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All of the performances are high quality, and two of them are now my reference recordings. Even if this were a full-price disc, the expert performances, clean engineering, and wide sonic range (including particularly solid bass) would make it a top choice.\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e The performance of Das Buch der Hängenden Gärten is notable for lovely, accurate singing by Jennifer Lane and sensitive, fluent support by pianist Christopher Oldfather. Lane produces a more beautiful tone, with more consistency between registers, than the major rival performance by Jan DeGaetani and pianist Gilbert Kalish on Nonesuch. But DeGaetani exploits register differences to create a wider range of effect and knows when some vocal harshness is called for. Lane may excel in presenting the love music's lyricism, but DeGaetani makes the loss and anguish more keenly felt. Although my reference here remains DeGaetani\/Kalish, Lane's rendition is still excellent, and I dare say that some listeners will prefer hers because of its sheer vocal beauty.\u003cbr\u003e \u003cbr\u003e  \u003cbr\u003e The Piano Suite Op. 25 occupies a pivotal spot in music history as Schoenberg's first completely 12-tone work. Again the top contender is a classic Nonesuch CD, this time played by Paul Jacobs, who projects more angst. Oldfather presents a clarified, even witty approach that makes this music sound less \"difficult\" than usual while demonstrating that Schoenberg used neo-classical form and texture to support his radical melodic\/harmonic technique. Since the Nonesuch disc's sound is a little fuzzy by today's standards, it's an easy nod for the new disc.\u003cbr\u003e  \u003cbr\u003e Lied der Waldtaube is a song from Schoenberg's Gurre-Lieder. 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It is clear from this selection of pieces for one or two lutes that Johnson fully merited it...The duets, in which Christopher Wilson is joined by Shirley Rumsey, include such attractive items as the Flat Pavan, with its distinctive melancholy flavour [sic], and sets of virtuoso variations on ground basses or popular songs, whose increasingly elaborate figurations are so perfectly coordinated that it is hard to believe that there are two players involved. Both here and in the solo pieces, however, the emphasis in these crisply elegant performances is not so much on virtuoso display as on creating an atmosphere of refined and courtly intimacy.\" - Elizabeth Roche, Daily Telegraph, 5\/17\/03\u003cbr\u003e  \u003cbr\u003e \"With impressively executed divisions, charming music and a lustrous over-all ambience, this recording is a tonic to those who might otherwise think that lute music pre-Dowland is all hey nonny cuteness.\" - Anna Picard, The Independent, April 27, 2003\u003cbr\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46025380397290,"sku":"730099577625","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/510352.jpg?v=1778326280"},{"product_id":"english-song-series-2-somervell-shropshire-lad-95366","title":"English Song Series 2 - Somervell: Shropshire Lad, James Lee's Wife","description":"Somervell's four songs on poems from William Blake's Songs of Innocence were written in 1889, dedicated to Dolly and Gwen, and simple and child-like in form and appeal, perfectly crafted examples of such work. 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The singer calls Maud to the garden, as he hears the sound of music from the Hall, where he has not been invited. As she approaches, he is in ecstasy, but the song does not tell how their meeting is to be interrupted by Maud's brother, his quarrel with her lover, and her brother's death in the dreadful hollow, where the drama had started. In the remaining songs Maud's lover seeks exile abroad and goes out of his mind, while Maud, in his absence, dies. The cycle ends with the singer's resolve to meet his fate in war for his country. The song cycle derived from Robert Browning's James Lee's Wife was published in 1907 with a dedication to Marie Brema, a Liverpool-born singer of German-American parentage who, in 1894, was the first English-born singer to appear at Bayreuth, where she sang Ortrud in Lohengrin and Kundry in Parsifal. James Lee's Wife first appeared, under the title James Lee, in 1864 in Browning's Dramatis Personae and from the original nine poems Somervell takes five. The first version has an orchestral accompaniment, but the songs were later arranged for an accompaniment of piano quintet, and then simply with a piano accompaniment. As in other dramatic monologues by Browning, the woman of the title reveals her story, telling first of changing love, more dramatically in the second song, By the Fireside, as she tells of the rot and rust, run to dust, of a ship seemingly safe in port, as she and her husband had seemed. The same idea continues in the third song, In the Doorway, from which the middle two verses of the original poem are omitted. In the fifth of Browning's poems, On the Cliff, she sings of the parched vegetation on the rock and how from this may come color and life, as with the minds of men. The cycle ends with the seventh of Browning's poems, Among the Rocks, in which she proclaims her message that If you loved only what were worth your love, \/ Love were clear gain.","brand":"Naxos","offers":[{"title":"CD","offer_id":46025516187882,"sku":"747313211326","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/457033_42d84576-7a57-4669-bf67-42eeea29fc6f.jpg?v=1778345516"},{"product_id":"rubbra-nine-tenebrae-motets-magnificat-and-nunc-dimittis","title":"RUBBRA: Nine Tenebrae Motets \/ Magnificat and Nunc Dimittis","description":"RUBBRA: Nine Tenebrae Motets \/ Magnificat and Nunc Dimittis","brand":"Naxos","offers":[{"title":"CD","offer_id":46025560228074,"sku":"747313525522","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/361104.jpg?v=1778184233"},{"product_id":"english-choral-music-stanford-anthems-and-services-158489","title":"English Choral Music - Stanford: Anthems And Services","description":"This is a fine collection of some of Charles Stanford's most enduring church music, sung by one of England's most revered choirs, itself a staple of the country's choral music tradition for more than 300 years. However, there are many fine recordings of Stanford church music in the CD catalog, also sung by superlative choirs steeped in the English cathedral repertoire--choirs from Chichester, Durham, and Portsmouth (all on Priory Records), the Cambridge Singers (Collegium), and Trinity College, Cambridge (Conifer), among others--and so, the question is, if you're looking to acquaint yourself with this beautiful and beloved music, would this be a good place to begin? And the answer is yes, but with the caution that although these performances are not collectively the best, they nevertheless offer faithful, conscientious, well-mannered interpretations that fully honor the substance and style of Stanford's scores.\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e The service music comes off best, owing to the power of the organ accompaniments and the choir's strongly projected and well articulated statements. The famous Three Latin Motets, staples of concert choir performances all over the world, seem overly reserved and lacking the punch we usually hear--and expect--from these richly expressive pieces. The Communion Service in C is a gem (minus the cumbersome Credo--a text that absolutely defies elegant musical setting), and the choir--probably the most vocally well-integrated of all of England's all-male ensembles--proves its reportorial command as well as its vocal prowess. Sonically, I have no serious complaints--except that I had to turn the volume up higher than my usual listening level to clearly hear and get the full effect of the unaccompanied motets. And I find Naxos' practice of printing track listings only on the back of the jewel box--and not reproducing them in the liner booklet--an irritating and unnecessary inconvenience.\u003cbr\u003e --David Vernier, ClassicsToday.com","brand":"Naxos","offers":[{"title":"CD","offer_id":46025618522346,"sku":"747313579426","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/532326.jpg?v=1778187316"},{"product_id":"finzi-lo-the-full-final-sacrifice-etc-95341","title":"Finzi: Lo The Full Final Sacrifice, Etc \/ Robinson, Et Al","description":"Gerald Finzi's choral music never has achieved popularity on the level of works by composers such as Stanford, Vaughan Williams, or Elgar, and in general this is because by comparison it's not as well-organized, the inner structural details aren't as carefully developed, and the balance of text with musical ideas isn't as facile. As a result, many of Finzi's choral pieces sound just a bit labored, a bit more difficult than they need to be, the structural edges a bit rough, the overall concept unpolished. Just listen to any of Finzi's partsongs against, say, Stanford's motet Beata quorum via or Elgar's As torrents in summer, or Finzi's Lo, the full, final sacrifice next to Vaughan Williams' Toward the unknown region, and you'll see what I mean.\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e Not that Finzi is a careless or inept craftsman. Rather, in his vocal music he is a wonderful miniaturist (just listen to his exquisitely wrought 10 children's songs or to his fine solo songs with piano, for example--not included here) whose more expansive efforts just tend to have an unfinished quality that's often allied to an excessively text-bound style that hinders the flow of such pieces as the Magnificat and the anthem Welcome sweet and sacred feast.\u003cbr\u003e \u003cbr\u003e  \u003cbr\u003e And that's too bad, because Finzi's works are packed with beautiful moments, lovely melodic snippets, and delightful quiet sections followed by thrilling climaxes. All of those things are present among these pieces, which provide an excellent introduction to this composer's choral oeuvre. In spite of its structural faults the Magnificat remains a powerful and interesting piece--and the cathedral anthem Lo, the full, final sacrifice is bound to rouse any congregation or audience with its grand singing and organ accompaniment. The seven partsongs are not particularly memorable, for all their effortful dramatic qualities.\u003cbr\u003e \u003cbr\u003e  \u003cbr\u003e Nevertheless, the singing on this disc is very fine--of course, this is a choir that you can count on to have such repertoire down cold--and it's always impressive to hear trebles sing with such solidity of tone and brilliant, never harsh, high notes, perfectly blended and balanced with the lower voices. While there are times that some choral sections stand out a bit too prominently, the organ is exceptionally well recorded. If you're interested in Finzi's choral music, you won't go wrong here--however, if you want the sound of an adult mixed choir in this same repertoire (with a few additional selections), very beautifully recorded, try the reference disc, with the Finzi Singers on Chandos.\u003cbr\u003e --David Vernier, ClassicsToday.com","brand":"Naxos","offers":[{"title":"CD","offer_id":46025618620650,"sku":"747313579228","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/483698.jpg?v=1778343811"},{"product_id":"ries-piano-concertos-vol-2-hinterhuber-grodd-95462","title":"Ries: Piano Concertos Vol 2 \/ Hinterhuber, Grodd, Gavle Symphony","description":"\u003cb\u003eThis disc offers you satisfying performances of satisfying music. How can you refuse? \u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e This second instalment in the continuing cycle of Ries's piano concertos from Naxos is a disc for your wish-list.\u003cbr\u003e  \u003cbr\u003e Ries is more famous today for being Beethoven's pupil and biographer than for his own career in music. In his day he ranked with Hummel and, yes, even with Beethoven himself as one of Europe's greatest composer-pianists. Thanks to the efforts of Naxos and Allan Badley's Artaria Editions, we can now hear for ourselves what it was that so excited nineteenth century audiences.\u003cbr\u003e  \u003cbr\u003e All three works here show Ries to be a composer of originality, though one with a respect for his musical forebears. It would go too far to call him daring or revolutionary. Nonetheless, despite the backward glances at Mozart, his facility for contrasting grand orchestral statements with piano writing of a free, rhapsodic lyricism bridges the gap between Beethoven on the one hand and Chopin and Schumann on the other.\u003cbr\u003e  \u003cbr\u003e The Swedish National Air with Variations opens with a proud and darkly coloured orchestral flourish, which is immediately contrasted with a gently glittering statement from the piano. This pattern of contrasts is repeated throughout the 15 minutes of this piece, as Ries plies his skill at conjuring variations, first dazzling, then soulful. He casts the orchestra as chorus rather than as equal partner in dialogue, but he knows how to use its tone colours – listen to the lovely clarinet commentary about five minutes in, for example.\u003cbr\u003e  \u003cbr\u003e The Piano Concerto in C sharp minor is a delightful work, written largely on the road as Ries toured and then fled Russia in 1812. It is natural to want to draw comparisons with Beethoven's C minor concerto of 12 years earlier, but similarities are few and comparisons unhelpful. Apart from a few blustery tuttis, Ries uses the minor mode to spice harmonies and lend interest rather than to generate Beethovenian drama. The material is predominantly lyrical but virtuosic in the outer movements. The central slow movement lasts for less than five minutes, but is the heart of the concerto. Here Ries'sw gentle lyricism calls for a Chopinesque rubato and lightness of touch. His writing for orchestra, though, is better than Chopin's and full of interesting details and colourings.\u003cbr\u003e  \u003cbr\u003e The Introduction and Polonaise may have been composed 21 years after the other two pieces in this programme, but it demonstrates a remarkable consistency in Ries's idiom across the years. This piece is full of Mozartean turns of phrase, but with harmonic touches that point to Schumann. Again, there is some charming writing for the clarinets and flutes as they comment on the piano's discourse.\u003cbr\u003e  \u003cbr\u003e The Austrian pianist Christopher Hinterhuber plays with commitment and is a fine advocate for these works, just as able to command attention with flashes of fire as he is to lead the ear through the most delicate figurations. Grodd and the Gävle Symphony Orchestra support him well enough, though there is a little raggedness in the upper registers of the violins towards the close of the Introduction and Polonaise. The recorded sound is fine and the booklet notes by Allan Badley are interesting, though they hint at but do not explain the reconstruction of the score of the C sharp minor concerto.\u003cbr\u003e  \u003cbr\u003e All up, this disc offers you satisfying performances of satisfying music. How can you refuse?\u003cbr\u003e  \u003cbr\u003e Tim Perry, MusicWeb International\u003cbr\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46025941778666,"sku":"747313284429","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1136420.jpg?v=1778328462"},{"product_id":"english-song-series-6-holst-vedic-hymns-179030","title":"English Song Series 6 - Holst: Vedic Hymns, Songs, Etc","description":"Originally released by Collins Classics as part of it's English Songs Series, this recording offers a fascinating selection of the 72 solo songs Holst wrote across his entire compositional career.","brand":"Naxos","offers":[{"title":"CD","offer_id":46025986900202,"sku":"747313211722","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/579687.jpg?v=1778326241"},{"product_id":"schnittke-a-concerto-grosso-no-1-version-for-flute-and-7318590017272","title":"Schnittke, A.: Concerto Grosso No. 1 (Version For Flute And","description":"Classical Music","brand":"BIS","offers":[{"title":"CD","offer_id":46025991815402,"sku":"7318590017272","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1545759_31d4d23c-db82-4707-8878-4bd1709ba72a.jpg?v=1778337492"},{"product_id":"american-classics-rochberg-symphony-no-5-etc-234959","title":"American Classics - Rochberg: Symphony No 5, Etc \/Lyndon-gee","description":"\u003cimg src=\"\/graphics\/p10s10.gif\"\u003e\u003cbr\u003e  The notes to this recording make much of George Rochberg's braveness in the early 1960s in turning his back on strict academic serialism and atonality. Instead he dared to evolve a more nuanced, eclectic, personal style of expression in which tonal and atonal elements rub shoulders in a way that often comes across as sounding simply Romantic, in the best sense of the term. Without diminishing that achievement, in this less doctrinaire time the more important question is simple: How good is the music? We've been unable to answer this question because, aside from his string quartets, very few recordings have given us the chance to judge for ourselves. So this Naxos release is extremely important in that for many record collectors it will represent a first encounter with this seminal figure in 20th century American music--and it's magnificent.\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e The Fifth Symphony contains elements that many will find familiar: clear references to the finale of Mahler's Ninth and the Largo of Shostakovich's Fifth, aggressively virtuosic brass writing (it was a Chicago Symphony commission), a compelling mixture of dissonance and consonance, and an overtly emotional program apposing music of aggression with passages of sadness and consolation. It's all organized in a single movement whose multiple sections offer a gripping but easy-to-follow pattern of tension and release. To call the work a masterpiece doesn't begin to suggest its immediacy and impact: the symphony simply \"goes\" with the inevitability of fate itself, and its 28 minutes seem to pass by in a flash. Christopher Lyndon-Gee and the Saarbrücken orchestra give the music all of the intensity and passion that it needs, and they're marvelously well recorded too.\u003cbr\u003e \u003cbr\u003e  \u003cbr\u003e Black Sounds dates from 1965, and as the title suggests it's a darker, more abrasive work than the symphony. Inspired by the death of the composer's friend Edgard Varèse, the music pays respectful homage without ever descending to mere imitation. In particular, the scoring for 12 winds and brass, piano, celesta, and four percussionists clearly brings Varèse to mind, as does the music's violence and boundless energy. Standing at the opposite end of the harmonic spectrum, the gorgeously tonal Transcendental Variations for string orchestra consists of a reworking of the central movement of Rochberg's Third String Quartet, the breakthrough work in his mature style. Like the symphony, both works receive committed and compelling performances from Lyndon-Gee and his German forces.\u003cbr\u003e \u003cbr\u003e  \u003cbr\u003e Naxos has done some yeoman work in its American Classics series, but it's hard not to acclaim this release as one of the most important yet, not just for the excellence of its performances, the fine sonics, or even the marvelous music itself, but also in the human sense of doing some justice at last to a courageous composer whose importance is generally acknowledged but far too seldom confirmed by actual performance of his music. If this disc leads to further interest in Rochberg, then it will have achieved a greater purpose beyond gratifying a limited number of modern music enthusiasts. In the meantime, by all means, buy this and be gratified! [8\/2\/2003]\u003cbr\u003e --David Hurwitz, ClassicsToday.com","brand":"Naxos","offers":[{"title":"CD","offer_id":46026343710954,"sku":"636943911525","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/524213.jpg?v=1778186686"},{"product_id":"milken-archive-herman-berlinski-from-the-world-126515","title":"Milken Archive - Herman Berlinski: From The World Of My Father","description":"\u003cb\u003eThe recordings are bright, clear and well played by clearly committed musicians who have taken to this wonderfully harmonious and melodic music. ...\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e Herman Berlinski is one of those musical personalities whose Jewish heritage played as vitally important a role in the creation of his music as Messiaen’s Catholicism played in his. Berlinski said that he doubted that there was any music he wrote which did not embody his Jewish existence. This is certainly immediately obvious as soon as you listen to it. His music has the same sense of suffering and the ability to overcome it that is found in some black music. It makes for a powerfully emotional experience. One reviewer said of another of his works on Naxos (Avodat Shabbat) that “There are passages in Berlinski’s work of such aching beauty that if you are not moved to tears you are made of sterner stuff than I am.”\u003cbr\u003e  \u003cbr\u003e Each of the works on this disc is a good introduction to the breadth of expression that Berlinski brings to his music and makes the listener want to explore further. It is interesting to note that though he was born in Leipzig of Polish parents his musical roots draw on that eastern European Jewish legacy that begins east of Germany’s borders. Anyone who is familiar with klezmer will hear its influence in this music; try track 2 to hear what I mean. This was due to the insistence of his father that though he wanted his children to be “modern German Jews” he also wanted them to be acquainted with their eastern European heritage. He also engaged a tutor to teach them Yiddish. There is no indication in the liner notes, which are extremely comprehensive and well written, that Berlinski ever wrote any music for film. I this found surprising because he would have produced some superb music for that medium. He has that facility for producing powerful sweeping themes that would fit neatly into so many movies.\u003cbr\u003e  \u003cbr\u003e ‘From the World of my Father’ is a suite that Berlinski reconstructed from his recollections of music he had written in Paris just before the war when he was forced to leave. His parents had emigrated from Lodz in Poland to Germany. He had been writing and arranging music in Paris for an émigré Yiddish art theatre known as PIAT. This music is a portrayal of the world of his parents and their parents before them. It aimed to encompass traditions, hopes, fears, joys, persecutions – in short to present in music as a microcosm of the Jewish world of eastern Europe. It achieves these aims wonderfully and is never banal but full of typical Jewish melodies woven into a brilliantly evocative piece.\u003cbr\u003e  \u003cbr\u003e ‘Shofar Service’ is a liturgical work using a shofar, usually made of ram’s horn. This may be the oldest surviving wind instrument to have been in continuous use. It is the only musical instrument of any kind mentioned in the Bible that can be positively identified. It was used for summoning people, warning them of approaching danger, announcing the beginning of a period of celebration, of fasting and many other events. This piece was written to be performed during Rosh Hashana or the Jewish New Year - a time with which the shofar is most associated. It is a powerful work in which the shofar is set against the voice of a baritone who entreats the people to harken to the sound of the shofar and to worship the Lord at the holy mountain. Liturgical though it may be it would be extremely effective performed in the concert hall as part of a programme of Berlinski’s work.\u003cbr\u003e  \u003cbr\u003e ‘The Burning Bush’ was commissioned from Berlinski by the distinguished organist of the Emanu-El temple in New York. Berlinski had been encouraged to learn the organ as late as 1951 by Josef Yasser, synagogue organist and musicologist, who offered to teach him. The organ has always fascinated Berlinski but it had not figured on his course in Leipzig where it was principally associated with the church. Taking the Hebrew words eh’ye asher eh’ye (I am that I am) that God spoke when asked by Moses who he should say had appointed him to carry out his mission, Berlinski constructed a reflective cell from those words. This rhythmic cell pervades the piece. It was first performed in 1956 by Robert Baker - who commissioned it - to great acclaim. It helped establish Berlinski’s reputation in Great Britain, Europe and America as one of the most gifted contemporary composers for the organ.\u003cbr\u003e  \u003cbr\u003e The final work on the disc is ‘Symphonic Visions for Orchestra’ a semi-programmatic tone-poem inspired by various biblical images, passages and sentiments. Once again it shows the power of expression that Berlinski has. It makes a fitting end to a disc of music that will hopefully gain a new wave of admirers - of whom I am certainly one - for a truly original musical voice. The disc is a great start for those wishing to explore this composer’s music. The recordings are bright, clear and well played by clearly committed musicians who have taken to this wonderfully harmonious and melodic music.\u003cbr\u003e  \u003cbr\u003e -- Steve Arloff, MusicWeb International\u003cbr\u003e  \u003cbr\u003e  \u003ca href=\"http:\/\/www.arkivmusic.com\/classical\/listPage.jsp?list_id=421\u0026amp;page_size=50\"\u003eClick here\u003c\/a\u003e to view all available releases in the  \u003cb\u003eMilken Archive Series\u003c\/b\u003e at ArkivMusic.\u003cbr\u003e \u003cbr\u003e","brand":"Milken Archive","offers":[{"title":"CD","offer_id":46026360291562,"sku":"636943944622","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/952838.jpg?v=1778337760"},{"product_id":"varese-arcana-octandre-etc-lyndon-gee-castets-95321","title":"Varèse: Arcana, Octandre, Etc \/ Lyndon-gee, Castets, Et Al","description":"\u003cp\u003ePlay this recording of Arcana next to the recent Boulez\/Chicago on DG, and you're in for a big surprise. No, the Polish National Radio Symphony Orchestra isn't Chicago, and Naxos has paid for a recording of great immediacy and clarity of texture by accepting a very dry, attenuated bass. But musically, Christopher Lyndon-Gee blows Boulez away. His Arcana is only about a minute faster, but sounds about ten times more exciting, more dynamic, more rhythmically emphatic, more committed. Here is a conductor who understands what the composer means when he writes a triple forte, and he charts an unerring course from the pounding opening right through the mysterious closing bars.\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e The other works offer still more evidence of extraordinarily communicative musicianship. Tangy wind sonorities give a playful edge to Octandre's acerbic central movement, and a vocal, human warmth to its outer ones. Déserts, unlike the Boulez version, includes its taped interpolations and explores a stunning sonic landscape in which Lyndon-Gee's contributions sustain the work's atmosphere far more impressively. Intégrales reveals greater sensitivity to dynamic gradation than Boulez permits his Chicago players, and Offrandes' mysterious, sensual landscapes still mesmerize despite the dryness of the sound and the close-up focus on the otherwise fine soprano, Maryse Castets. In short, this wholly unexpected surprise of a disc will delight Varèse fans. You won't find Chailly's level of polish and sophistication, but Lyndon-Gee's interpretations offer a wholly winning freshness of their own. Now dare we hope for Amériques from these same forces?\u003cbr\u003e --David Hurwitz, ClassicsToday.com\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46026395189482,"sku":"636943482025","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/383369.jpg?v=1778184571"},{"product_id":"gade-symphonies-1-5-hogwood-brautigam-danish-165688","title":"Gade: Symphonies 1 \u0026 5 \/ Hogwood, Brautigam, Danish National","description":"\u003cp\u003eBoth works performed from The Niels W. Gade Edition Recorded in: Danish Radio Concert Hall, Copenhagen 14-19 (Symphony No. 1) and 23 \u0026amp; 24 (Symphony No. 5) November 2001 Producer(s) Chris Hazell Sound Engineer(s) Jørn Jacobsen \u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46027689885930,"sku":"095115102626","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/484913.jpg?v=1778189264"},{"product_id":"hildegard-of-bingen-feather-on-the-breath-of-god","title":"HILDEGARD OF BINGEN: FEATHER ON THE BREATH OF GOD","description":"The album which pretty much started the Hyperion story: the ineffably beautiful music and words of Hildegard of Bingen, revered by Ted Perry as the 'Patron Saint of Hyperion', and in matchless performances from Emma Kirkby and Gothic Voices. Now available on vinyl for the first time in over three decades as part of Hyperion's 2024 Vinyl Edition.","brand":"HYPERION","offers":[{"title":"Vinyl","offer_id":46055176732906,"sku":"034571996042","price":27.54,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4357845-3203550.jpg?v=1780144426"}],"url":"https:\/\/arkivmusic.com\/collections\/evan-christopher.oembed","provider":"ArkivMusic","version":"1.0","type":"link"}