Modern
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Petrassi: Concertos for Orchestra Nos. 7-8 & Sonata da camer
$19.99CDNaxos
Aug 08, 20258573718 -
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Guastavino: Guitar Works
$14.99CDBrilliant Classics
Feb 27, 2026BRI97493 -
Beyond Vertigo
$16.99CDAntarctica
Mar 20, 2026AR 081 -
Cinema Memories - Morricone, Williams, Bernstein, Rota & Sko
$20.99CDArcana
Dec 12, 2025A585 -
Lux Amoris Aeternis
$16.99CDAntarctica
Oct 24, 2025AR 076 -
Hovhaness: Concerto No. 2; Works for Violin and Piano
$19.99CDNaxos
Jul 25, 20258559957
Home / Miró Quartet
The pieces in this album represent the Miró Quartet’s artistic home in many ways. The four works include two new commissions for the Miró by Kevin Puts and Caroline Shaw, as well as works by George Walker and Samuel Barber. The concept of home and our complex relation to it is woven in a variety of ways into all the music in this album: this music invites you to feel, reflect, and engage in Miró’s world. This is Miró second album.
Lachenmann: Works for String Quartet
Deep River / Alchymy Viols
Made in USA - Gershwin, Beach & Barber / Claire Huangci
Sondheim: New Chamber Music Arrangements
Fleeting Castles
Williams & Bernstein / Ehnes, Denève, St. Louis Symphony
The St. Louis Symphony and their music director Stéphane Denève present a program featuring two of the most accomplished American composers in history: Leonard Bernstein with his Serenade and John Williams with his Violin Concerto, both performed by star James Ehnes, one of the most exceptional North American violinists. John Williams himself was present at the recording of his violin concerto, working together with the St. Louis Symphony, Denève, and Ehnes.
Both works evolve around love: Bernstein’s Serenade was inspired by musings on love from Plato’s Symposium while Williams’s work was arguably inspired and eventually dedicated to his suddenly deceased wife. By combining these two concert pieces, this album puts the symphonic work of Bernstein and Williams at the center, two composers who weren’t afraid of crossing the boundaries between film music and “serious” classical genres at a time when these worlds were generally kept far apart. Especially in Williams' concerto, there are still hints of his work as a film composer; the slow movement brings to mind a scene of emotional gravity.
Widely considered one of the world's finest orchestras, the SLSO maintains its commitment to artistic excellence, educational impact, and community connections. The St. Louis Symphony, Stéphane Denève, and James Ehnes all make their Pentatone debut.
REVIEWS:
Dutch label Pentatone continues to champion American orchestras with the Saint Louis Symphony’s recording of violin concertos by John Williams and Leonard Bernstein. Williams dedicated the 1974 Violin Concerto No. 1 to his late wife, the actress Barbara Ruick. It’s a serious-minded, sometimes bleak affair, and Williams has called it atonal, though it seems harmonically straightforward enough.
With a 30-minute, three-movement sweep, Williams's concerto is expansive too. Canadian violinist James Ehnes is the thoughtful soloist, investing the music with deserved gravitas and fully on top of its technical challenges. Stéphane Denève leads a weighty reading, darkly dramatic in the opening “Moderato,” consoling in the glowing slow movement (which Ehnes plays like an angel), and incisive in the intermittently clangorous finale.
Bernstein’s Serenade has been recorded many times, but this astute interpretation is a welcome reminder of both its wistful profundity and its headstrong vigor. Ehnes and Denève open the debate spaciously with an expressive account of the “Phaedrus” movement. “Aristophanes” seems to channel graceful elements out of Candide, while a weighty “Socrates” gives way to the jazzy joie de vivre of “Alcibiades.” The violin sound is clean and clear, offset against a slightly resonant orchestra.
-- Musical America (Clive Paget)
Violinist James Ehnes’ discography is so extensive that it was only a question of when he’d get around to recording Leonard Bernstein’s Serenade, not if. What’s more striking about his new recording with Stéphane Denève and the St. Louis Symphony Orchestra (SLSO) is that it pairs Bernstein’s 1954 effort with John Williams’ Violin Concerto No. 1.
The Williams dates from the mid-‘70s and was written right after the untimely death of his first wife, the actress Barbara Ruick. Its brooding, volatile aspect perhaps owes something to that context – the central “Slowly in peaceful concentration” unfolds like an elegiac barcarolle – though this is hardly funereal music.
In fact, the Concerto marked a turning point in Williams’ concert music, allowing him to cultivate what he called the “Romantic [Atonal], but in an American way”-style he’d long been striving for...there’s a motivic rigor here that’s straight out of the Brahms-Schoenberg line and the writing for violin and orchestra is thoroughly idiomatic...[here, it is] exceptionally well played and draws out the tight thematic relationships between each movement. The Canadian violinist makes the most of the introspective spots – the middle movement, the reflective episode in the center of the finale, especially – while also suffusing its bravura passagework with purpose and direction.
Denève and the SLSO are right with him, teasing out the music’s gentle echoes of Hollywood and sometimes mercurial shifts of character with surety and ease.
They make for an impressive combination, too, in the Bernstein. Take or leave the score’s programmatic allusions to Plato’s Symposium: the Serenade is one of the American composer’s freshest and most satisfying concert works.
Here, Ehnes plays with gorgeous tone – the clarity of his bow arm is just marvelous, as is his left hand’s ability to cleanly and purposefully get the music’s knotty double and triple stops to sing. Over the Serenade’s first three movements, too, there’s a strong sense of shape and propulsion: this is well-focused, graceful, spry Bernstein.
-- The Arts Fuse
Schoenberg & Faure: Pelleas et Melisande
Complete Crumb Edition, Vol. 21 / CIM Ensemble 20/21
Bridge Records announces the release of Volume 21 the Complete Crumb Edition, a monumental recording project begun in 1982, and completed 42 years later with this final installment. The Grammy award-winning Crumb series documents the late American composer's complete catalog of works, spanning Crumb's seventy-five year compositional career. Project producer David Starobin writes that “the series benefited tremendously from George's participation in the recording and post-production of these documents.” This last volume includes compositions from the beginning, middle, and end of Crumb’s career and features the world premiere recording of the composer's penultimate composition, the percussion quintet Kronos-Kryptos (2020), performed by Ensemble 20/21 of the Curtis Institute of Music. The record also includes Crumb's second acknowledged composition, the Sonata for Solo Violoncello (1955), performed by cellist Timothy Eddy, as well as two performances of Crumb's piano solo, Processional (1983), played by pianists Gilbert Kalish (keyboard version) and Marcantonio Barone (alternate version with extended piano effects).
Bernstein: Music for String Quartet; Copland: Elegies / Lin, Kress, Kim, Feldman
Navona Records is proud to present MUSIC FOR STRING QUARTET; the world premiere recording of renowned composer Leonard Bernstein’s long-lost work. Composed by an 18-year-old Bernstein during his studies at Harvard; the piece has been steadfastly shepherded from its re-discovery to this historic release by former Boston Symphony Orchestra Librarian John Perkel; and is performed here by Lucia Lin; Natalie Rose Kress; Danny Kim; and Ronald Feldman. “Movement I” and the newly-discovered “Movement II,” which was found within the U.S Library of Congress; are accompanied here by the seldom-recorded duo piece Elegies for Violin and Viola by composer Aaron Copland; a musical mentor; collaborator; and dear friend of Bernstein’s.
The Way You Look Tonight
Isabella Lundgren - vocals
Carl Bagge - piano, music arrangements
Musica Vitae - string ensemble
On the 20th of January 2009, Barack Obama was inaugurated as the 44th president of America. In his speech, he said: “Starting today, we must pick ourselves up, dust ourselves off, and begin again the work of remaking America”. With those words, he echoed the lyrics from the song "Pick Yourself Up," written by Dorothy Fields in 1936.
Dorothy Fields (July 15, 1904– March 28, 1974) was an American librettist and lyricist. She wrote over 400 songs, 15 Broadway musicals, and 26 films. Her strong characterizations, precise language, and heartfelt and humorous approach have granted her a special place in the history of American music and popular culture.
This album is a love letter to this remarkable woman who was way ahead of her time.
Walton & Molinelli / Serova, Haydn Orchestra of Bolzano & Trento
Stellar violist Anna Serova pays homage to Sir William and Lady Walton, and to ‘La Mortella’ – the beautiful garden they created at their home on the island of Ischia. The album features Walton’s Cello Concerto transcribed by Serova for viola, plus three new works by Italian composer Roberto Molinelli dedicated to La Mortella; World Premiere Recordings.
Contrappassi
The Way You Look Tonight
Isabella Lundgren - vocals
Carl Bagge - piano - music arrangements
Musica Vitae - string ensemble
On the 20th of January 2009, Barack Obama was inaugurated as the 44th President of America. In his speech, he said: “Starting today, we must pick ourselves up, dust ourselves off, and begin again the work of remaking America.” With those words, he echoed the lyrics from the song "Pick Yourself Up," written by Dorothy Fields in 1936. Dorothy Fields (July 15, 1904– March 28, 1974) was an American librettist and lyricist. She wrote over 400 songs, 15 Broadway musicals, and 26 films. Her strong characterizations, her precise language, and heartfelt and humorous approach have granted her a special place in the history of American music and popular culture.
This album is a love letter to this remarkable woman who was way ahead of her time. /Isabella Lundgren
Petrassi: Concertos for Orchestra Nos. 7-8 & Sonata da camer
Petrassi: Concertos for Orchestra Nos. 4-6
Petrassi: Concertos for Orchestra Nos. 1-3
In Rome
Pieranunzi, Fonnesbaek, Ranalli & Gatto: In Rome
Solo in Barcelona / Mulgrew Miller
Mulgrew Miller, one of the most important pianists of jazz’ modern era, proudly delivers his brand-new album Solo in Barcelona via Storyville Records. The occasion of a present-day release of a solo recording by this remarkable musician is a very rare and extraordinary occasion. This album, which was recorded on February 2, 2004 in Barcelona, is truly a rare gem for the admirers of a man and piano player, who was loved by so many fans and the entire jazz global community. With his unique take on arrangements from Monk, Dizzy Gillespie, Cole Porter, Miles Davis and Duke Ellington, MM shows us why he is considered a modern legend.
On this solo album, MM's piano embarks on an extraordinary musical journey. With each note, he effortlessly paints a vivid tapestry of emotions, traversing a rich musical landscape that spans genres and styles characterized by versatility, proficient soloing and tasteful restraint. He plays like a modern-day exponent of Art Tatum with the deepest musical roots, but with the freshest, most forward-thinking, profoundly original voice that’s uniquely his own. Live in Barcelona shows how he is able to tell us a story and swing like very few others. A real master on the piano. The highlight is perhaps his ‘Excursions in Blue’, playing the blues like it should be done - in the moment! Solo in Barcelona is a beautiful documentation of Mulgrew Miller playing solo material that has not been recorded before.
MM was one of the most influential jazz pianists of his generation. Renowned for his technical mastery, improvisational genius and deep musicality, Mulgrew Miller worked with Miles Davis, Betty Carter, Woody Shaw, Niels-Henning Ørsted Pedersen and his own trio around the globe. Still missed by his big audience. Mulgrew Miller (1955-2013) was a world-renowned jazz pianist and composer. His illustrious career spanned over four decades, during which he performed with legendary jazz artists and received critical acclaim for his exceptional musicianship. His unique approach to the piano and his profound contributions to jazz have solidified his place as one of the greatest pianists in the history of the genre. With this exceptional solo album, MM invites listeners on a personal and intimate musical journey, as he displays his extraordinary command of the piano. His nuanced phrasing, exquisite dynamics and deep understanding of harmony create an enchanting and captivating listening experience.
Ingrid Haebler Plays Schubert
Ingrid Haebler (born in 1929) belongs to the same generation of Viennese pianists as Badura-Skoda, Brendel, Gulda and Demüs. In 1954 (approx. the period when the recordings on this album took place) she won the ARD competition, then as today a quality seal and a guarantee for a successful career (which she enjoyed). However, considerable disagreement has long surrounded her interpretations: for some she is a model because of her flawless technique and the absolute poise of her music-making; for others, she is virtually a symbol of academic discipline. However, her recordings were considered good enough to be used in the faked recordings of the pianist Joyce Hatto – which, when uncovered, led to one of the big and quite unique scandals in the history of music performance.
Schubert: Symphonies - The "Unfinished" & "Great" / Janowski, Dresden Philharmonic
Marek Janowski presents his first purely-orchestral Schubert recording, together with the Dresdner Philharmonie, performing the composer’s two final, groundbreaking and most famous symphonies. While the two movements of the “Unfinished” symphony in B Minor reach a level of perfection despite the work’s apparent incompleteness, Robert Schumann praised the “Great” symphony in C Major for its “heavenly length”. Janowski’s interpretation combines a sense of tradition with vitality and intensity.
Marek Janowski is one of the most celebrated conductors of our time. After having recorded Schubert songs in orchestrations by Reger and Webern with the tenor Christian Elsner in 2015, Janowski now adds this symphonic Schubert album to his impressive Pentatone discography, following complete recordings of Bruckner, Brahms and Beethoven’s symphonies, several works by Richard Strauss, as well as Wagner’s ten mature operas. He works together with the Dresdner Philharmonie, with whom he already released complete recordings of Beethoven’s Fidelio (2021), Puccini’s Il Tabarro and Mascagni’s Cavalleria rusticana (both 2020).
Guastavino: Guitar Works
Parole in Musica - Music for Guitar Trio
Beyond Vertigo
Journey
Cinema Memories - Morricone, Williams, Bernstein, Rota & Sko
Lux Amoris Aeternis
Mendelssohn: Sacred Choral Works
