in 1782. Bold and youthful, the First Violin Concerto contrasts with the more pastoral and introspective moods of the Fifth Violin Concerto, while the Ninth was written during the composer’s stay in Russia. All three works share Rode’s signature finales which ‘sparkle with gracefulness, piquancy and impishness’. Performed using painstakingly prepared new editions, this is the third of five volumes containing all thirteen of Rode’s Violin Concertos.

Review:
Make no mistake, Friedmann Eichhorn is one of the most remarkably gifted violinists of our time, a fact made clear by this cycle of Pierre Rode’s concertos. Born in Bordeaux in 1774, Rode’s life as a touring virtuoso violinist was of mixed fortunes, eventually dying in obscurity at the age of fifty-six. As a composer he wrote almost exclusively for the violin, including thirteen concertos, though all budding students of the instrument will recognise his name for his pieces to develop technique. The Seventh concerto found a place in the repertoire well into the early 20th century, but all others had already been long forgotten. Yet this disc is full of those audience pleasing melodies that you will find in Paganini’s popular concertos, the mix of lyric attractions, with outrageous demonstrations of virtuosity made all the more demanding by Rode’s mercurial decoration of the melody. All three works on the present release require extensive use of spiccato, and I have never heard such micro-second accuracy as Eichhorn achieves, each note sparkling like a perfectly cut diamond. Then for aspiring virtuosos, just try that at Eichhorn’s pianissimos and then you will have perfect bow control. Never sounding hurried, his tempos are still electrifying, and just to add a final degree of brilliance, Eichhorn provides more technical hurdles with his own cadenzas that are perfectly in keeping with Rode’s style.

-- David Denton, Naxos

Nardini, P.: Violin Concertos, Op. 1, Nos. 2, 4-6

Thirty-one-year-old organist Kevin Bowyer has already made a reputation for setting himself the kind of challenges that would make most organists blanch. He has championed the monumental organ symphonies of Sorabji and recorded organ music by Brahms and Alkan. But in embarking on a complete cycle of Bach's organ works he has surely set himself the ultimate challenge for a recording artist. To open the series, he has opted for the 'recital programme' format, rather than focusing attention on one particular generic form, and Volume I provides an attractive shop window of Bach's diverse styles for the inquisitive, if not yet commited purchaser. Bowyer chooses to play a three-manual mechanical-action Marcusson organ, and it is indeed an excellent choice. The sound is clear and bright, and the acoustics perfect for good articulation in fast passage-work. Kevin Bowyer's playing is stylish throughout, but most especially in the show-piece items which frame the programme. The opening rhetorical flourishes of the Toccata and Fugue in D minor WWV 565 which (typically) introduces the programme really cut through the air, and the Fugue is taken at a cracking pace. The Fantasia and Fugue in G minor BWV 542 is played with similar flair and imagination.

-- Stephen Haylett, BBC Music Magazine

Recent research has revealed the existence of a practice which has been hitherto ignored: that of doubling the instrumental music composed and conducted by Corelli with all sorts of wind instruments. This practice forces a re-examination of the faithful reproduction of the compositions as printed, which has prevailed up until now. This is thus the first complete performance of the twelve Concerti Grossi by Corelli which attempts to accurately reconstruct the works' historical-musical context.

The event of "I Musici" is something extraordinary. It's the oldest (or if you prefer most long-lived) chamber group still active. They opened the way of Italian 18th century music to the whole world. They carried Rome's name, of course Italy's and Italian music to five continents, roving with their repertoire from the 18th to the 21st century.

Classical Music

Ashley Wass and James Judd turn in a finely wrought and atmospheric performance of Bax's Winter Legends--a piano concerto in all but name. A Bax specialist, Wass highlights the alternating delicacy and bravura of the composer's piano writing (especially in the alluring solo that opens the Molto moderato third movement), while Judd is equally adept at the orchestral accompaniment, drawing rich, colorful playing from the Bournemouth Symphony. This recording supplants the previous version by Margaret Fingerhut and Bryden Thompson, as Thompson is not as free with the music as Judd, and Chandos' over-reverberant recording makes Bax's already swimmingly chromatic music sound even more so.

The fillers, the delightful Morning Song "Maytime in Sussex" and the dramatic Saga Fragment, balance out the program quite nicely--about an hour of Bax at one sitting is probably all you need anyway. Naxos' recording captures the full range of the music (it's pretty wide), yet maintains clarity even in the tutti passages. Bax fans will find much to enjoy in this release.

--Victor Carr Jr, ClassicsToday.com

Binge: The Watermill - Scottish Rhapsody

For everyone who has ever read a Jane Austen novel or seen a Jane Austen movie, this disc is a must. It captures the atmosphere of Austen's world with classical works from the period she lived in. Tracks include selections from Mendelssohn, Hayden, Fasch, Bach, Boyce, Mehul and Schubert.

Avison, C.: Concertos from Opus 9

Classical Music

The music of Christian Sinding was highly thought of in its day and the composer certainly had his champions. Before the Second World War it was regularly played in Europe and America and was extremely popular in Germany. In 1907 his Second Symphony was premièred in Berlin by Felix Weingartner and the Third Symphony in 1920 in Leipzig under Arthur Nikisch.

Although Sinding lived in Germany for most of his life he was Norwegian by birth and had the luxury of receiving generous stipends from the Norwegian government for many years. Since his death in 1941 - and probably before that - he has been known for a single piece for solo piano the popular Frühlingsrauschen (Rustle of Spring). In the last decade there has been renewed interest with a number of recordings especially from Hyperion, Simax, Finlandia, Naxos and CPO.

Soloist Ukraine-born Andrej Bielow has a strong connection with Hanover studying in the city from the age of fifteen at the University of Music and Drama. He plays a Guarneri ‘Joseph Filius’ violin (c. 1730/35) loaned by the Deutsche Stiftung Musikleben.

The NDR Radiophilharmonie Hannover is no stranger to Sinding’s music. They have already recorded Sinding’s four symphonies on two separate discs with Symphonies No.1 and No.2 conducted by Thomas Dausgaard and Symphonies No.3 and No.4 under David Porcelijn.

The set opens with the Violin Concerto No. 3 in A minor composed in 1916/17. Shortly after completion it received its première at Bergen played by Leif Halvorsen. At times I was reminded melodically of Brahms especially in the extended opening movement. Bielow plays virtually continuously throughout in music that varies between moody and windswept. A yearningly emotional Andante has shades of the Sibelius and Nielsen concertos composed between six and ten years earlier. Finally in the Allegro non troppo the mood becomes more uplifting with the orchestra gaining greater prominence although Sinding’s writing feels rather lightweight.

The Legend for Violin and Orchestra from 1900 was given its first performance in Stockholm two years later. Initially the orchestral writing felt evocative of Elgar. Coming across as rather strait-laced the Legend takes itself rather seriously yet contains a degree of warmth communicated through Bielow’s long melodic line. I’m not sure if Sinding felt any special affinity or significance for his tender and warm Romance as he allocated the opus 100 to the 1910 score. Bielow’s solo line and orchestration reminded me of the Delius concerto; a work that was composed some six years later.

Sinding’s first Violin Concerto in A major was written in 1897/98. It seems it was completed in London and premièred later the same year in Oslo. Summery melodies in the manner of Dvorák inhabit the opening movement with bustling extended lines from the soloist. Low strings open the Andante suggesting a darkly-hued temperament set amid a strong sense of melancholy. In the central passage the music develops a weightier funereal tread which must surely be a commemoration of a significant loss. Buoyancy and exhilaration pervade the Finale, Allegro giocoso. Noticeably Sinding’s writing varies widely in pace and emotional content. At times Bielow is required to play at breakneck speed which certainly blows away any cobwebs.

CD two opens with the Violin Concerto No. 2 in D major first performed in 1901 in Berlin. The score’s dedicatee was the soloist Henri Marteau. It was a great success at the première. This work is predominantly wistful in nature. Bielow is required to play virtually continually throughout. At times I was reminded of Dvorák’s violin concerto. A lengthy orchestral introduction precedes a severe and dark-hued Andante. Serving as a stark contrast the Finale, Allegro is a light-hearted romp through verdant Norwegian pastures.

Originally composed in 1886/87 as a suite for violin and piano Sinding’s Suite in A Minor was not published until nearly twenty years later in this arrangement for small orchestra. The opening Presto is breezy and exhilarating in the manner of Dvorák followed by a warm-hearted Adagio of much tenderness. Marked Tempo giusto the final movement just glows with happiness. The Abendstimmung is a product of the Great War years. As the German title suggests the writing establishes a picturesque evening mood. This short single movement score is a sultry nocturne suffused with warm and summery temperament.

Bielow never over-indulges himself, taking a sensible middle-ground approach. He comes across as a sensitive and responsive violinist with a splendid technique who is equally at home with virtuosic requirements as he is in rapt emotion. Under the baton of Frank Beermann the NDR Radiophilharmonie Hannover come across as committed partners. They do not disappoint.

On this CPO release it took me a while to get used to the sound which is best heard with the volume turned up. The balance and overall impression is agreeable but I’m not sure how well Bielow’s Guarneri is served by the recording. The instrument’s timbre is rather thin and bright in repertoire that would surely have benefited from more warmth and sweetness. The presentation is enhanced by a detailed essay. The front cover uses a stunning image by Zemo Diemer titled ‘Fjord with a steamship’.

For those approaching Sinding’s music for the first time what should they expect? It is hard to hear a very individual voice in Sinding’s late-Romantic music. Seemingly highly derivative in nature, I felt the music mainly echoed the sound-worlds of Brahms and Dvorák. Sinding’s design seems to favour a thickly textured opening movement Allegro with a rather dark and sombre slow central movement. Only in the brisk final movements do things lighten up. There the music is usually cheerful and of a fresher, breezy quality.

Sinding’s music is appealing and has its share of impressive moments although in truth it contains very little in the way of memorable melodies.

-- Michael Cookson, MusicWeb International

Classical Music

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

"The oft-recorded Haydn Concerto is vividly recorded with the signal completely unclouded. This reveals Tarkövi’s peach-tender full fat tone. This is on best display in the Andante of the Haydn which paves the way for the lickety-split allegro. The charmingly decorous two-movement Leopold Mozart Concerto features harpsichord continuo. Neruda’s Trumpet Concerto - like the Hummel work - returns us to the conventional three movement template. Prague-based Neruda wrote 18 symphonies, 10 violin concertos, one bassoon concerto, 34 trio-sonatas and, among much else, this trumpet concerto. It is a fluent work with some very eloquent noble invention in the opening Allegro and many touching and original turns in the solo line in the final Vivace. Hummel opens with sturm und drang before making way for some witty light-on-the-feet material. It is good to be reminded that Hummel wrote such a sweetly inclined concerto. Tarkövi is always pleasingly ripe-toned though he is not always ideally attentive to staccato demands. On the other hand mechanical noise from the pistons is imperceptible except once during the trills at the end of the first movement of the Hummel. There is much to enjoy here among these four concertos written between 1762 and 1803.

It is typical of Tudor that their booklet which is in three languages is a joy to use. It affords plenty of information about the music and the sensible font design and size is kind to the eyes."

-- Rob Barnett, MusicWeb International

Classical Music

Uuno Klami write his Violin Concerto during World War II and it was premiered in Stockholm in 1944. The piece was lost during the war and Klami completed a new version in 1954. Klami is known for the strong influences he takes from French music and from Stravinsky. Known for his exceptionally wide repertoire and a great sense of musicality, Benjamin Schmid is one of the most versatile violinists of today. Described as "one of the most valuable of today's golden-age-violinists" - The New York Sun

Ondine’s successful partnership with violinist Christian Tetzlaff continues with a new recording of Dmitri Shostakovich’s two Violin Concertos, personal, powerful yet distinctive works originally written for legendary Russian violinist David Oistrakh. Mr. Tetzlaff has been considered one of the world’s leading international violinists for many years, and still maintains a most extensive performing schedule. Musical America named him “Instrumentalist of the Year” in 2005. Previously released recordings on Ondine of the Mendelssohn and Schumann violin concertos, the Mozart Violin Sonatas and the Schumann Violin Sonatas have all received the highest critical praise. John Storgårds is today one of the most prominent Finnish conductors of his generation, known for his innovative and pioneering programming as Chief Conductor of the Helsinki Philharmonic (2008–2015), Artistic Director of the Lapland Chamber Orchestra (1996–) and Principal Guest Conductor of the BBC Philharmonic (2012–). Mr. Storgårds also has several award-winning recordings with various orchestras to his credit,

•The deep theological reasons for participation in sacred music were inherent in boys‘ voices – their purity and innocence suggestive of angelic choirs. The boys choir tradition in medieval cloisters and schools was reinforced after the Reformation, voice training being thought an important component in their personality development.This interpretation of the “Stabat mater” offers an update on the debate about historic performance practice.

Rubinstein & Moszkowski: Piano Concertos