La Nuova Musica and its artistic director David Bates present Henry Purcell’s most widely admired work, Dido and Aeneas. With Nathum Tate’s libretto based on Virgil’s Aeneid Book IV, Dido and Aeneas is a miniature opera, as well as the only all-sung opera Purcell ever composed. Constantly juxtaposing different moods, colors, and orchestrations, this semi-opera enjoys popularity for its “tunefulness, evocative power, and […] conciseness”. The guiding star that David Bates wants to follow for this recording: making sure that Purcell’s Italian, French, and English musical influences are all emphasized – by adding a typically Italian harp to the continuo and by doubling the strings just as in the French tradition, for instance.

Dido and Aeneas includes one of the most touching operatic laments, “When I am laid in earth”. A cast of first-class singers with strong musical personalities offer an eclectic interpretation together with a chorus that creates a visceral and intrinsically dramatic soundworld. Dido and Aeneas is David Bates and La Nuova Musica’s fourth release; here, star tenor Nicky Spence, Fleur Barron, Matthew Brook, and Giulia Semenzato all make their Pentatone debuts.

REVIEWS:

The suspense, vibrancy and richly layered musical textures of chorus and band have no equal in the discography. The Witches’ scene is an exuberant Gothic festival, with creepily dilating long notes and weird sound effects – thumps, jangles, wind machine noises – tucked deftly into the score.

-- BBC Music Magazine

Johann Sebastian Bach (1685–1750), one of the most famous composers of the Baroque era, is already an icon in the history of music. Rediscovered in the 19th century, he still attracts the attention of musicologists researching and studying his work. This extraordinary person evokes curiosity and admiration, while his contribution to the development of music cannot be overestimated. A genius about whom, as it seems, we already know so much, constantly inspires and provokes to in-depth research into his life and musical legacy. Although today our knowledge about this composer and the interpretation of his music is highly advanced, there are still questions and new views on the approach to the genius dormant in the power of the Bach surname, since it does not only concern the master from Leipzig, as is common to say about Johann Sebastian. The musical activity of the Bach family was impressive, and the analysis of the family tree reveals the composer’s solid musical roots. The spirit of genius does not end there as well, as the musical legacy of his sons has also become a permanent part of history.

Ottorino Respighi (1879-1936) is one of the most important Italian composers of the first half of the 20th century. Famous for his sumptuous symphonic works (notably the Roman Trilogy) he had a fascination for the Italian Renaissance and Baroque, transcribing works by the old masters and using their modal techniques. The Ancient Airs and Dances “Antiche danze ed arie” and the orchestral suite “Gli Uccelli” (The Birds) are adaptations of Renaissance and Baroque dances and arias by Italian composers, brilliantly orchestrated by Respighi. Organist Rodolfo Bellatti was inspired by Respighi’s orchestrations and strove to create a similar effect on the organ, with its endless possibilities for coloring and tonal differentiations. The result is spectacular and presented on this new recording, which is recorded on the magnificent Serassi and Grisanti Organs at the Cathedral of Santa Maria Assunta, Asti, Italy, the specifications of which are included in the booklet. Rodolfo Bellatti is an active recitalist and recording artist, with several albums to his credit, as well as a researcher in the areas of organ building and musicology.

A close contemporary of Buxtehude, Johann Pachelbel was, by all accounts, an outstanding keyboard player himself, and his compositions provide a fascinating stylistic bridge between early-Baroque composers such as Frescobaldi and Froberger (both of whom influenced him) and the later music of J.S. Bach and his contemporaries. Organist Matthew Owens continues his major exploration of the many extant organ works of Pachelbel with this second volume, recorded on a recent instrument by the renowned French organ builder, Bernard Aubertin. The recital includes Pachelbel’s largest set of Magnificat Fugues – 23 in total – alongside free works and chorale-based works.

"Les ombres du Fantôme" presents a captivating exploration of Gaston Leroux’s timeless novel "Le Fantôme de l’Opéra" (1910) through fourteen evocative improvisations. Recorded in July 2021 using the majestic organs of Coventry and Arundel Cathedrals, accompanied by soprano voice and saxophone/bass clarinet, these improvisations delve deep into the narrative, themes, characters, and events of Leroux’s masterpiece. Employing an inventive musical language and leveraging the unique acoustics of these historic buildings, "Les ombres du Fantôme" transcends the physical realm, delivering a dynamic spectralism that immerses listeners in a sonic journey enhanced and extended through retrospective electronic augmentations.

Each improvisation within this collection acts as a thematic shadow, weaving a meta-narrative of Leroux’s iconic tale. Drawing inspiration from previous works, including an improvisation for a film scene and music composed for a podcast, the album intricately captures the essence of the novel, from the haunting presence of the Phantom to Christine’s desires and fears. Through the interplay of organ, soprano, and woodwinds, the album evokes the supernatural allure and psychological depth of Leroux’s narrative, offering a rich auditory experience that transcends traditional storytelling.

The meticulous production process behind "Les ombres du Fantôme" combines traditional recording techniques with innovative digital manipulation, resulting in a mesmerizing blend of sonic textures and timbral variations. From the haunting echoes of cathedral spaces to the ethereal harmonies of spectral editing, each track resonates with a sense of mystery and intrigue, inviting listeners to immerse themselves in the timeless allure of Leroux’s "Phantom of the Opera." "Les ombres du Fantôme" is more than just an album—it’s a sonic exploration that transcends time and space, offering a captivating reinterpretation of a literary classic.

Robert Sholl, a distinguished educator and scholar, teaches at The Royal Academy of Music and the University of West London. His expertise lies in twentieth-century music, improvisation to film, and live performance. Robert's recitals at prestigious venues and recordings of significant organ works demonstrate his profound musicality and scholarly contributions to the field.

Justin Paterson is a respected Professor of Music Production at London College of Music, University of West London (UWL). His research spans multi-mic recordings, interactive music playback, and collaborations with leading industry partners such as the BBC and Sony Interactive Entertainment. Justin is also co-chair of the Innovation in Music conference series and serves as a consultant to RT Sixty Ltd for innovative music apps.

Elegant Baroque sonatas for violin and basso continuo by a pair of little-known brothers, Pietro and Prospero, who belonged to Handel’s circle of talents in 18th-century London. Pietro (1679-1752) and Prospero (1690-1760) Castrucci belong to the generation of virtuosos who connected the development of violin playing from Corelli to Tartini, and took the Italian style abroad, combining it with the latest musical fashions of the time. Born in Rome, they studied with Corelli, but moved to London in 1715, which had become a European capital for music primarily thanks to the patronage of the English aristocracy and the celebrity figure of Handel. The Castrucci brothers played in Handel’s orchestra at the Royal Academy for the next 20 years, and Handel wrote obbligato parts for them in his operas. Prospero published only one collection, of six sonatas, in 1739; he seems to have been the more conservative of the two brothers, writing in a style reminiscent of his teacher Corelli, albeit decorated with bold flourishes characteristic of Veracini and Locatelli. The more innovative of the two was Pietro, who became more famous, wrote more prolifically and was published well beyond London. His violin writing is a crucible of invention, featuring bold strokes such as multi-tempo movements, arpeggiated chords on three strings, unisons with basso continuo, inverted mordents, and the kind of ‘arco battuto’ writing that Beethoven would later emulate. A pupil of Giuliano Carmignola, Marco Pedrona founded Ensemble Guidantus in 1995, specialising in music of the Italian Baroque. With them he has performed across Italy and further afield, giving highly praised performances of the canonic repertoire from Corelli to Pergolesi but also reviving many figures such as the Castrucci brothers.