Classical Music

This CD features the acclaimed Finnish pianist Olli Mustonen with piano works by Alexander Scriabin, which have become his signature pieces in concert. Olli Mustonen has been hailed by The Sunday Times as, “a living dream of pianism, having broken through an expressive barrier that other players do not know exists.”

R E V I E W S:

"A highly visible figure as leader of the renowned English Consort for the past three decades and, in Canada, as the former music director of the National Arts Centre Orchestra, Trevor Pinnock has recently defected from the podium to resume his career as a keyboard virtuoso with these brilliant performances on the 18th-century Goermans-Taskin French harpsichord from the collection of the University of Edinburgh. The generous selection of 80 minutes includes two 1728 Suites in A minor and E minor flanked by six selections (L’Entretien des Muses, Les Tourbillons, Les Cyclopes, L’Enharmonique, L’Egyptienne and La Poule) from Rameau’s most beguiling character pieces. Avie’s recording of this remarkably well-voiced instrument is exemplary. Special recognition is due to the exquisite tuning of the instrument in French unequal temperament by John Raymond, which allows us to truly appreciate the boldness of Rameau’s tonal excursions."
- Daniel Foley, TheWholeNote.com

You’ve doubtless been wondering about it for some time. Now that the English Consort has folded, what will Trevor Pinnock do? Well, worry no longer. This album provides the answer, at least in part: he’ll record. In a real way, this Rameau is a return to Pinnock’s roots, as he’d performed the Pièces de Clavecin en Concerts with the Gailliard Harpsichord Trio while in his teens, and recorded Rameau’s harpsichord works in the 1970s.

This latest release shows him in excellent form. “La poule” is attentive to rhythmic values, without pushing the poor fowl’s tempo immoderately. The subtle hesitancy at the beginning of each clucking phrase works well, in a piece that is more difficult to play correctly than it seems at first glance. Both the “Musette en Rondeau” and the famed “Tambourin” from the same suite have a folklike insistence on their respective drones that never gets in the way of the relentless but judicious momentum.

While the “Fanfarinette” is faster than that recorded so well by Sophie Yates (Chandos CHAN 0708) and less inclined to maintain the piece’s skipping rhythm, Pinnock still applies notes inégales extensively and to great effect at phrase starts and conclusions. “La triomphante” is moderate and brash, with the strumming effect subtly emphasized: occasionally in the bass chords, or in the figuration, or in the rhythm accorded the right-hand melody. Ornamentation is always sensibly selected.

Pinnock isn’t afraid to bring his own interpretations to the mix on occasion, which is a nice way of saying that at times he moves into areas that turn their back on tradition as it’s currently understood. Is this necessarily wrong? I think you risk the hazard of the die when you enter the game, but Pinnock’s perceptions are interesting, usually convincing, and never made me think for once that I had a party recording on my hands. The A-Minor Sarabande is one good example in the “interesting” camp. Taken at a relatively slow, steady tempo, the ornamentation is paced for a much faster piece. This focuses attention on the stately, gliding theme, though in some instances only the final note of the ornament registers. I don’t consider the results successful, but I can understand the reasoning behind the approach. More persuasive is Pinnock’s unusual handling of “La rappel des oiseaux.” The opening section and close are handled much quicker than usual, emphasizing the repetitive nature of the bird calls, while the middle section is taken slowly and freely, the better to emphasize the shifts in harmony. The harpsichordist makes use as well of his instrument’s 4? set of strings at the start to bring the music up an octave, then switches down to the 8? set for the central section, but only moves up an octave once more midway through the final section. It’s an imaginative effect, and one that again chips away at the prevailing myths that all harpsichords sound alike, and possess no variety of touch...

Pinnock’s harpsichord is a double-manual instrument by Goermans from 1764, significantly modified 20 years later by Taskin. It is a richly beautiful instrument, robust yet capable of delicacy, and caught to perfection with little action noise and just enough resonance to capture the bloom... This is a fine album, and one well worth your purchase.

Barry Brenesal, FANFARE

REVIEWS:
American Record Guide (11-12/97, p.156) - "...It is as if a mere reading
of the notes on the page in metronomic precision qualifies as a
performance. The result is enough to make one hate Mendelssohn organ
works..."

Scorpion Tales is Duo Scorpio's debut release. It contains a unique selection of modern masterpieces and new works for harp duo, including Le Jardin Des Paons and Parvis by Bernard Andres, Raga by Caroline Lizotte, and world premiere recordings of Crossfade by Sebastian Currier, Scorpion Tales by Robert Paterson (commissioned by Duo Scorpio and the American Harp Society) and Unfurl by Stephen Andrew Taylor. Each work explores the rich sound world created by two harps, and the entire album was produced by Grammy winning recording engineer Adam Abeshouse. The formation of Duo Scorpio is as fascinating as the album: harpists Kathryn Andrews and Kristi Shade were born on exactly the same day, November 5, 1982, making them both Scorpios; they both moved to New York City after undergraduate school, completed their Master's Degrees at The Manhattan School of Music and studied with harp legend Susan Jolles. Scorpios are known for their determination, hard work and love of a challenge, which is definitely exemplified in this stunning debut album.

Trumpet and Organ by Iveta Apkalna & Reinhold Friedrich

Recorded at Inkoo Church, 9/1997

Transcribed for Guitar.

“I have always associated Vilnius with two things – the birthplace of the legendary Jascha Heifetz, and also a composer named Vytautas Barkauskas, whose best-known work for solo violin, Partita, I have loved since I was a teenager. When the opportunity came for me to give a concert in the Lithuanian capital, I went in search of both.” So said the enterprising violinist Philippe Graffin.

Philippe’s enquiring mind took him on a journey that led to this CD featuring works by Lithuania’s most notable living composer, including the world-premiere recording of the Duo Concertante for violin, viola and orchestra, with leading Japanese violist Nobuko Imai. Barkauskas’ music is bold and atmospheric, a compelling and powerful aural experience. He says, “Music is everything for me: miracle, mysticism, celebration, profession, pleasure, and ultimately – the reason for living!”

Vytautas BARKAUSKUS (b. 1931)
1. – 7. Jeux for violin and orchestra, Op. 117 (2003) dedicated to Philippe Graffin (20:51)
8. – 12. Partita for violin solo, Op. 12 (1967) (5:57)
13. – 14. 2 Monologues for viola solo, Op.71 (1983/2004) dedicated to Nobuko Imai (10:16)
15. – 19. Duo Concertante for violin, viola & orchestra, Op. 122 (2004) dedicated to Chiune and Yukiko Sugihara (28:29)

Guitar Recital: Jose Antonio Escobar

With this new release, Danish musicians Henrik Dam Thomsen and Ulrich Staerk explore the music of four great French composers, Debussy, Faure, Vierne, and Saint-Saens. This is truly a unique album, as it is being released in conjunction with the special album app “French Pieces,” which puts the music together with videos, bonus tracks, and essays about the composers and performers, and can be downloaded in App Store or Google Play. “Henrik Dam Thomsen is a splendid player.” (Gramophone) “Thomsen is a Rolls Royce among players.” (Classic FM Magazine)

Ligeti, G.: Etudes, Books 1 and 2

BUXTEHUDE: Organ Music, Vol. 2

Liszt Complete Piano Music, Vol. 18: Beethoven Symphonies No

Classical Music

Classical Music

Exploring the byways of Chopin' work reveals gems such as the elegant Rondeau for two pianos, and the Variations for flute and piano on a theme by Rossini then at the height of his popularity.

Liszt Complete Piano Music, Vol. 13: Hungarian Rhapsodies, V

The composer said Music can be defined as a series of proportions in the service of a divine impulse. A philosophy which is shared by composers from Bach to Camilleri, Machaut to Tavener, and which is certainly the ethos of Divine Art Records! While acknowledging the radical experiments of the 1960s and 1970s, Crumb's music became famous for it's instantly recognizable style, integrity and sense of mysticism, and an ability not to alienate audiences.

Classical Music

Guitar Recital: Jason Vieaux

BACH, J.S.: Sonatas and Partitas for Solo Violin, BWV 1004-1

REUBKE: Piano Sonata in B-Flat Minor / Mazurka in E major /

Classical Music

Classical Music