You might consider him one of the many Missing Links between Frédéric Chopin and Karol Szymanowski, who shaped Polish music between the second half of the 19th century and the dawn of modernism… but somehow never entered the repertoire. We are dealing with a composer of the high, late-romantic tradition – a style that Stojowski never found any reason to reject and with a strong gift for melody. His work proves the composer’s deft hand at colorful instrumentation, which suggests Russian and French influences. Entering the U.S. in 1905, he enjoyed a fine reputation as a composer, pianist, and increasingly pedagogue but his lack of presence on the continent meant that Stojowski faded into obscurity.

REVIEW:

There is so much music of genuine interest and reward in both works that their relative neglect is a surprise. Hopefully the excellence of this disc will encourage listeners and performers to seek out this music. Another disc of real interest and value from the ever-impressive Capriccio catalogue.

-- MusicWeb International

A superbly performed selection of Dohnányi works from players entirely immersed in his musical voice, led by a conductor who inspires them all the way.

Of the works Ernst von Dohnányi wrote for the stage, only his ballet pantomime The Veil of Pierrette received any particular acclaim. His concert music, meanwhile, was much more warmly received. With this already sixth recording of his late romantical, sensual music, deeply rooted in the Austro-German classical tradition, Capriccio presents three of his concerts. Apart from two piano concertos and two violin concertos, Ernst von Dohnányi wrote three more, which are concertos in all but name Variations (for piano and orchestra), Concertino (for harp and chamber orchestra), and Konzertstück (for cello and orchestra); the names subtly hinting at their specific character.

REVIEW:

Variations on a Nursery Theme, an unjustly neglected and once-popular work, receives a truly superb performance. Similar delights abound in the rarely heard Concertino for harp. A superbly performed selection of Dohnányi works from players entirely immersed in his musical voice, led by a conductor who inspires them all the way.

-- Gramophone

The Irish-French composer Augusta Holmes (1847-1903) is one of those female composers who knew how to overcome all hindrances with natural elan. "Like children, women have no concept of obstacles and their willpower tears down all walls," said her colleague Camille Saint-Saens. He hit the nail on the head, as the three-movement tone poem Roland Furieux disarmingly demonstrates. Just as the strong emotions of the knight, who temporarily loses his mind in a love frenzy, so too are the surges of Holmes' orchestra, which she masters with awe-inspiring self-confidence in all it's nuances. This artistry is present whether she is writing works with a national flavour or bringing mythical figures to life in song, as in the enchanting Andromede, who is saved from the "Battle of the Titans" by the loving Perseus.