Baden-Powell: Songbook for Guitar

SOMM Recordings is proud to mark the centenary of the legendary German baritone Dietrich Fischer-Dieskau (28 May 1925-18 May 2012) by adding to his canonical discography with live recital and concert recordings from the Music Preserved archive. Fischer-Dieskau was at the very height of his powers from 1960-75, and the performances on this album date from that period. A bonus CD contains two interviews conducted by Jon Tolansky-appearing here in their entirety for the first time-the 75th Birthday Interview (2000) and 80th Birthday Interview (2005). The extraordinarily vast repertoire of Dietrich Fischer-Dieskau over his 45-year career comprised�lieder, operas,�cantatas,�and�oratorios.�He sang these in German, Italian, French, Russian, English, Hebrew, Hungarian, and Latin, from eras that spanned the Baroque to the latter part of the 20th century. Particularly, it was the controlled power and beauty of his voice, and the dramatic intensity and poetry of his interpretations, that led him to excel in the genre of German�lieder.�In this form he exerted a virtually unprecedented stylistic and interpretative influence-not only on the musical world of his day, but also on generations of performers to come. SOMM's centenary tribute opens with four songs by Ferruccio Busoni, all being works that were written late in the composer's career. They come from a programme that Fischer-Dieskau gave with Gerald Moore in 1962.� At the 1971 Helsinki Festival, Fischer-Dieskau presented a recital with Irwin Gage, which was devoted entirely to songs with texts by Johann Wolfgang von Goethe. The recital, described by a contemporary critic as "a landmark event," featured compositions by contemporaries of Goethe, who lived from 1749 to 1832, such as the Countess Anna Amalia, Kapellmeister Johann Friedrich Reichardt, and Goethe's friend Carl Friedrich Zelter. The more familiar composers represented on this Goethe-inspired recital were active during the first part of the 20th century. They include Richard Strauss, Max Reger, and Ferruccio Busoni. This tribute to Dietrich Fischer-Dieskau also includes six songs from a programme of works by Gustav Mahler, which was presented with his long-time collaborator, Karl Engel. Three of the songs are from Des Knaben Wunderhorn,�based on texts of German folk poems, and three are from the collection of five Ruckert-Lieder,�after poems written by�Friedrich Ruckert. The musical component of this collection closes with a concert performance of three songs by Zoltan Kodaly, sung in Hungarian by Fischer-Dieskau. The composer proves himself an outstanding interpreter of his own music in conducting the London Symphony Orchestra. In the two interviews included on the bonus CD, Dietrich Fischer-Dieskau discusses his early years, his teachers, the development of his career, and a small but revealing cross-section of his enormous repertoire.

MALCOLM WILLIAMSON: The uncompromising and divisive Master of the Queen's Music Once one of the most widely performed composers of his generation, Malcolm Williamson's music has since fallen into obscurity. This new recording - featuring 16 world premieres - seeks to redress that balance, offering a fresh perspective on a composer whose work defied easy categorization. Williamson's output ranged from bold serial explorations to tuneful lyricism, often within the same piece. His music was lauded for it's ingenuity yet suffered from the composer's refusal to conform to prevailing academic tastes. As Master of the Queen's Music, he occupied a prestigious position but remained a divisive figure-uncompromising in his artistic voice and unpredictable in both temperament and style. Drawn from recently uncovered archives, this collection spans nearly five decades of Williamson's career, from early student works to some of his final compositions. The album includes the�Clarinet Trio�(1958), a strikingly assured work praised for it's "forthright tunefulness" and loose application of serial technique, and the�Concerto for Wind Quintet and Two Pianos, Eight Hands�(1966), an intricate, often densely chromatic score performed by an extraordinary ensemble of composer-pianists. Other highlights include the ballet-inspired�Pas de Quatre�(1967), the haunting�Pieta�(1973) for mezzo-soprano and ensemble-setting texts by Swedish poet P�r Lagerkvist-and the enigmatic�Gallery�(1966), a set of miniature pieces likely composed for an unknown television project. These performances, led by pianist and producer�Antony Gray, bring Williamson's music vividly to life, illuminating it's rhythmic dynamism, harmonic inventiveness, and sheer expressive range. With the discovery of the Williamson archive in 2023, this recording marks an important step in reintroducing a composer whose legacy deserves reappraisal.

This diverse programme of works for guitar trio is bound by the common thread of music inspired by stories from literature, stage or screen. With it's rhythmic exuberance and tragic beauty, Bernstein's West Side Story has never lost it's freshness and relevance. Ensemble member Luca Isolani's Note fuori campo is a homage to the versatile Italian composer Nino Rota, who, like Manos Hadjidakis, first shot to international fame with an Oscar-winning film score. Ravel's Ma Mere l'Oye evokes the poetry of childhood with a refined expressiveness that makes it as popular and unforgettable as Grieg's music for Peer Gynt.

Goran Stevanovich is considered one of the leading accordionist of the present day?. He grew up in Bosnia-Herzegovina and began his accordion studies there?. His debut album "Sarajevo" is a musical portrait of a fascinating town, showing him as an ambassador not only of sevdah music?. From Max Richter to Bryce Dessner to his own compositions, an unmatched variety of styles and atmospheres can be heard, influenced by Minimal as well as classical East European music?.

SOMM Recordings is pleased to release the first-ever recording on piano of the eight keyboard suites by one of England's greatest creative artists, Henry Purcell (1659�-1695). Making his SOMM debut is the Romanian-British pianist Cristian Sandrin, who is building a career in the UK as�a rising young artist following his debut solo recital at Wigmore Hall in 2017. Reviewers have noted "Sandrin's generous sonorities issue forth in marvellous diversity," Fanfare Magazine; and "An immaculately played recital," Music Web International. Henry Purcell was at the height of his powers at the time of the Glorious Revolution of 1688, which saw King William III and his wife Queen Mary II crowned as joint British monarchs. Queen Mary was an avid lover of dance, which led to it being a regular and expected part of Restoration theatrical productions. Purcell's first great operatic work, Dido and Aeneas from the late 1680s, included no less than seventeen original dances. Purcell wrote in every form-ranging from theatre and church to concerts and balls-and his music dominated public demand in almost every genre. His success led to requests for music of all kinds, particularly dance movements, either singly or forming parts of suites for the keyboard. At the time, there was a growing fashion for French keyboard music, and Purcell willingly accepted the structural influences from that school. And yet, his music remained infused with the individual expression of an undoubtedly English composer. Tragically, Purcell died at the peak of his career on 21 November 1695 at his home in London. He is believed to have been 35 or 36 years old at the time.�A year after his death, Purcell's widow, Frances, posthumously published A Choice Collection of Lessons for the Harpsichord or Spinet. These eight suites, long overshadowed by his more celebrated theatre works, are the core of Purcell's keyboard output, shifting from major to minor keys, from humour to seriousness, to create a uniquely expressive musical world. The suites incorporate French dance forms like the Almand, Corante, and Minuet, and the Spanish Saraband, which Purcell imbued with a quintessentially British idiom. This finds particular expression in movements like a Corante that deftly incorporates tunes from Ireland and Scotland; a brilliant Jigg that seems to catch the listener unawares; and a burly Hornpipe that draws on earlier incidental music. Cristian Sandrin intersperses Purcell's posthumously published eight keyboard suites with occasional additions from other works, and his recital concludes with the beautiful Sefauchi's Farewell. Purcell was deeply impressed on hearing one of the greatest of all castrati, the Italian 'Sefauchi' (Giovanni Francesco Grossi), in London. This keyboard work is a tribute from one noble musician to another.

Mieczyslaw Weinberg flourished as a composer despite working amidst political and personal setbacks. He gained the admiration of Shostakovich, and was championed by the leading Soviet musicians of the day. The soulful Cello Concertino with it's Yiddish overtones and melodic eloquence was discovered posthumously, and is effectively a preliminary version of the more elaborate and intense Cello Concerto. The potent Romantic nature of the Concerto has made this one of Weinberg's most performed largescale pieces. The Fantasia is an appealing early work - expressive and spontaneous. The orchestral piece Polish Melodies, Op. 47, No. 2 recorded during the sessions for this album is available to download and stream (Naxos 9.70381).

This album presents pianist Marilyn Nonken's third exploration of spectral piano music for the Metier label, highlighting her interpretation of the piano works of Hugues Dufourt. Recorded in the distinctive acoustics of the Troy Savings Bank Music Hall in New York, the album's setting-a Beaux Arts building with a grand but worn character-perfectly complements Dufourt's music, which is richly rooted in resonance, architecture, and connections across artistic eras. The hall's unique acoustics blend clarity with warmth, creating an almost ethereal depth that enhances spectral music's unique qualities. Hugues Dufourt, a foundational figure of the French spectral school, draws inspiration from art, architecture, and philosophy, delving into sound as a physical and psychological experience. Rather than adhering strictly to the structural dictates of high modernism, Dufourt's spectral approach sculpts sound to create space for gesture, timbre, and nuance. This album brings Dufourt's techniques to life, capturing his philosophy that composing is akin to "sculpting a block of sound," as noted by his colleague Tristan Murail. In works like�An Schwager Kronos�and�Meeresstille, Dufourt conjures an evocative atmosphere through rhythmic precision and arresting sonorities.�An Schwager Kronos�echoes Goethe's depiction of time as an insistent coachman, with Nonken's dynamic control and deft pedaling driving a haunting, layered progression.�Meeresstille�captures the stillness of a calm sea with shimmering overtones, restless beneath the surface, nodding toward Goethe's "monstrous breadth." Dufourt's ensemble piece�l'Origine du monde�reflects his fascination with the piano's resonance alongside other instruments, broadening it's sonic palette with orchestral textures. Through spectral techniques, Dufourt's orchestrations amplify the piano's overtones, blending them with percussion and microtonal elements to achieve a "near-elastic" resonance. Nonken's profound grasp of spectralism, displayed on her earlier Metier albums, elevates her performances here. Her touch and phrasing reveal Dufourt's desire to transcend traditional confines of modern piano music. In�Rastlose Liebe, Nonken interprets Schubertian influences with modern intensity, while�Tombeau de Debussy�serves as a contemplative homage to Debussy's legacy. With this third album, Nonken offers an exciting addition to the spectral repertoire, inviting listeners to experience the piano as both instrument and resonant space, rich with historical echoes and artistic depth.

On Dazzling Light Christopher Lowrey and his vocal ensemble Altera explore light in all it's forms. There is a remarkable body of choral music that evokes light's many facets: the light of morning and evening, sacred light, light as a symbol of Christ, light as the conqueror of darkness and even (thanks to the James Webb telescope) the light of distant galaxies. This programme includes works primarily from the 20th and 21st centuries, with music by John Rutter, Jonathan Dove, Matthew Martin, Toby Young, Charles Wood, Ko Matsushita, Sir William Harris, Eric Whitacre, Thomas Tallis, Michael Garrepy and David Hill. There is also an evening prayer by English composer Joanna Marsh, a work by South African composer Motshwane Pege, the winner of Altera's third composition competition, and John Cameron's arrangement of Edward Elgar's Nimrod from the Enigma Variations; this work, entitled Lux aeterna, is perfectly suited to Altera's strengths.

Three pieces for violin and piano were written as individual works and, as such, they can be presented separately or, if given collectively as a suite, played in any order. Busch wrote his Passacaglia for violin and viola in 1939, the score takes the form of a decisive, four-bar theme followed by thirty variants upon it. These mini-variations range widely in character, from trenchant and forceful to airy and smooth. A Memory for cello and piano was written for Elizabeth Poston. Busch subtly conveys the idea of a reminiscence suggested by the title with simple, lightly sketched ideas presented with an air of hazy nostalgia. Eventually, the feeling of distance and reserve created in the opening portion of the work is replaced by a more troubled mood. The music ends in sorrow with a heartfelt, steeply descending sequence for unaccompanied cello followed by the merest hint of the opening material. The Quartet for piano and strings is the most substantial of William Busch's chamber pieces. Although the composer's lyrical gifts are much in evidence, the four movements are also rigorously concise. Considerable dramatic rewards are gained from the creative tension between the music's unforced expressivity and the formal rigour with which Busch's powerful themes are worked out. The Suite for Cello and Piano is among Busch's most searching and variegated instrumental works. In a postwar assessment of the score, The Times' critic noted that it's four pieces 'reveal a sensitive and interesting mind'. Elegy for cello and piano exploits fully the stringed instrument's lyrical qualities and capacity for rich, autumnal colours. The work begins with an extended soliloquy for unaccompanied cello and the cellist continues to preside over the entire opening section, which features only a couple of brief interjections from the piano. � Paul Conway

On this, the second volume of Magnificat's three-part project 'Lassus: The Alchemist', the ensemble explores the composer's Magnificat's based on motets. It is remarkable that, of Lassus's thirty-five Magnificat's based on polyphonic models, only eight draw musical inspiration from motets. But if these Magnificat's are relatively few in number, their musical quality and impact are outsized. Whether in Praeter rerum seriem, where he expands Josquin's motet into a formidable 250-bar Magnificat, or Aurora lucis rutilat, where he transforms his own Eastertide motet into a jubilant musical celebration, these works exemplify some of Lassus's finest compositional achievements. Inspired by the lavish musical resources of the ducal chapel in Munich, where Lassus worked from 1557 until his death in 1594, this album brings together voices and instruments in diverse combinations, enhancing the richness and variety of the scoring.

Alessandra Gentile with the Perugia Chamber Orchestra conducted by Christian Schmitt, a monographic album dedicated to W.A. Mozart with the two Concertos for piano and orchestra no. 19 and no. 9. The CD opens with the Concerto for piano and orchestra no. 19 KV 459, completed in Vienna in 1784 and performed in 1790 by Mozart himself in Frankfurt on the occasion of the celebrations for the coronation of Leopold II (and for this reason called the second Coronation Concerto) and published posthumously in 1800. A piece that appears particularly lively, not only for the enriched instrumentation of the wind instruments, but also and above all for the brilliant indications of meter and tempo and for the incredible richness of the writing. The Concerto no. 19 KV 459 is followed in the tracklist by a largescale work, the Concerto for piano and orchestra no. 9 KV 271, also in three movements, composed in Salzburg between 1776 and 1777, a piece considered among the milestones of Mozart's vast repertoire. The recorded program thus allows us to rediscover with new sophistication two cornerstones of Salzburg's genius, entrusted to the interpretation of Alessandra Gentile and Christian Schmitt conducting the Perugia Chamber Orchestra, a group that debuted in 2013 and collaborates regularly with important masters, soloists and choral groups."

Nino Rota's iconic score for The Godfather is typical of his neo-Classicism - or 'Classical modernist' language - a cosmopolitan and functional musical style inspired by his teachers Pizzetti and Casella. This second and final volume of Rota's solo piano music ranges from Ippolito gioca, an early piece celebrating Pizzetti's 50th birthday, to a large-scale Variations and Fugue on the name Bach that concludes with a four-part fugue. The psychologically expressive music Rota composed for Federico Fellini's film Il Casanova is also featured, alongside the piece Moliere from his music for the ballet Le Moliere imaginaire.

Composer Per Bloland newest releaase,�Shadows of the Electric Moon,�highlights his reliance on fiction as an impetus for compositional inspiration as well as his integration of custom designed electronic software into his work. Featuring Unheard-of//Ensemble, Wild Rumpus, Keith Kirschoff, Bill Solomon, and Stephen Marotto, Bloland's music captures his inventive spirit and keen ear for highlighting subtletlies of instrumental characteristics and developing them within the narrative of a composition.

Anton Rubinstein always regretted that his status as an elite pianist eclipsed his reputation as a composer. Recent recordings have shown that his music is melodically distinguished and attractive, as these two major works from the mid-1860s show. Cast on a wide canvas, the Fantasia in E minor conforms to Romantic grandeur in it's gestures, which also include Beethovenian echoes in the finale. The Five Pieces are condensed character studies, evoking Chopin and Schumann, and ending with a brilliant Toccata. The Trot de cavalerie, a march for mounted troops, was a popular genre in the 19th century.