Astor Piazzolla’s greatest masterpieces are given a fresh new interpretation in transcriptions for Violin, Horn, and Piano by three acclaimed artists - Grammy®-nominated violinist Elmira Darvarova (former Concertmaster, Metropolitan Opera Orchestra), hornist Howard Wall (New York Philharmonic) and pianist Thomas Weaver. After performing their Piazzolla tribute program internationally at prestigious venues in Europe and America (including Carnegie Hall), the artists have now also recorded it for a double-CD album presenting 14 world-premiere recordings (14 out of 17 tracks). “Astor Piazzolla - Genius of Tango” introduces the artists’ transcriptions from Piazzolla’s original scores. The inclusion of horn brings a new dimension and richly rewarding symphonic sonorities. Several of the arrangements are by the late great tango pianist Octavio Brunetti (named by the New York Philharmonic “the inheritor of Piazzolla’s mantle”), with whom violinist Elmira Darvarova performed and recorded for several years.

Winner of the coveted Gramophone Record of the Year award!

‘The burly Aussie tenor is now even more identified with this ill-fated protagonist than Peter Pears, the first Grimes. And everywhere Skelton has sung the part, whether at English National Opera, the Proms, the Edinburgh festival or now on this international tour of a concert staging mounted by the Bergen Philharmonic, the conductor has been Edward Gardner. Theirs is one of the great musical partnerships, and they continue to find compelling new depths in this tragic masterpiece.’ – Richard Morrison – The Times. This studio recording was made following the acclaimed production at Grieghallen, in Bergen, in 2019 (repeated in Oslo and London and reviewed above). Luxuriant playing from the Bergen Philharmonic and a stellar cast under the assured direction of Edward Gardner make this a recording to treasure.

REVIEW:

The net joy of this new recording is that Skelton, now a Grimes of considerable experience and range, has found in his vocalisation of the role a well-judged mixture of obsessive professional (sometimes rough) fisherman and troubled, confused and persecuted outsider. All this is precisely framed by Gardner’s conducting and his choice of cast. An exciting, committed, necessary and brilliantly recorded version for our times.

– Gramophone (Recording of The Month, October 2020

Widely recognized as one of the world’s best horn players, Philip Myers also inspired as well as commissioned most of the pieces on this historically significant album with world premieres of horn music by American composer Phillip Ramey, whose works have been performed by such orchestras as the New York Philharmonic and the Los Angeles Philharmonic, and whose Horn Concerto (with Philip Myers as soloist) was commissioned by the New York Philharmonic for their 150th anniversary. This release presents world premieres of works for solo horn, for two horns, and for horn in different combinations with piano and/or violin, stunningly performed by hornists Philip Myers and Howard Wall, whose long-time partnership as New York Philharmonic musicians extends into fantastic chamber music collaboration, also including splendid contributions by pianist Virginia Perry Lamb and violinist Elmira Darvarova (a former Metropolitan Opera concertmaster). Some of the works are newly recorded, while others are only now receiving their premiere recording after first performances over twenty years ago, with the Trio Concertant recorded live, and the Dialogue, and the Sonata-Ballade restored from archival material. All of the works on this release are magnificently performed contributions to the horn repertoire.

Experience the transcendent glory of Messiah in Sir Andrew Davis’s majestic, must-hear edition of Handel’s beloved classic. Recorded live on SACD, this unique version makes use of all the colours available from the modern symphony orchestra to underline the mood and meaning of the individual movements. Without detracting from the innate power of the original, the conductor’s score calls for moments of drama, pathos, and even, sometimes, whimsicality. It is supported by substantial brass and woodwind forces, and several percussion instruments (including marimba!).

REVIEW:

The performance is lightly cut, mainly toward the ends of Parts II and III, and both da capo arias (‘He was despised’ and ‘The trumpet shall sound’) have only the A section. Most of the ornamentation, including simple appoggiaturas, is omitted, as well as most occasions for what I call justified rhythms, where, say, upbeat eighth notes are taken as sixteenths to match other parts. Where choices are available, the common ones prevail, as in the 4/4 ‘Rejoice’ and the duet version of ‘He shall feed his flock’.

Tempos are crisp and modern, and the performers are all very good. The four soloists (with mezzo, not countertenor) are first rate; and the choir, which must number around 150, sings with the agility of much smaller groups. This is a “big” Messiah with none of the problems we normally associate with such endeavors. I guess we could call it “historically informed” because tempos are brisk and the spirit is not at all romantic. It also struck me as a gentle repudiation of Musicological Correctness—and that is no doubt a good thing. I dare say that if you had a contest lining up all the approaches to Messiah and had a review panel consisting of people with no musicological prejudices, this would be the winner.

-- American Record Guide

Dvorák's haunting 'Stabat Mater' for solo voices, chorus and orchestra is not only the most famous work of church music by the Bohemian composer, it is also one of the most impressive ever settings of the medieval hymn in which Mary, the mother of Jesus, gives vivid expression to the pain she feels at the sight of her crucified son. The terrible misfortunes that befell the composer in his private life during the creation of this work may have been a reason for this. It is the continuous expression of deep piety, above all, that gives this music its special dignity. It was precisely this intensity that was conveyed by the concert on March 26, 2015 in the Herkulessaal of the Munich Residenz, where the four renowned soloists were in fine voice, and the Bavarian Radio Chorus once again delivered the "crystal clear sound" and "incredible three-dimensionality" for which it is highly praised time and again. and the Bavarian Radio Symphony Orchestra, conducted by Mariss Jansons, performed Dvorák's deeply moving music authentically, in keeping with the composer's intentions: sensitively felt, yet with a resonant, magnificent sound.