The French composer and organist Thierry Escaich composed his Te Deum pour Notre-Dame for the reopening of Notre-Dame Cathedral in Paris; a hymn to the Cathedral's resurrection, it is a large-scale work for children's choir, two mixed choirs and orchestra. One hundred and eighty singers and instrumentalists gave the work it's first performance and recorded it in the prestigious building on 12 June 2025. Thierry Escaich was inspired by the Cathedral's thousand-year-old history and drew on many sources, beginning with the Bible but also including prestigious authors who had written about Notre-Dame such as Victor Hugo and Charles Peguy. According to Escaich himself, "this Te Deum is a journey from the destructive flames of the conflagration to the fire of redemption". Escaich, who has been a co-titular organist of the Cathedral since 2024, also presents examples of his famous art of improvisation on the Cathedral's organ between each movement of the Te Deum. The work won universal acclaim at it's first performance, with some journalists describing it as "the great French oratorio that we have been awaiting since the beginning of the 21st century" (Le Figaro).

Alain Altinoglu and the Frankfurt Radio Symphony Orchestra have begun to record the complete symphonies of Shostakovich, starting with his Fourth and Fifth symphonies. Shostakovich dared to express human suffering, passion, fear and catastrophe in his music, but always asking the same nagging question: what is man? In this sense, these two symphonies open with a question - an idea of martyrdom that was to become one of the central ideas of his later symphonies and, of course, of his Lady MacBeth of Mzensk. Both symphonies are dated between 1935-1937 when Shostakovich was in his thirties; this was one of the darkest and most difficult phases of his life, marked as it was by the repercussions of some of his writings and the arrest of many people close to him, including members of his family.

The celebrated young Colombian maestro Andres Orozco-Estrada continues his critically acclaimed series of recordings for Pentatone with this release of the evocative tone poems Macbeth and Ein Heldenleben by Richard Strauss, performed here with the Frankfurt Radio Symphony. These gripping works, with their intricate scoring and compelling narratives, are orchestral tours de force, demonstrating Strauss's gift for filling a huge orchestral canvas with vivd and exquisite details while maintaining a sense of drama. And they are stunningly brought to life in this recording with Pentatone's state of the art multi-channel surround sound. Strauss's brooding tone poem Macbeth is a psychological portait of the main protagonists in the play, the insecure and vacillating Macbeth and his wife, the ambitious but deranged Lady Macbeth. Strauss's often highly charged score suggests the mounting horror and dread of the ill-fated couple and their domestic unease, the work ending on a sombre ntoe following their deaths and the triumphal march of Macduff. In Strauss's striking and florid masterpiece Ein Heldenleben, there's little doubt who the real hero is but Strauss himself. While he was roundly mocked at the time for his audacity, there's also little doubt that this bold and dramatic tone poem is no mere cornucopia of orchestral effects - it's a life-affirming work which ends not in a triumphal blaze, but in a mood of quiet resignation.

Maestro Marek Janowski leads a sensational cast — including star vocalists Lise Davidsen and Andreas Schager — on this new recording of Der Freischütz, the German Romantic opera par excellence. In the years after its 1821 premiere, the catchy melodies, picturesque charm and spooky scenes of Der Freischütz thrilled audiences throughout Europe. Janowski’s inspired reading lifts out the symphonic qualities of Carl Maria von Weber’s masterpiece, and makes clear why colleagues such as Hector Berlioz and Richard Wagner raved about the work. The excellent cast consists of Lise Davidsen (Agathe), Andreas Schager (Max), Sofia Fomina (Ännchen), Alan Held (Kaspar), Markus Eiche (Ottokar) and Franz-Josef Selig (Eremit). Janowski conducts the Frankfurt Radio Symphony and MDR Radio Choir. For this recording, the original spoken dialogues have been replaced by short narrations, written by Katharina Wagner and Daniel Weber and recited by Corinna Kirchhoff and Peter Simonischeck. Marek Janowski is one of the most celebrated conductors of our times, and enjoys a vast PENTATONE discography, including complete recordings of Bruckner’s symphonies and Wagner’s mature operas. Frankfurt Radio Symphony has also released multiple albums on PENTATONE, including a recording of Richard Strauss’s Salome (2017).

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REVIEW:

Lise Davidsen gives her finest performance to date, with both her arias sung with a big, radiant voice, but always lyrically. She is well matched by Sofia Fomina’s perky Ännchen. Janowski conducts Weber’s masterly score with atmosphere and the choir are thrilling in the Huntsmen’s Chorus.

– Sunday Times (UK)

Desire. Brutality. Lust. Slyness. Anxiety. What a fascinatingly menacing thematic melange is seething in this Salome. Richard Strauss, the “nervous contrapuntalist,” had immediately recognized the potential of Oscar Wilde’s play, and had proceeded to add to it a musical meta-plane, which resulted in Salome becoming the scandalous new point of departure for opera in the 20th century. In its vivid psychological depiction of a corrupt world, Salome is, at the same time, both child of and witness to the dawning of the 20th century – a reflection of a moribund late-bourgeois era, captivated by its own putrefaction. The opera hit the nerve of the times. Strauss poured the Salome catastrophe into a one-act opera lasting a mere 100 minutes. However, these are 100 highly condensed minutes, which demand the listener’s full and uninterrupted attention without any break; first torturing him emotionally and then trickling the venom of sweet, seductive music into his ears and mind; laying his nerves bare, then making him tremble in aroused expectation. The new Pentatone album featuring the young, up-and-coming conductor Andres Orozco-Estrada leading the hr Symphony Orchestra (formerly Frankfurt Radio Symphony Orchestra) is a live recording of a concert given on September 10, 2016 in Frankfurt.

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REVIEW:

Orozco-Estrada’s approach is unrushed and often expansive. Magee’s Salome spits out her words as part of a characterization of the Judean princess that’s compellingly real and convincing. An unusually persuasive aural drama and a deeply musical account of the score – a compelling listen featuring a fine cast and expertly conducted. It’s a set that can be warmly recommended.

– Gramophone

Matthias Kirschnereit and the hr-Sinfonieorchester under Michael Sanderling have compiled a compelling, captivating programme of music from the last days of the Classical era, on the cusp of the Romantic. This half-way house in the best possible sense accommodates the compositions of Johann Nepomuk Hummel, Carl Maria von Weber and Felix Mendelssohn. On his latest album, the soloist makes the boldness of this musical venture audible: I was attracted by the fact that these rare jewels were created at a time of change, of new horizons. With over 40 album releases to his credit, the German pianist cannot be praised too highly for his inventiveness and initiative in exploring unfamiliar terrain. It was this spirit of discovery that led him to a fascinating program centered on Hummels Piano Concerto in A minor op. 85, flanked by Webers Konzertstück in F minor op. 79 and Mendelssohns Capriccio brilliant in B minor op. 22: all of them works whose fabric pulses with inner relationships, allusions and cross-references, united too by the fact that they are rarely to be heard on the concert platform. There is so much thrilling music that has fallen from favor. I was looking for a new combination, reflect Matthias Kirschnereit. Michael Sanderling is a conductor he has often worked with, and in this case Sanderling was his first choice: These works, which represent just as great a challenge for the orchestra, require a high degree of precision, virtuosity and elegant musical discourse. The teamwork with Sanderling and the symphony orchestra of Hesse Radio can only be described as an act of providence. This session rounded off the Corona year with an exhilarating highlight. And so may this music, which conjured up the spirit of a new era with defiant optimism two centuries ago, give us too a future to look forward to in our own times.

Sharon Kam discovers Hindemith on her third album on Orfeo label. Even if some people still consider him “too modern” today, Hanau-born Hesse Paul Hindemith is undoubtedly one of the most influential German composers of the generation after Richard Strauss. Few of his immediate colleagues have found their way into the international repertoire to the same extent that he has, or influenced subsequent generations through comparably extensive educational work. All three works for clarinet featured on this recording date from years of extensive travel: the Quartet for Clarinet, Violin, Cello, and Piano was written in 1938 around the time of his emigration to Switzerland, the Sonata for Clarinet and Piano in 1939 during the course of the tours of the USA that immediately followed the emigration, and finally, the Concerto for Clarinet and Orchestra in 1947 (written for and premiered by Benny Goodman) when Hindemith left his American exile to visit Europe again for the first time after the Second World War. Sharon Kam has teamed up with her long-standing musical partners Enrico Pace , Antje Weithaas , and Julian Steckel for the chamber music part of the album, and with the Frankfurt Radio Symphony under the musical direction of Daniel Cohen for the clarinet concerto.

In this album Clara Andrada, solo flutist of the Frankfurt Radio Symphony, performs three 20th century flute concertos together with the orchestra conducted by Jaime Martín. Malcolm Arnold’s delightful Flute Concerto No. 1 makes a pleasant addition alongside Nielsen’s and Ibert’s flute concertos. Jaime Martín, himself an excellent flutist, is a perfect companion to these works. This is the orchestra’s second album for Ondine, and continues the fruitful collaboration between Jaime Martín and Ondine that has already produced three albums previously. Clara Andrada de la Calleis one of the leading Flute players of her generation currently holding Solo Flute positions of both the Chamber Orchestra of Europe and the Frankfurt Radio Symphony Orchestra. Born in Salamanca, she commenced her musical studies with Pablo Sagredo and Magdalena Martínez at the Syrinx School of Music. Scholarships from the Spanish Ministry of Culture and the London Wall Trust Foundation enabled her to continue her studies at the Geneva Conservatory of Music under Prof. Emmanuel Pahud and Prof. J.D. Castellon as well as the London Royal College of Music under the guidance of Jaime Martín. As a Principal Flute player, she has worked with many leading orchestras, including the London Symphony Orchestra, London Philharmonic, Swedish Radio, Rotterdam Philharmonic, and NDR Elbphilharmonie Orchestra under esteemed conductors including Nikolaus Harnoncourt, Valery Gergiev, Colin Davis, Bernard Haitink, Vladimir Ashkenazy, Myung-whun Chung, and Lorin Maazel.

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REVIEW:

Competition abounds in Nielsen’s Flute Concerto of 1926 but Andrada is totally inside the unsettled, quixotic nature of the music and communicates lyrical passages with ardent conviction. Jaime Martín, himself a distinguished flautist, provides lithe and vibrant accompaniment in both the Nielsen and Ibert concertos, while Andrada herself directs the strings with impressive authority in the Arnold concerto. The quality of the recording in all three works is as bright and vivid as the performances.

– Gramophone

No fewer than four major composers - Faure, Debussy, Schoenberg and Sibelius - were inspired by Maurice Maeterlink's play Pelleas et Melisande (1892). Given that we celebrate anniversaries of Faure and Schoenberg in 2024, Paavo Jarvi here offers his reading of their settings of Pelleas et Melisande with the Frankfurt Radio Symphony, whose Music Director he was for almost ten years. Debussy was so much involved with his own operatic setting of Pelleas et Melisande that the famous English actress Mrs. Patrick Campbell turned to Gabriel Faure to write incidental music for the play; this music then became an orchestral suite in four movements that is considered to be Faure's symphonic masterpiece. Schoenberg followed advice given by his much-admired role model Richard Strauss in 1902 and composed his own symphonic poem based on Pelleas et Melisande. It's complex combinations of musical motifs and the rich fabric of the large-scale orchestra not only captivate us but also reveal his own vision of this archaic and yet universal story.

Primal Colors brings together the best of two worlds-the improvisational energy of jazz performed by the Frankfurt Radio Big Band and the majestic grandeur of classical music from the Frankfurt Radio Symphony. This synergy is masterfully balanced to preserve the unique character of both genres. Each track showcases incredible solo performances from members of the Big Band and Symphony.�Jim McNeely is an award-winning jazz composer known for his innovative approaches. "Primal Colors" further cements his reputation as a visionary artist who blends abstract concepts with rich musicality.

In 1907, Florent Schmitt composed music to accompany a ‘mimodrame’ danced by Loïe Fuller, La Tragédie de Salomé. His score is bursting with colour, energy, and voluptuousness – and also with oriental influences stemming from his travels to Morocco and Constantinople, where he discovered the howling dervishes. The final scene features the heart-rending ‘Chant d’Aïça’, an oriental melody sung by a soprano. This music, though bold and modern for the listeners of 1907, nonetheless aroused the admiration of another composer, Igor Stravinsky, to whom Schmitt dedicated the Symphonic Suite he subsequently derived from the work. However, Alain Altinoglu, at the helm of the Frankfurt Radio Symphony Orchestra of which he has been Music Director since 2021, has chosen to record the original version of this landmark of early twentieth-century French music. The beautiful Chant élégiaque, in its 1911 version for cello and large orchestra, completes this programme.

Written almost 100 years ago, The Thief of Bagdad is one of the greatest ever film scores and incredibly, has never been recorded untill l now - FHR are honored to be able to release the first recording of this wonderful score. Recorded in 2019, this recording features one of greatest European orchestras, the Frankfurt Radio Symphony, along with conductor Mark Fitz-Gerald who has an unparalleled reputation for performing the very specialized task of accompanying silent films live with orchestra. The score was written by the American composer Mortimer Wilson at the specific request of the film's main star actor Douglas Fairbanks. The Thief of Bagdad is now widely considered one of the great silent films and Fairbanks's greatest work. For the first time, Fairbanks recognized the composer as a creative collaborator from the start in the overall composition of his film (Wilson spent many hours in the projection room working out precise timings for every scene). Wilson was essentially a classical composer. Indeed, you can hear influences of Puccini's aria Vissi d'arte from Tosca, hints of Wagner's Valkyrie, along with moments of Alban Berg, Reger and Tchaikovsky. Fairbanks biographer Jeffrey Vance writes, "An epic romantic fantasy-adventure inspired by several of the Arabian Nights tales, The Thief of Bagdad is the greatest artistic triumph of Fairbanks's career. The superb visual design, spectacle, imaginative splendor, and visual effects, along with his bravura performance (leading a cast of literally thousands), all contribute to making this his masterpiece."

Sebastian Berner is one of the most prominent trumpet players of his generation: in 2022, he won first prize at the Maurice Andr� International Competition in Paris and is principal trumpet of the Frankfurt Radio Symphony Orchestra. While Henri Tomasi's trumpet concerto, composed in 1948, is fairly well known, the Concertino for Trumpet and Orchestra, composed in 1913 by the Belgian Joseph Jongen, is much rarer, and the concerto by his pupil L�on Stekke, dated July 1937, is being recorded for the first time. Another world premiere is Charles Koechlin's Chants de Kerv�l�an, transcribed in 2008 for trumpet and orchestra by Robert Orlidge. Finally, Florent Schmitt's Suite in Three Parts was premiered in it's orchestral version in 1956 by Maurice Andr�.

On Future Horizons, Francois Leleux, one of the most distinguished oboists of our time, presents a collection of works for oboe by renowned living composers Nicolas Bacri, Michael Jarrell, and Thierry Escaich, expanding the instrument's repertoire to new artistic possibilities. The album's title, Future Horizons, explores new musical frontiers, reflecting Leleux's commitment to pushing the boundaries of classical music through contemporary works. In Bacri's Notturno, Leleux takes on the role of both soloist and conductor, leading the Frankfurt Radio Symphony. In Jarrell's Aquateinte and Escaich' Double Concerto for Oboe, Violin & Orchestra, in which we can also hear Lisa Batiashvili, recognised for her incredible virtuosity, the orchestra joins him under the baton of Andres Orozco-Estrada. Each work on this album is a world premiere recording, with all the pieces written especially for these artists. Andres Orozco-Estrada, together with Frankfurt Radio Symphony, has a wide discography on PENTATONE, while Francois Leleux and Lisa Batiashvili make their label debut.