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The virtuosity may not be as extreme as that of Concerto Köln (on Capriccio), but each performance reaches a perfect balance between expressive ardor and precision--a quality mirrored by the accurate and natural sonics of the Radio Bremen engineers. --Luca Sabbatini, ClassicsToday.com","brand":"CPO","offers":[{"title":"CD","offer_id":44624256729322,"sku":"761203963720","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/290340.jpg?v=1778284165"},{"product_id":"britten-variations-on-a-theme-of-frank-bridge-simple-symp-095115659229","title":"BRITTEN: Variations on a Theme of Frank Bridge \/ Simple Symp","description":"Classical Music","brand":"Chandos","offers":[{"title":"CD","offer_id":44624164290794,"sku":"095115659229","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/106910.jpg?v=1778347079"},{"product_id":"lecuona-complete-piano-music-vol-2-tirino-83792","title":"Lecuona: Complete Piano Music Vol 2 \/ Tirino, Bartos","description":"Classical Music","brand":"BIS","offers":[{"title":"CD","offer_id":44711197507818,"sku":"7318590007747","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2262973.jpg?v=1778320695"},{"product_id":"lecuona-complete-piano-music-vol-3-thomas-83795","title":"Lecuona: Complete Piano Music Vol 3 \/ Thomas Tirino","description":"This release features the Rapsodia Cubana with Thomas Tirino on piano. 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Zelenka’s unconventional Miserere in C minor (Easter 1738) is a peculiar mixture of archaic music based on a ricercar by Frescobaldi and modern proto-classical movements. Hengelbrock leaps without reticence into the agitated music that opens and dramatically concludes the work (in comparison, Fiori Musicali’s performance seems coolly refined – Metronome, 3\/08). The Balthasar-Neumann Ensemble and Choir perform with full-blooded tension; Hengelbrock makes the fullest possible use of the plangent oboes and pulsating string chords but also ensures that the music-making never loses its focused precision. The abrupt conclusion leads cleverly into the sinfonia of Bach’s Weinen, Klagen, Sorgen, Zagen. The famous chaconne chorus that conveys weeping is tenderly phrased; solo voices are used for the first entries only and are soon joined by the full complement of 18 singers. This is by no means unpleasant but the sudden change of gears from streamlined intimacy to a larger choral texture feels odd (curiously, Hengelbrock eschews the policy in an entirely “choral” recapitulation).\u003cbr\u003e  \u003cbr\u003e The crowning glory is Lotti’s Missa a tre cori. As Hengelbrock has proved before with his outstanding recordings of Lotti’s Requiem (9\/99) and Missa Sapientiae (3\/04), the Venetian master’s chiaroscuro writing is certainly not run-of-the-mill. The contrapuntal first phrases of the “Kyrie” possess extraordinary expressive quality and accomplishment, whereas the first section of the “Gloria” is an irresistible, dance-like celebration with jaunty rhythms and bold trumpet. Lotti’s controlled and sublime setting of “Et in terra pax” reveals the harmonically adventurous talent and flair for unexpected effects that evidently fascinated Bach and Handel, and some surprising choral harmonies in the ardent “Qui tollis” lifted me from my chair in astonishment and admiration for both the composer and his modern-day interpreters. This is nothing short of revelatory.\u003cbr\u003e  \u003cbr\u003e – David Vickers, Gramophone\u003cbr\u003e  \u003cbr\u003e -----\u003cbr\u003e  \u003cbr\u003e  \u003cb\u003eUnearthing unknown masterworks, such as the Lotti and the Zelenka, is something of a speciality for Thomas Hengelbrock, and it is hard to imagine a more intense interpretation of the Miserere.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e Bach, Zelenka and Lotti on one disc - that seems a little odd. Bach and Zelenka knew each other as they lived and worked not that far away from each other, in Leipzig and Dresden respectively. But what about Lotti? \u003cbr\u003e    \u003cbr\u003e  Antonio Lotti made his career in Venice, but was born in Hanover where his father was  \u003ci\u003eKapellmeister\u003c\/i\u003e. In Venice he became a pupil of Legrenzi. He started out as an alto singer and organist in San Marco. In 1693 he wrote his first opera, and his growing reputation as an opera composer brought him the invitation to write an opera for Dresden. Here he lived and worked from 1717 to 1719. He wasn't only an opera composer, though. When he came to Dresden he took with him some religious works he had written in Venice, and in Dresden he composed some more. \u003cbr\u003e    \u003cbr\u003e  Zelenka, who for many years worked in the court orchestra in Dresden as double-bass player, copied a number of works by Lotti. Among them was the  \u003ci\u003eMissa Sapientiae\u003c\/i\u003e; a copy of this mass has also been found in Bach's library. It is quite possible that it was through Zelenka that Bach became acquainted with Lotti's oeuvre. Thomas Hengelbrock recorded Lotti's  \u003ci\u003eMissa Sapientiae\u003c\/i\u003e in 2002, and it was released together with Bach's  \u003ci\u003eMagnificat\u003c\/i\u003e by deutsche harmonia mundi. \u003cbr\u003e    \u003cbr\u003e  But there are not only historical reasons bringing together these composers on one disc. There are also some stylistic similarities between the three compositions which Thomas Hengelbrock has recorded. The main feature they have in common is that they contain both traditional and modern elements. They link with the traditional  \u003ci\u003estile antico\u003c\/i\u003e in that they include polyphonic sections. And in all three pieces dissonances and chromaticism are used for expressive reasons linking with the sung words. At the same time they contain elements which reflect contemporary fashion. \u003cbr\u003e    \u003cbr\u003e  Zelenka's setting of the penitential Psalm 50 (51), 'Miserere mei Deus', is a perfect example of the mixture of old and new. It starts with an extended setting of the first verse of this psalm, which is dominated by chords in the strings in a very agitated rhythm, which are relentlessly repeated. The amount of dissonance in this section is quite unusual for the time. Next the text of the whole psalm is sung in a strict polyphonic style. It is based on an organ ricercar by Girolamo Frescobaldi, from his 'Fiori Musicali' of 1635. It is likely this was the main reason that this Miserere was received negatively. A diary of the time says: \"Mr. Zelenka performed a Miserere of excessive length\". It is probably not the actual time the performance took that caused this comment but rather its old-fashioned style. For a performance in the following year Zelenka added an aria for soprano which was written in modern  \u003ci\u003egalant\u003c\/i\u003e style. This is the third movement, the first half of the doxology. This part is then set again for the tutti, and this is followed by the second half of the doxology. Then Zelenka returns to the opening verse. It is not a repetition of the first section, although elements from it are reused. \u003cbr\u003e    \u003cbr\u003e  The Balthasar-Neumann-Choir and -Ensemble give good performances, in which the text expression comes off very well. It is disappointing, though, that the dense polyphonic texture of the second section results in the words being practically inaudible. More attention should have been given to a clear delivery of the text. Tanya Aspelmeier gives a good account of the solo part. \u003cbr\u003e    \u003cbr\u003e  The cantata 'Weinen, Klagen, Sorgen, Zagen' is one of Bach's most famous cantatas. It inspired Franz Liszt to one of his best-known organ works. It seems Bach also liked it: he composed the cantata in 1714 in Weimar, and performed it again in 1724 in Leipzig. The mood of the work is best caught in the accompanied recitative, a quotation from the Bible (Acts of the Apostles): \"We must pass through great sadness that we come into God's kingdom\". \u003cbr\u003e    \u003cbr\u003e  The cantata begins with an expressive sinfonia, marked 'adagio assai'. The opening chorus has a dacapo form, and the A section is a chaconne over a chromatic bass which is repeated twelve times. It is here that the tradition comes to the fore, as well as in the scoring with two independent viola parts. The B section doesn't contain independent instrumental parts: the instruments are supposed to play  \u003ci\u003ecolla parte\u003c\/i\u003e with the voices - another feature of the  \u003ci\u003estile antico\u003c\/i\u003e. \u003cbr\u003e    \u003cbr\u003e  Much more in line with the fashion of the time is the inclusion of a dacapo aria, 'Kreuz und Kronen sind verbunden', scored for alto, with an obbligato part for the oboe. In the tenor aria 'Seid getrost', the slide trumpet plays the melody of the chorale 'Jesu, meine Freude'. The German Bach scholar Alfred Dürr suggests Bach could have had the last stanza in mind: \"Begone, mournful spirits, for the master of my joys, Jesus, is now arriving\". \u003cbr\u003e    \u003cbr\u003e  The tutti parts receive good performances from the choir and the orchestra. None of Bach’s expressive devices passes unnoticed. The rhythm of the bass aria 'Ich folge Christo nach' is under-exposed, though. The contralto Marion Eckstein sings her part beautifully, and so does the tenor Julian Podger, although in his aria I would have liked stronger contrast between the A and B sections. The bass Marek Rzepka is a bit bland, and there is a slight tremolo in his voice which I have noticed in other recordings in which he participated. The obbligato parts are well executed by Emma Black (oboe) and Paolo Bacchin (slide trumpet). \u003cbr\u003e    \u003cbr\u003e  Old and new elements are also present in Antonio Lotti's  \u003ci\u003eMissa a tre cori\u003c\/i\u003e, written for three groups, as the title indicates. This mass belongs to the genre of the 'missa brevis', consisting of Kyrie and Gloria only. The  \u003ci\u003estile antico\u003c\/i\u003e is particularly present in the  \u003ci\u003eKyrie\u003c\/i\u003e and returns in some sections of the  \u003ci\u003eGloria\u003c\/i\u003e. \u003cbr\u003e    \u003cbr\u003e  The first  \u003ci\u003eKyrie\u003c\/i\u003e is very reminiscent of the opening of Zelenka's  \u003ci\u003eMiserere\u003c\/i\u003e, in particular harmonically. Even rhythmically there is some similarity, although Lotti's rhythms are less agitated. In the  \u003ci\u003eChriste eleison\u003c\/i\u003e the name 'Christe' is singled out. The second  \u003ci\u003eKyrie\u003c\/i\u003e contrasts the descending line and an ascending figure on the words \"eleison\" in the upper voices. \u003cbr\u003e    \u003cbr\u003e  The  \u003ci\u003eGloria\u003c\/i\u003e begins with a dancing movement in jubilant mood, in which the trumpet participates. The next section, 'Et in terra pax', takes more than five minutes and reverts to the same kind of chords in the strings and strong dissonances we heard in the first  \u003ci\u003eKyrie\u003c\/i\u003e. The 'Gratias agimus' also begins with great harmonic tension which is then released in the second half. In 'Qui tollis peccata mundi' Lotti again makes use of fiery chords and sharp dissonances. \u003cbr\u003e    \u003cbr\u003e  The most modern sections are 'Domine Deus' and 'Qui sedes'. The former is a wonderful trio for soprano, violin and basso continuo. 'Qui sedes' is scored for alto and obbligato oboe, with the lower strings and basso continuo. In 'Quoniam tu solus sanctus' the trumpet returns. Through homophony and long notes the name 'Jesu Christe' is singled out. The mass ends with a fugal section on the text 'Cum Sancto Spiritu'. \u003cbr\u003e    \u003cbr\u003e  This is probably the very first recording of this mass, and it is a beautiful and highly expressive work. It is easy to understand that Zelenka and Bach were interested in Lotti's music, and in particular Zelenka seems to have been influenced by Lotti. The qualities of Lotti's mass setting are fully explored by choir and orchestra, with excellent contributions of the vocal and instrumental soloists. Only Bernard Landauer is a little disappointing in 'Qui sedes'. \u003cbr\u003e    \u003cbr\u003e  Unearthing unknown masterworks is something of a speciality for Thomas Hengelbrock. Both Lotti's  \u003ci\u003eMissa Sapientiae\u003c\/i\u003e and the  \u003ci\u003eMissa a tre cori\u003c\/i\u003e are masterpieces - evidence that Lotti's oeuvre is well worth further appraisal. Bach's cantata is available in a number of other recordings. The performance on this disc is good, but not the main reason to commend this CD. \u003cbr\u003e    \u003cbr\u003e  It is both Lotti's mass and the  \u003ci\u003eMiserere\u003c\/i\u003e by Zelenka which make this disc especially attractive. The Zelenka has been recorded before, and some time ago I  \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2008\/May08\/Zelenka_metcd1082.htm\"\u003ereviewed a recording\u003c\/a\u003e by Penelope Rapson. But Hengelbrock's interpretation is simply superior, and in fact it is hard to imagine a more intense interpretation of Zelenka's  \u003ci\u003eMiserere.\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e – Johan van Veen, MusicWeb International\u003cbr\u003e","brand":"RCA","offers":[{"title":"CD","offer_id":44915731038442,"sku":"886975268429","price":14.86,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1558270.jpg?v=1778374369"},{"product_id":"janacek-in-the-mist-concertino-variations-for-zdenka","title":"JANACEK: In the Mist \/ Concertino \/ Variations for Zdenka","description":"JANACEK: In the Mist \/ Concertino \/ Variations for Zdenka","brand":"Naxos","offers":[{"title":"CD","offer_id":44931413606634,"sku":"730099458726","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/127358.jpg?v=1778346410"},{"product_id":"exterminating-angel-met","title":"ADES: EXTERMINATING ANGEL (MET)","description":"If you see one opera this year, make it The Exterminating Angel, ran the headline in the New York Times after the US premiere of Thomas Ad�s' \"stunningly inventive\" opera based on Luis Bu�uel's surreal and satirical 1962 film El �ngel exterminador. Like the British composer's score, Tom Cairns' production is both spectacular and surprising. \"Ad�s keeps the listener on edge,\" wrote Opera magazine, \"because one never knows where his dazzling palette of possibilities will take him next.\" Thomas Ad�s TITLE: Ad�s: The Exterminating Angel (MET)(Blu-ray) Label: PRX\/Warner Classics\/Parlophone Language: English Subtitles: English, French, German, Spanish Number of discs: 1 Run Time: 142 minutes","brand":"WARNER CLASSICS","offers":[{"title":"Blu-Ray","offer_id":44932239687914,"sku":"190295525491","price":26.14,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3854823_3d84faad-442d-44da-8c90-7c37471e893c.jpg?v=1780141586"},{"product_id":"san-jacinto-hall-with-butch-thompson","title":"SAN JACINTO HALL WITH BUTCH THOMPSON","description":"This CD wraps up a series of pure New Orleans jazz recorded Dec. 31, 1965 at the famous San Jacinto Hall where many other great jazz recordings have been made. 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Presenting the work in the form heard at the Bremen premiere is more than just a reconstruction: it enriches our understanding of this unique music.","brand":"BIS","offers":[{"title":"SACD","offer_id":46012692955370,"sku":"7318599927206","price":30.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4394838-3312292.jpg?v=1778205642"},{"product_id":"strauss-mahler-masterworks","title":"Strauss \u0026 Mahler: Masterworks","description":"Classical Music","brand":"ICA Classics","offers":[{"title":"DVD","offer_id":46012862824682,"sku":"5060244551336","price":66.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2794668.jpg?v=1778349837"},{"product_id":"nutcracker-284072","title":"Tchaikovsky: The Nutcracker \/ Septura","description":"\u003cp\u003eBrass instruments are a vital part of the festive fabric of Christmas, and Tchaikovsky’s iconic ballet The Nutcracker is made even more joyful with the brassy brilliance of Septura. Narrated by preeminent actor Derek Jacobi, The Nutcracker is set on Christmas Eve, with music both rapturous and fantastical. It tells the story of how young Clara’s favorite present, a nutcracker shaped like a little man, turns into a handsome prince at midnight. Septura has been acclaimed by Brass Band World for its ‘stylistic perfection’ and ‘beautifully portrayed artistry.’\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46012863742186,"sku":"747313415779","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3731031-2513815.jpg?v=1778269008"},{"product_id":"of-mice-and-men","title":"OF MICE AND MEN (MUSIC FROM THE ORIGINAL BALLET)","description":"From Academy Award-nominated and Grammy Award-winning composer Thomas Newman (The Shawshank Redemption, American Beauty, Skyfall) comes his first-ever original ballet score, inspired by the classic John Steinbeck novel Of Mice and Men and composed for The Joffrey Ballet's critically acclaimed 2022 production choreographed by Cathy Marston. Newman's music evokes themes of loneliness and the aspiration for a new life, even in the face of incredible hardship.","brand":"SONY CLASSICS","offers":[{"title":"CD","offer_id":46012880617706,"sku":"198028921022","price":16.17,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4411560-3378344.jpg?v=1778366495"},{"product_id":"elgar-the-starlight-express-manahan-thomas-williams-115338","title":"Elgar: The Starlight Express \/ Manahan Thomas, Williams, Davis","description":"This fairytale melodrama was adapted from a book by Algernon Blackwood A Prisoner in Fairyland for a West End theatre production staged during World War 1 with music by Elgar. Based on a new score which has been adapted by Sir Andrew Davis who also here conducts the Scottish Chamber Orchestra this is the most comprehensive recorded version to date. The two-disc set includes the incidental music with narrative by Simon Callow and an extended suite of freestanding orchestral movements and songs.\u003cbr\u003e  \u003cbr\u003e  \"Those who love this score as much as Elgar did - and I do - will welcome this new recording. ... All Elgarians must hear this superb set.\" – Paul Corfield Godfrey, MusicWeb International\u003cbr\u003e  \u003cbr\u003e  \"Performance: ***** Recording: **** This is a very valuable addition to the Elgar discography.” – Calum MacDonald, BBC Music [1\/2012]\u003cbr\u003e  \u003cbr\u003e  “[L]ovingly played by the Scottish Chamber Orchestra and features the excellent baritone soloist Roderick Williams.” – Andrew Clark, Financial Times [12\/8-9\/2012]\u003cbr\u003e  \u003cbr\u003e  “Elgar’s score is enchanting – and Davis and the SCO deliver it with evident affection.” – Hugh Canning, The Sunday Times (Culture Magazine) [11\/11\/2012]\u003cbr\u003e  \u003cbr\u003e  “Davis secures absolutely first-rate results from the Scottish CO. Elin Manahan Thomas’s light silvery soprano could hardly be more suited to the parts of the laughter and Jane-Anne, while Roderick Williams is in glorious voice throughout. Everything has been captured by the microphones with ingratiating amplitude, bloom and glow.” – Andrew Achenbach, Gramophone [11\/2012] \u003cbr\u003e  \u003cbr\u003e  \"[T]he songs are delivered with just the right lightness of touch by soprano Elin Manahan Thomas and baritone Roderick Williams. ***\" – Andrew Clements, The Guardian [10\/26\/2012]","brand":"Chandos","offers":[{"title":"SACD","offer_id":46012921577706,"sku":"095115511121","price":21.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2067855.jpg?v=1778315229"},{"product_id":"let-the-bright-seraphim-thomas-steele-perkins-182311","title":"Let the Bright Seraphim \/ Thomas, Steele-Perkins, Monks, Armonico Consort","description":"\u003cp\u003e\u003cspan class=\"ARIAL12bi\"\u003eLET THE BRIGHT SERAPHIM \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eChristopher Monks, cond; Elin Manahan Thomas (sop); Crispian Steele-Perkins (tpt); Armonico Consort (period instruments) \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e SIGNUM SAGCD289 (59:07) \u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"COMPOSER12\"\u003eBACH \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eJauchzet Gott in allen Landen, \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eBWV 51. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eA. SCARLATTI \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eSu le sponde del Tebro. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eTELEMANN \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003eTrumpet Concerto in D. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eHANDEL \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003eMusic for the Vauxhall Gardens: \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eHWV 63, 14, 42, 20, 74. \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eWater Music: \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eOverture; Air; Hornpipe. \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003eSamson, \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eHWV 57, “Let the Bright Seraphim” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhen does an early-music ensemble go Pop? Or Mod for that matter? The answer may well be when it’s Armonico Consort, with its very eclectic and sometimes even bizarre (though they call it “original”) programming, which features themed concerts designed to attract new audiences to classical music. To read the description of their concerts so far, with rubrics such as “Too Hot to Handel,” “Naked Byrd,” or “Monteverdi’s Flying Circus,” one wonders whether this is a revamped branding in order to be hip, or if someone in Britain has gone off the reservation. Whatever one’s view of this sort of advertising, there is little doubt that they have made some impressive achievements, such as founding the AC Academy for interactive music education, which will no doubt assure a bright future for music in England, at least. This disc seems to take a more sedate view, using George Fredrick Handel’s famous aria from \u003c\/span\u003e \u003cspan style=\"font-style: italic;\"\u003eSamson\u003c\/span\u003e \u003cspan\u003e as the title. Here, the ensemble under Christopher Monks partners with soprano Elin Manahan Thomas and trumpeter Crispian Steele-Perkins, both well-known superstars in the early-music world, to create a program of favorites. \u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan\u003eThe cantata \u003c\/span\u003e \u003cspan style=\"font-style: italic;\"\u003eJauchzet Gott in allen Landen\u003c\/span\u003e \u003cspan\u003e is a tried and true soprano display piece, whose final Alleluia is a magnificent \u003c\/span\u003e \u003cspan style=\"font-style: italic;\"\u003etour de force\u003c\/span\u003e \u003cspan\u003e for both voice and clarion trumpet, especially since it follows on to the sedate cantus firmus colophon “Sei Lob und Preis” in typically Bachian cantata style. The Scarlatti cantata too is a favorite for sopranos seeking to outdo the great Farinelli, while every trumpeter worth anything has in his or her repertory the Telemann D-Major Trumpet Concerto, with its flashy runs and showy sequences. Where the program departs from the ordinary is with the so-called “Music for the Vauxhall Gardens,” a paean towards the popular outdoors venue in London during the 18th century, where summer concerts were given in a rather impressive pavilion. The five pieces include a sort of greatest hits parade compiled by Steele-Perkins after similar bits and pieces published in the 1740s by John Walsh, concluding with some works from the \u003c\/span\u003e \u003cspan style=\"font-style: italic;\"\u003eWater Music\u003c\/span\u003e \u003cspan\u003e, once ascribed to Handel but now probably by one of his subordinates, John Grano (1692-1748), and of course the title aria. As a concert, it is recognizable, even perhaps a bit well worn, since almost all of the pieces have been recorded previously by people such as Steele-Perkins himself and Emma Kirkby. \u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan\u003eThe result is something that purists might find redundant, though the performances themselves are quite good. Thomas has a nice, vibrant voice that blends well with the period instruments, and the Consort is both in tune and has some nice phrasing in these warhorses, which is the mark of absolute professionalism. Steele-Perkins performs ably for his part, with just enough variability to be able to discern the valveless quality of his natural trumpet, performing the various virtuoso parts with agility and alacrity. My hesitancy in the face of such a performance is that most who are knowledgeable of the period will not find these renditions out of the ordinary, even though they are expert. Moreover, the program itself will only appeal to a certain audience since many listeners will already have equally expert recordings of entire pieces at hand, though perhaps not all on one disc. Still, if one is just beginning to explore either the world of the Baroque, or even classical music at all, this should have some appeal. \u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eFANFARE: Bertil van Boer \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012972761322,"sku":"635212028926","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2288462_a8b33dbb-c664-4e94-93fd-ed549739aa12.jpg?v=1778305900"},{"product_id":"trumpet-ship","title":"TRUMPET SHIP","description":"One of the best trumpet players in the world. -THOMAS CONRAD, JAZZTIMES. 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This is apparent no more so than in his youthfully exuberant Suite No.1, recorded here for the first time in it's original uncut version. The suite is paired with his last completed orchestral work, the Concerto for Orchestra.","brand":"ONYX CLASSICS","offers":[{"title":"CD","offer_id":46013092724970,"sku":"880040421023","price":20.17,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3762140-2522941.jpg?v=1778370620"},{"product_id":"swansongs-songs-of-remembrance","title":"Swansongs: Songs of Remembrance","description":"Composer, musician and broadcaster John Brunning is perhaps best known for his choral work Pie Jesu. The piece was initially recorded by the vocal group 'All Angels', and there has since been around a dozen recordings including an acapella arrangement by The King's Singers. 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During the mid-nineteenth century the Distin Family blazed a traila cross Europe and North America performing countless concerts and promoting new and exciting designs of brass instruments. The Distins originally performed on a mixture of natural and keyed brass instruments but halfway through their career, thanks to a chance meeting with Adolphe Sax in Paris in 1844, they adopted the new valved brass instruments, and in particular the new \"saxhorn\", with which their names became synonymous. 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Johannes Brahms was only twenty years old when Robert Schumann hailed him as one whose genius gave rise to the greatest symphonic hopes. It is therefore striking that he didn't complete his First Symphony until more than twenty years later, in 1876 - even though the earliest sketches for it date back to 1855. Brahms - who once said that he constantly heard the 'giant' Beethoven 'marching behind him' - had such a deep respect for what his great predecessor had achieved with the genre that he for a long time doubted that he would ever be able to write a symphony of his own - by the time he did, it must have been gratifying to him that it was hailed as 'Beethoven's Tenth'. While working on the symphony, Brahms composed his Op.52, the cycle Liebeslieder-Walzer 'for piano four-hands (and song ad libitum)'. He kept the forces as flexible as possible: the waltzes were performable with or without voices; if used, the vocal parts could be sung either by soloists or by a choir. Even so, he was soon asked for another version, for choir and orchestra. Brahms initially rejected this idea, but finally agreed to make a partial orchestration: selecting eight of the Op.52 waltzes, he supplemented them with an early version of one of the not yet published Neue Liebeslieder-Walzer, Op.65. Around the same time, he was asked to orchestrate another collection of dances composed for piano four-hands: his first set of Hungarian Dances, which had quickly become a great hit. It took him four years to comply with this wish, and even then he only accepted to orchestrate three of the dances, leaving the field open for various other arrangers (including Dvorák) to satisfy the demand for more.\u003c\/p\u003e","brand":"BIS","offers":[{"title":"SACD","offer_id":46013284843754,"sku":"7318599917566","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2263744.jpg?v=1778298891"},{"product_id":"tchaikovsky-symphony-no-6-pathetique-romeo-juliet-7318599919591","title":"Tchaikovsky: \"Pathétique\" Symphony; Romeo \u0026 Juliet \/ Dausgaard, Swedish CO","description":"Classical Music","brand":"BIS","offers":[{"title":"SACD","offer_id":46013312925930,"sku":"7318599919591","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2263862.jpg?v=1778299130"},{"product_id":"something-about-christmas-time","title":"SOMETHING ABOUT CHRISTMAS TIME","description":"Red Vinyl LP pressing. Holiday release from the Matchbox Twenty frontman. The 10-track album includes original songs, covers of Ray Charles' 'That Spirit of Christmas' and Bryan Adams' 'Christmas Time' and duets, with collaborators on the album including Bebe Winans, Robert Randolph, Ingrid Michaelson, Brad Paisley, Forest Blakk \u0026amp; Abby Anderson.","brand":"ATLANTIC","offers":[{"title":"Vinyl","offer_id":46013318988010,"sku":"075678638756","price":29.96,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4123086-2865100.jpg?v=1780136768"},{"product_id":"toby-young-beowulf-monks-armonico-consort-359853","title":"Toby Young: Beowulf \/ Young, Armonico Consort","description":"\u003cp\u003eThe story of Beowulf, although thousands of years old, is still loved by many all over the world. This recording of a new musical telling of the story, composed by Toby Young, blurs traditional sense of the genre of classical music by merging it with folk and popular music. This fusion is what makes \u003cem\u003eBeowulf\u003c\/em\u003e a fantastic story. The greatest versions of the story are not those defined by a simplistic clash of good versus bad, but the ones which involve slight ambiguous points; ones which allow the reader\/listener to make his\/her mind up about what is exactly going on. The combination of Toby Young’s score and Jennifer Thorp’s libretto create this perfectly – with characterful narration by celebrated actor Timothy West, beautiful performances by soprano Elin Manahan Thomas.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis disc is really a lot of fun. The English composer Toby Young (b. 1990) studied at King’s College, Cambridge (with Robin Holloway) and New College, Oxford. \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eThis work is a retelling of the classic story of Beowulf, involving a script by William Towers, based on ideas by Danny Coleman-Cooke, and a sung libretto by Jennifer Thorp. Famed actor Timothy West is the superb narrator, and the young choral forces sing music to accompaniment of a small instrumental ensemble. Coleman-Cooke’s treatment of the story introduces ambiguity rather than hewing to a simple good vs. evil dynamic. Young’s music feels perfectly gauged. Each “cue” is never too long. The overall style is both completely of the present while also evoking the “ancient” era of the story. It is beautifully recorded and performed, and makes for a most enjoyable hour of storytelling in words and music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cem\u003e--Fanfare\u003c\/em\u003e\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46013322723562,"sku":"635212063224","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3847093-2601941_b2cd4d21-c897-4b24-bae7-d703029e4c40.jpg?v=1778250307"},{"product_id":"brahms-serenade-no-2-etc-tilson-thomas-261816","title":"Brahms: Serenade No 2, Etc \/ Tilson Thomas, London So","description":"BRAHMS: SERENADE NO 2, ETC  TI","brand":"Sony Masterworks","offers":[{"title":"CD","offer_id":46013374726378,"sku":"074644719529","price":8.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4317597-3492520.jpg?v=1778215483"},{"product_id":"im-maien","title":"Im Maien","description":"Classical Music","brand":"Cantate","offers":[{"title":"CD","offer_id":46013382066410,"sku":"4012476580432","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2820370.jpg?v=1778302976"},{"product_id":"fischer-music-for-winds-lindemann-thomas-947619","title":"Fischer: Music for Winds \/ Lindemann, Thomas, MTSU Wind Ensemble","description":"\u003cp\u003eThe four works for symphonic wind band composed by Peter Fischer – born in 1956, across the bay from San Francisco, in Martinez, California – are almost textbook examples of American eclecticism, mixing urban vibrancy with a sense of the timeless outdoors, bringing in flavors from jazz and rock and moving easily between vigorous dance-rhythms and sultry nightscapes. Dance, indeed, lies at the heart of most of this music, which gives the mambo, the tango, the tarantella and the waltz a new and spirited twist amid echoes of Stravinsky, Revueltas and Bernstein. In Fischer's \u003cem\u003eTrumpet Concerto\u003c\/em\u003e, soloist Jens Lindemann plays trumpet, cornet, and flügelhorn.\u003c\/p\u003e","brand":"Toccata","offers":[{"title":"CD","offer_id":46013392453866,"sku":"5060113446251","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4005647-2743729.jpg?v=1778228106"},{"product_id":"this-is-the-day-rutter-cambridge-singers-87853","title":"This Is The Day \/ Rutter, Cambridge Singers","description":"\u003cb\u003eA very good and well-conceived musical celebration of Queen Elizabeth’s Diamond Jubilee. \u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e No doubt there will be plenty of recordings issued in 2012 to celebrate - or cash in on, the cynic might say - the Diamond Jubilee of Queen Elizabeth II. This is John Rutter’s contribution. \u003cbr\u003e    \u003cbr\u003e  You may ask, what have Schubert’s psalm setting or a movement from the Brahms Requiem to do with the British royal family? It may be similarly objected that a piece such as the one by John Tavener has little to do with jubilee celebrations. After all, its sole connection with royalty is that it was sung at the funeral of Diana, Princess of Wales in 1997. The answer to such questions lies in the title of the disc. “Music on Royal Occasions” allows John Rutter to cast his net wide. In fact, all but two of the pieces included here have been performed either at a royal wedding or funeral between 1947 - the marriage of the Queen and the Duke of Edinburgh - and 2011 - the wedding of the Duke and Duchess of Cambridge. The two exceptions are the piece by Richard Rodney Bennett, which was written for the diamond wedding anniversary of the Queen and Prince Philip, and the extract from Britten’s opera, written to celebrate Queen Elizabeth’s coronation. In case you were wondering, the Schubert was sung at the 1960 wedding of Princess Margaret and Anthony Armstrong-Jones while the Brahms was heard at the funeral of Queen Elizabeth the Queen Mother in 2002: I didn’t know those last two facts but the booklet helpfully tells us which piece was heard at which royal event. \u003cbr\u003e    \u003cbr\u003e  Both of the new pieces written for the 2011 Royal Wedding are included. Rutter’s own offering is a nice, readily accessible piece. To be frank - and I speak as an admirer of Rutter’s music - it’s a trifle disappointing in that it’s pretty predictably Rutter-ish. Then, to be fair, an occasion such as the Royal Wedding is one when a composer probably ought to write something that is readily appreciated by a worldwide audience. As I wrote recently, when  \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2012\/May12\/Mealor_tende%0Ar_light_4764814.htm\"\u003ereviewing\u003c\/a\u003e a disc of music by Paul Mealor, I’ve revised my view of his  \u003ci\u003eUbi caritas\u003c\/i\u003e since I first heard it. At the Royal Wedding I thought it a somewhat grey piece but hearing it again on the Mealor disc I thought it came over better. However, I clearly recall thinking when I first heard it that it wasn’t a patch on the Maurice Duruflé setting and hearing the two one after the other merely confirms that view. The Mealor piece is nice and sincere but Duruflé’s fluent setting is simply inspired. \u003cbr\u003e    \u003cbr\u003e  New to me was the Richard Rodney Bennett piece and I’m delighted to make its acquaintance. Written for unaccompanied choir it’s a very fine setting of the famous passage from St. Paul’s Epistle to the Corinthians - ‘If I speak with the tongues of men and angels …’ It receives a v \u003ca name=\"_GoBack\"\u003e\u003c\/a\u003eery fine performance, as do all the other pieces on the programme. It’s enterprising to include this unfamiliar piece and it’s equally enterprising to include the extract from Britten’s  \u003ci\u003eGloriana\u003c\/i\u003e. \u003cbr\u003e    \u003cbr\u003e  Soprano Elin Manahan Thomas is on hand to sing the solos in the Mozart and Handel selections. She sings both very well, though, to my taste, her ornamentation in the Handel is a bit too florid. Incidentally, the Handel is also distinguished by excellent silvery trumpet solos by Simon Cox. \u003cbr\u003e    \u003cbr\u003e  The Brahms piece is given in English. I’d much rather hear it in German but I can understand why it’s done in English here since that’s how it’s done as a separate Anglican anthem - and, presumably, that’s how it was given at the Queen Mother’s funeral. The Elgar piece that follows is the prologue to the oratorio  \u003ci\u003eThe Apostles\u003c\/i\u003e and it, too, is often heard as a separate anthem. I was mildly disappointed to hear it done here with organ accompaniment - though Andrew Lucas plays splendidly. It’s a bit illogical to do the Brahms with orchestra and the Elgar without; I can only think that the Aurora Orchestra isn’t sufficiently big for Elgar’s scoring. \u003cbr\u003e    \u003cbr\u003e  So, to anyone who might glance at this CD on a shelf and dismiss it as ‘just another Jubilee potboiler’ I’d say: think again. I must honest and say that’s what I expected when I saw the disc advertised but I was wrong. This selection is a bit different and a bit more thoughtful and reflective than one might expect. Perhaps one should coin a phrase and say ‘don’t judge a CD by its cover’. The performances are all expertly done and the recorded sound and documentation are very good. This is a very good and well-conceived musical celebration of Queen Elizabeth’s Diamond Jubilee. \u003cbr\u003e    \u003cbr\u003e  -- John Quinn, MusicWeb International\u003cbr\u003e","brand":"Collegium Records","offers":[{"title":"CD","offer_id":46013393928426,"sku":"040888013624","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1973780.jpg?v=1778320035"},{"product_id":"american-classics-barber-knoxville-summer-of-1915-94435","title":"American Classics - Barber: Knoxville - Summer Of 1915, Essays For Orchestra","description":"\"None of the performances on this new release is less than superb; moreover, no one who has been using the Naxos series to build his library of Barber works risks being disappointed by this or any of the other releases...this new Naxos release is especially notable for its extremely rich yet transparent sound quality and for painstakingly shaped phrasing by the Scottish National Orchestra.\"\u003cbr\u003e  \u003cbr\u003e -- Walter Simmons, Fanfare\u003cbr\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46013474144490,"sku":"636943913420","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/639269.jpg?v=1778283781"},{"product_id":"silverman-elephant-steps-a-fearful-radio-show-168863","title":"Silverman: Elephant Steps - A Fearful Radio Show \/ Michael Tilson Thomas","description":"Music by Stanley Silverman, libretto by Richard Foreman.\u003cbr\u003e  \u003cbr\u003e  Tracks:\u003cbr\u003e  1 Elephant Drone; Elephants 3:01\u003cbr\u003e  2 Elephant Heartbeats 2:03\u003cbr\u003e  3 Don’t You Believe; My Ears 2:21\u003cbr\u003e  4 All Shook Up 1:33\u003cbr\u003e  5 Read My Palms; My Hands Are Inside the Wall; Gavotte 3:52\u003cbr\u003e  6 Read My Palm; Watch Me Move; I’m No Closer; Look at My Hands 6:33\u003cbr\u003e  7 Stop Seeing Reinhardt 5:23\u003cbr\u003e  8 Entr’acte; Watch Me Put My Right Foot 5:27 \u003cbr\u003e  9 I Am No Longer Beautiful; Beautiful As Is 4:43 \u003cbr\u003e  10 We Sit in the Window 4:13 \u003cbr\u003e  11 Gypsy Tango; Shoot Them 3:31\u003cbr\u003e  12 You’re on the Radio; Radio Waves 3:34\u003cbr\u003e  13 Dreaming of Reinhardt 1:04 \u003cbr\u003e  14 Midnight Sun 4:05 \u003cbr\u003e  15 Photograph Song 1:29 \u003cbr\u003e  16 Madrigals 2:50 \u003cbr\u003e  17 Vaudeville Chase; Stirring Soup; A Strange Thing 4:32 \u003cbr\u003e  18 Finale 4:35 \u003cbr\u003e  \u003cbr\u003e  Scrubwoman – Karen Altman \u003cbr\u003e  Hannah – Susan Belling \u003cbr\u003e  Max – Luther Enstad \u003cbr\u003e  Doctor – Roland Gagnon \u003cbr\u003e  Otto – Larry Marshall \u003cbr\u003e  Rock Singer – Luther Rix \u003cbr\u003e  Ragtime Lady – Marilyn Sokol \u003cbr\u003e  Hartman – PhilipSteele \u003cbr\u003e  Archangel – Michael Tilson Thomas \u003cbr\u003e  \u003cbr\u003e  Chorus: Patti Austin, Jane Gunter, Dianne Higginbotham, June Magruder, Patricia Price, Albertine Robinson, Maeretha Stewart, Rose Taylor\u003cbr\u003e \u003cbr\u003e  Electronic music realized by Pril Smiley at the Columbia-Princeton Electronic Music Laboratory.","brand":"Sony Masterworks","offers":[{"title":"CD","offer_id":46015557632234,"sku":"887654931924","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3819023.jpg?v=1778245097"}],"url":"https:\/\/arkivmusic.com\/collections\/gary-thomas.oembed?page=2","provider":"ArkivMusic","version":"1.0","type":"link"}