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.

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.

John Rutter has an unmistakable style whose identifying characteristics include some favorite rhythmic and melodic elements, devices that tell us immediately that this is the composer of both For the beauty of the earth (one of Rutter's more popular, enduring anthems) and Look at the world, written in 1996 for The Council for the Protection of rural England, and one of eight pieces included on this disc (besides the title work), all of which were composed for various occasions during the past 10 years. Many of the familiar and well-loved staples of Rutter's music are here--the flowing melodies, catchy rhythms, and pop-tinged harmonies; but there also is much evidence of a composer both as inspired as in his classic What sweeter music and more complex than usual in both thematic ideas and expressive technique.


The opening of the outstanding Mass of the Children (a work completed in early 2003 and first performed at a Carnegie Hall concert) is full of promise, its exciting, engaging, Britten-esque tune for children's chorus capturing our attention and setting the stage for a fresh, new experience. I only wish that Rutter had continued with this idea and developed it--or at least played off its dancing, jaunty style. But instead the children's song melds (albeit very nicely and easily) into a Kyrie that's more comfortably in the traditional Rutter character--a perfectly effective transition and comprised of very fine, well-fashioned music, but leaving us to imagine what greater adventures might have been.


There are many more marvelous passages for the children's voices, including the lovely Benedictus, a lilting, Siciliana-like section whose initial gentleness expands into a full-bodied expression, joined by the adult choir and soloists. One of the more affecting passages--and most impressive in terms of text setting, mood, and orchestration--is the Agnus Dei, whose opening minutes capture the profound seriousness and eternal consequences of our plea for mercy. Just as suddenly, the children take over with a tender, beguiling setting of William Blake's The Lamb, returning our thoughts to the innocent one who "became a little child", the one to whom we pray. Then, not unsurprisingly for this optimistic composer, we're left with a Dona nobis pacem benediction that's as strongly reassuring as we can imagine. In addition to the standard Latin Missa brevis texts, Rutter also characteristically organizes his material by inserting texts from other sources, "giving the whole work the framework of a complete day, from waking to sleeping", beginning and ending with settings of a morning and evening hymn by Bishop Thomas Ken.


The remaining works are highlighted by A Clare Benediction (which Rutter wrote for his alma mater), the a cappella Musica Dei donum (widely known for its inclusion in the tribute to Linda McCartney, A Garland for Linda), and an unusual and quite demanding setting of Come down, O Love divine for unaccompanied double choir. The Cambridge Singers (whose roster shows a major turnover of singers from its last incarnation) is as vocally well-matched, technically polished, and musically involving as always. The Cantate Youth Choir is a delight, and the two soloists are ideal. The sound grants both spaciousness and warmth to the singers and orchestra, so that in all it's hard to imagine a session with this recording that would be anything less than satisfying, especially for Rutter fans, who will have to have this--and who will be thrilled to have a new release from this revered composer and his choir, whose recordings during the past few years have been all too few and far between. [9/8/2003]
--David Vernier, ClassicsToday.com

The Stabat Mater is Dvor�k's most celebrated choral work. He began composing the piece in late 1875, but set it aside. Then, two tragedies befell him and he was plunged into an uncharacteristically melancholic mood. The deaths of his eleven-month-old daughter and three-year-old son compelled Dvor�k to complete his masterpiece. Even though stricken with grief, Dvor�k still could not resist writing simple, folk-like, melodies for his luminous Stabat Mater. On this performance, acclaimed conductor Mariss Jansons leads four superb soloists and the combined forces of the chorus and orchestra of the Bayerischen Rundfunk.

Charles Wood made an important contribution to Anglican church music, with liturgical settings that remain part of cathedral choral repertoire.

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

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.

Also available on Blu-ray

The highly praised Mahler Cycle with Paavo Järvi and the Frankfurt Radio Symphony Orchestra continues with the release of the 7th and 8th Symphonies.

PAAVO JÄRVI CONDUCTS MAHLER SYMPHONIES

Gustav Mahler:
Symphony No. 7 in E Minor
Symphony No. 8 in E-Flat Major, “Symphony of a Thousand”

Erin Wall, soprano
Ailish Tynan, soprano
Anna Lucia Richter, soprano
Alice Coote, mezzo-soprano
Charlotte Hellekant, mezzo-soprano
Nikolai Schukoff, tenor
Michael Nagy, baritone
Ain Anger, bass

Limburger Cathedral Boys Choir
Czech Philharmonic Choir, Brno
Europa Chor Akademie
Frankfurt Radio Symphony Orchestra
Paavo Järvi, conductor

Recorded at the Rheingau Musik Festival, 2011 (Symphony No. 7) and 2013 (Symphony No. 8)

Bonus:
- Introductions to the Symphonies by Paavo Järvi

Picture format: NTSC 16:9
Sound format: PCM Stereo / DTS 5.1
Region code: 0 (worldwide)
Subtitles: Latin, German, English, French, Spanish, Chinese, Korean, Japanese / English, German, Korean, Japanese (bonus)
Booklet notes: English, German, French
Running time: 149 mins (concert) + 20 mins (bonus)
No. of DVDs: 2 (DVD 9)

HORN TRIOS by Brahms, Kahn, Koechlin and Dubois is an exciting album that brings together three renowned musicians in a splendid trio collaboration. Hornist Howard Wall has been for many years at the forefront of highly-respected horn players, not only as a long-time member of two of the world's preeminent symphony orchestras, but also as an avid chamber music instrumentalist and recording artist, praised for his "legendary low register" and "impeccable intonation and stellar virtuosity" by The Horn Call Magazine, which also noted that "every note is a gem" in recently released recordings of Howard Wall. Violinist Elmira Darvarova has been hailed as "marvelous, in the Heifetz tradition" (American Record Guide) and acclaimed for her "intoxicating tonal beauty and beguilingly sensuous phrasing" and "silky-smooth voluptuous tone" (The Strad, London). Pianist Shoko Inoue was lauded by the Cleveland Plain Dealer as "a pianist who immerses heart, soul and everything into her generous artistry, with supremely sensitive and evocative playing." This album brings thrilling and exhilarating interpretations of four gorgeous works for horn, violin and piano, one of which has been, for over 150 years, among the greatest ever masterpieces in the history of Western music, while two of the other works on this album - the glorious 1912 Trio Cantabile by Th�odore Dubois, and the boisterous 1922 Serenade Op. 73 by Robert Kahn are presented on this album as only the second-ever commercially-released recordings of these works. Charles Koechlin's eclectic suite Quatre Petite Pi�ces is a haunting and poignant quasi-impressionistic collection of four miniatures, that alternate, as in a kaleidoscope, contrasting atmospheric moods and degrees of sorrow and peaceful introspection. This marvelous album is an irresistible addition to the recorded repertoire, both for it's contents as well as for the verve and exultation of the interpretations of these outstanding artists.

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

Classical Music

Also available on Blu-ray

In 2018, marking the exact 100th anniversary of the Armistice ending World War 1, the all-star World Orchestra for Peace gave two UNESCO designated performances of Beethoven’s 9th Symphony. Symbolically one in each of the UK and Germany – for the BBC Proms in London and for the Würth Music Foundation in Künzelsau. Founded in 1995 by Sir Georg Solti to reaffirm, in his words, “the unique strength of music as an ambassador for peace”, leading players from the world’s finest orchestras gave this performance at ‘the 11th hour of the 11th day of the 11th month’, 100 years after the guns fell silent in 1918. The performance is preceded by moving words of welcome and introduction from Prof. Würth and Lady Solti, both highlighting the need for brotherhood and joy amongst all nations, as reflected in the words of Schiller’s Ode in the choral finale. As a bonus, this release includes welcome and introductions from Prof. Dr. Reinhold Würth, Charles Kaye (Director/co-founder of the World Orchestra for Peace), and Lady Valerie Solti (Patron of the World Orchestra for Peace).

“American Music for Violin and Horn” presents 19 tracks of world-premiere recordings with music by 12 American composers. A varied program which includes original and transcribed works for violin and horn by David Amram, Vernon Duke, José Serebrier, Duke Ellington, Sean Hickey, Rebecca Clarke, Phillip Ramey, Francine Trester and several others, this album also features poetry by Emily Dickinson and Francine Trester, recited by the performers Elmira Darvarova (violin) and Howard Wall (horn). Several of the original works for violin and horn were written for these two performers (new compositions by David Amram, José Serebrier, Sean Hickey, Phillip Ramey, Francine Trester), while other works were transcribed by the performers as duets for their two instruments (“Black Beauty” by Duke Ellington, “Two Pieces” by Rebecca Clarke, “Etude” by Vernon Duke, “Calliope” & “Gramophone” by Jan Bach, two Bop-Duets by Bugs Bower, and other arrangements). Of note is Scott Dunn’s arrangement of Vernon Duke’s iconic standard “April in Paris”, in a version for violin and horn. All 19 tracks on this album are offered in their world-premiere recordings. Violinist Elmira Darvarova (first and only woman-concertmaster of the Metropolitan Opera Orchestra) and hornist Howard Wall (a New York Philharmonic member, formerly with The Philadelphia Orchestra) offer splendid interpretations.