Distinguished cellist Andrew Smith’s interest in Spanish music was awakened by his collaboration with Spanish pianist and conductor Alfredo Oyaguez Montero beginning in 1999. This artistic partnership led to a program of all-Spanish works, which they have performed to great acclaim on tour worldwide. The album features music by several of Spain’s greatest composers, including Manuel de Falla, Enrique Granados, Joaquin Turina, and Xavier Montsalvatge. Perhaps less familiar is Gaspar Cassado, who-after the great Pablo Casals (his teacher)- was Spain’s most famous 20th century cellist. Prime examples of both his original compositions and his many arrangements are heard here, along with a lovely folk song transcription from Casals. This glowing release promises to be a rare treat for cello fans and Spanish music aficionados alike- and will convincingly demonstrate the cello’s affinity with the unique spirit and piquant flavors of the Spanish musical idiom.

The Poulenc Trio is an impressive chamber ensemble made up of respected oboe, bassoon, and piano virtuosi. This release is the ensemble’s debut album for Delos. For the programme, the ensemble presents a fascinating mixture of old and new from Beethoven, Octavio Vasquez, and the centerpiece of the album, Alfred Schnittke. “From the first notes, we knew that this was a group of first-rate chamber musicians, who took as much delight in the joys of intimate playing as they gave.” (Ken Keaton, Palm Beach Daily News)

A delightful array of lively and upbeat classics that are sure to wake you up and get you going.?Selections have been chosen exclusively from Delos' extensive and wide-ranging catalog with top-notch performances from the label's stellar array of distinguished artists and ensembles - all in Delos' hallmark audiophile sound.

Dmitry Kouzov is one of his generation's leading cello virtuosos. From his earliest years Kouzov was surrounded by musicians with direct personal connections to Shostakovich, making the master's music an inseparable part of his musical being. That immersion, along with the partnership with the St. Petersburg State Symphony and Lande, make for an insightful and moving reading.

Classical Music

Classical Music

Initially regarded as a master composer of art songs, Jake Heggie has since become known as perhaps America’s leading contemporary composer of internationally acclaimed operas. Winning examples of both genres appear on this release: the world premiere recording of a short, one-act opera, The Radio Hour – as well as four shorter vocal pieces. The Radio Hour – the world’s first-ever “choral opera” – is a compact work for silent actress, with running narrative and commentary from a choir. The program is rounded out with four mostly art song-based works in varied arrangements, several with choral elements, sung by the vaunted John Alexander Singers. Susan Graham, one of America’s most beloved mezzo-sopranos, is heard in three of the shorter pieces; Pacific Symphony members provide the instrumentals. “A masterpiece of clarity and intensity, with a score that is at once thematically compact and richly inventive.” San Francisco Chronicle (review of Jake Heggie’s opera “Moby Dick”)

Composer Kenji Bunch has been attracting much attention lately, both nationally and abroad. Also a concert violist and bluegrass performer, his music offers an eclectic mix of roots music, modern rock and jazz--but mostly within the context of sophisticated classical form. The title piece, Boiling Point, (featuring a teakettle!), begins gently before coming to a hard-rock-style "boil". The five movements of String Circle flirt with various types of classic roots music (ragtime, blues, country)--yet you know a classical voice is at work. Three other fascinating works round out the program. The Grammy® nominated ALIAS Chamber Ensemble is a forward looking group of 11 musicians (strings, winds, harp, etc.) that cultivates an "out of the box" approach to their programming.

Isabel Leonard’s luxuriant vocal tone, riveting stage presence and remarkable artistic versatility make her one of today’s most in-demand singers. In this – her first Delos release – she explores the riches of Spanish song in all its varied Iberian forms and styles that can be traced back as far as its millennium-old Moorish influences. The generous program encompasses pure folksongs, folk-influenced art songs, dances and popular theater songs by quite a few of Spain’s finest composers of the late-19th and 20th c., Mompou, Falla, García Lorca, Sanjuán, Granados and Montsalvatge. Herself a Spanish speaker and passionate devotee of Iberian musical art, Ms. Leonard is partnered here by Brian Zeger, one of America’s most supremely sensitive and accomplished piano collaborators. “…magnetic charisma and a remarkable depth of tone” (Bachtrack)

Bach, J.S.: Flute Sonatas

Soprano Isabel Bayrakdarian is the originator for this project which was her fulfilment of the promise she made a couple of years ago in prayers offered to save her mother’s life when she committed to produce a collection of hymns and chants written in praise of the Virgin Mary. She has brought together 18 of these that amazingly cover a period ranging from a composer who died only 30 years ago back to one who died well over 1500 years ago! Of course it is almost impossible (I say almost because I don’t know) to be sure that anything written that long ago would sound as it is interpreted here but suffice it to say that those about which we can be more certain (13th-17th century) are not so very different in their sound world to those written much nearer our time. They are all connected by a sound that is intoxicatingly ethereal. The occasional use of a cello or percussion accompaniment works very well but it is the unaccompanied voices that are so wonderfully evocative as well as incredibly restful, just the thing to effect a detox for the mind after a stressful day. Isabel Bayrakdarian is the key to this for her voice is an extraordinary instrument that is crystal clear with pinsharp diction and I say this despite the fact that I know no Armenian once I located the place in the text, which is not just given in English but is transliterated into Latin characters, I could follow the words so clearly an Armenian speaker would have no difficulty in doing so. Her accompanying singers, whether the vocal group Coro Vox Aeterna, her two sisters or the other two sopranos, give great support while the cellist, Ani Aznavoorian, also of Armenian origin, has a wonderfully rich tone which so perfectly complements the voices and her brother provides percussive support using instruments that are traditionally used in Armenian church services adds yet another layer to the proceedings when called for.

It is an interesting fact that hymns and chants that in several instances go back so long into what can truly be called ‘ancient history’ are the mainstays of today’s Armenian Orthodox church worship for I certainly know of no such parallels in other strands of Christianity and it shows the strength of undiluted tradition. I wouldn’t try to pick out any of these mesmerising items out for singular praise as they are all equally magnificent in their affecting power.

Anyone who enjoys the experience of the voice as instrument cannot fail to find this issue a fascinating and captivating listen. If you find the other-worldly sounds of Russian or Bulgarian Orthodox Church choirs with their rich basses addictive then the correspondingly high voices of these Armenian voices will weave their magic just as powerfully translating into a heady brew that will keep you spellbound.

– MusicWeb International (Steve Arloff)

Close your eyes, lean back and enjoy!

In October last year, I reviewed for MusicWeb International, the first volume of songs by American composer Margaret Ruthven Lang. She was unknown to me at the time, and naturally, I had never heard her music. Little did I know that I was in for a treat! Indeed, Volume I of Lang’s selected songs was a very pleasant surprise. The music was exquisite and beautifully matched the lyrics. It made me think: where on Earth had this composer been hiding all my life! For me, it was a revelation, which was why I selected it as one of my Recordings of the Year 2011. I have been anticipating the launch of the second volume. Well, it is here now, under the charming title of New Love Must Rise. I am very pleased to say that it does not disappoint; on the contrary, if anything, it is even better than the first.

In a brief interview to me, via e-mail, tenor Donald George, who performs the songs with pianist Lucy Mauro in both volumes, said of Lang’s work: “The songs are simple, eminently singable and enjoyable. They work in the singing voice”. For me, this is exactly why the songs have an instant appeal and the reason why one is happy to listen to them repeatedly. As with the first CD, the songs are organised into topics: The Garden, The Twilight, Nonsense Rhymes and Pictures and Tomorrow and a Lullaby. The recording opens with On an April Apple Bough; a gorgeous piece and one of my favourites in Volume II. Although not the most difficult to perform, its heart-warming, poetic melody immediately has you hooked! All the other songs within the Garden topic are equally beautiful but there are two that stand out and which I would describe as two mini-masterpieces. The first, I Knew the Flowers Had Dreamed of You, is delicate and lyrical. The second, Nameless Pain, sets a poem by Thomas Bailey Aldrich, where the music perfectly illustrates the poetry. It is vibrant, poignant and powerful all at the same time; if you close your eyes, you can almost feel the summer wind or the scent of the rose and sense the nameless pain of the poet.

These two precious gems are by no means unique. The second topic, The Twilight, begins with another of these little treasures, Song in the Songless. This is on a poem by George Meredith from “A Reading of Life”. It is an extraordinary piece, emotionally very expressive, almost operatic. It is probably one of the most difficult to sing but also one of the most effective dramatically. It works almost like a duet between the voice and the piano. Donald George does it justice and has here the opportunity of showcasing an excellent technique, with some very warm, confident high notes, a very fine crescendo and the right level of sentiment. The piano line is exquisite and engaging, particularly on its own when responding to the voice. Lucy Mauro’s delicate touch and flawless technique give us a luminous sound of great beauty, adding to the emotional impact of the song.

Besides the abovementioned little masterpieces, there is much to enjoy and admire. All the songs within the second topic, The Twilight, are simply adorable; often evocative of a certain romantic atmosphere that adds to the general charm. Then, there is the very funny, at times witty group of Nonsense Rhymes and Pictures, effectively performed by George and Mauro with humour and a real sense of fun. I felt like jumping in and singing along! The last topic, Tomorrow and a Lullaby, is perhaps, from my perspective, as a linguist, the most fascinating section of the recording. It includes a song in German Lied der Nebenbuhlerin and one in French Lament. These songs are not better than the ones in English but it is remarkable how well Lang is able to compose to languages that were not her own. It shows her versatility, knowledge and sensibility.

Tenor Donald George and pianist Lucy Mauro are in this CD, as in the first, in fine form. The musical rapport between them is transparent throughout, as is their obvious admiration for the composer. They revel in the music; their sheer delight is contagious and, like me, you will suddenly realise that you are smiling, all alone in a room, for no apparent reason!

I could go on forever, describing the intricate beauty of Margaret Lang’s songs, one by one, but then, this review would become far too long! To summarise: the songs of the second volume are as admirable as the ones of the first. Lang’s music is full of appealing melodies and sophisticated harmonies but most of all, the songs have a freshness, an innocence of days gone by. They are often deceptively simple but the more one listens, the more one grasps their delicate complexity. This collection of little musical treasures comes, yet again, in an attractive, colourful package as delightful as the music. There are some very interesting, informative notes, on the composer and her songs, written by Lindsay Kooth.

Finally, I would like to end by making a simple suggestion: Get the recording, close your eyes, lean back and enjoy!

-- Margarida Mota-Bull, MusicWeb International

Classical Music

Classical Music

Classical Music

Classical Music

Tenor Lawrence Brownlee is largely considered by critics and audiences alike to be the world’s leading bel canto tenor. His previous release on Delos was an enchanting array of Rossini arias which garnered him a Grammy nomination. Brownlee has a rich and varied repertoire, which is evident on this release. He has mixed standards such as Donizetti’s Don Pasquale, and L’elisir d’amore and Bellinis’ I Puritani with lesser-performed pieces like Donizetti’s Rita and La Favorite. For this release, as in his previous, Brownlee is joined by Lithuania’s Kaunas City Symphony Orchestra and the Kaunas State Choir. The brilliant interpretations and sensitive reading from conductor Constantine Orbelian lend themselves beautifully to Brownlee’s impeccable voice.

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REVIEW:

The tenor’s renown owes much to his breathtaking flair for executing Rossinian fiorature, but the expansive melodic lines of Vincenzo Bellini and the dramatic bel canto of Gaetano Donizetti are equally apt outlets for Brownlee’s prodigious gifts. Avoiding the forcing that compromises many singers’ endeavors in this repertory, Brownlee’s singing on Allegro io son possesses an evenness spanning the full range that, though perhaps easier to control in the recording studio than in the theatre, cannot be faked. As with the sincerity of his expression, the authenticity of his vocalism is remarkable, especially as it is employed in the performances on this disc.

­– Voix des Arts

Classical Music

Classical Music

It's time for Beethoven to be recognized as an important part of the young-of-age or -spirit's musical curriculum. Baby Needs Beethoven is an excellent place to start! This release explores all aspects of Beethoven's more introspective work, with music from his symphonies and chamber works to the solo performances for piano. The pieces chosen may be familiar to many, but there are a few lesser-known gems that will be of interest even to the Beethoven connoisseur.

Classical Music

"When I listen to this recording, it not only brings back wonderful memories of Fred and Kun Woo, but I thoroughly enjoy this charming music. I am so grateful to my dear friend Carol Rosenberger for allowing it to be heard again." - Gerard Schwarz

REVIEWS:

he recording opens with Arthur Honegger’s Intrada, a staple of the trumpet repertoire in which Schwarz demonstrates excellent tone and technique. George Enescu’s Légende is the disc’s highlight for me. Well-known as a virtuoso violinist, Enescu remains underrated in composition… The work’s originality shows in an atmospheric and meditative opening, soft trumpet filigree passages, and a complex yet effective piano part. …I particularly like Senée’s composition for the cornet, especially the Romance movement, whose attractive melody is capped with a sudden pianissimo climax that Schwarz achieves impeccably.

-- The WholeNote

The heraldic character of the trumpet is put to brilliant use in such pieces as Arthur Honegger’s Intrada and André Jolivet’s Air de bravoure, while Henri Senée’s three-movement Concertino is a charmer, especially in a finale of lilting grace. More than a little whimsy is packed into Eugène Bozza’s Caprice and Claude Pascal’s Capriccio, as their titles imply.

Schwarz makes the most of these Gallic morsels, playing with refined and limber stylishness. He is fortunate to be paired with a pianist of equally tasteful artistry, Kun Woo Paik, a high-school chum who also went on to a noteworthy career.

-- Gramophone

Late-Romantic German composer Friedrich Gernsheim was acknowledged by Brahms as a master composer, despite his music falling into obscurity. Gernsheim’s Piano Quintet No. 2, featured on this release, is a fantastic example of the composer’s multi-genre output. The Gernsheim quintet is paired with Brahms’ Piano Quintet in F Minor. Pianist Reiko Uchida performs these works with grace and drama.

In this, the 2011 Latin Grammy‐winning Brazilian Guitar Quartet’s sixth Delos album, the ensemble pays homage to its rich and varied heritage as exemplified by the music of Spain – which, in turn, gave rise to Latin American music. + The album’s eighteen bewitching selections – mostly dances – are derived primarily from piano works by six of the best-known 20th century Spanish composers. + The BGQ offer the richest sonic depth and range of any guitar quartet thanks to the use of two eight‐string guitars.

Robert Schumann (1810-1856) had a special fondness for the cello. He studied the cello as a child, and picked the instrument up again as a young adult after an accident injured his hand and he was unable to perform as a concert pianist.; Although Schumann held the cello dear, he only composed two works that still remain: Op. 129 Cello Concerto, and the Five Pieces in Folk Style which is performed on this album.; Although many of the compositions on this recording were not originally scored for cello, cellists, in their eagerness to perform Schumann’s music, have made lovely arrangements and transcriptions.