Sony Classical is pleased to announce the second solo album by exceptional young American organist, Cameron Carpenter, All You Need is Bach. Bach’s great keyboard masterpieces provide an ideal platform for Carpenter’s formidable creative gifts and the seemingly limitless possibilities of his dream instrument – his signature International Touring Organ. The album takes is cue from The Beatles’ classic “All You Need is Love”, where Bach’s Invention No. 8 in F major proudly rises out of the coda’s collage-like texture. Works include Contrapunctus IX from The Art of Fugue, Organ Sonatas in D minor and E-flat major, Prelude and Fugue in B minor, Invention No. 8 and, as the centerpiece, the great Passacaglia and Fugue in C minor. The latter holds a special place in Carpenter’s affections. “It is undoubtedly one of the Top 10 masterworks of all music, no matter how you evaluate it.”

A virtuoso composer-performer unique among organists, Cameron Carpenter’s approach is to smash the stereotypes of organists and organ music. Described as “extravagantly talented” (New York Times), and “smasher of cultural and classical music taboos,” (The New Yorker), Cameron is the first organist ever nominated for a Grammy Award® for his debut album, Revolutionary. All You Need is Bach is the second recording made on Cameron’s new International Touring Organ. The organ, designed by Cameron himself, is a mobile digital organ that is artistically and sonically equal to any of the world’s great organs and will challenge the way the world thinks about organs.

From the early days of the twentieth century until the Anschluss forced him into American exile, Richard Stohr (1874-1967) was one of the more prominent personalities in Viennese musical life, as composer, teacher and author. Earlier releases in this series of recordings revealed him to have an individual voice, somewhere between Bruckner, Mahler, Korngold and Strauss. It can be heard in it's full glory in his Chamber Symphony of 1912, a sunlit score modest in it's orchestral demands but expansive in it's ambit and generous in it's ceaseless flow of gorgeous melody.

To celebrate the 75th anniversary of the Bavarian Radio Symphony Orchestra (BRSO) in 2024, the BR-KLASSIK label is releasing previously unreleased recordings of concerts worth listening to, available on CD and as a stream.

Gustav Mahler's Third Symphony remains today one of the greatest and most powerful creations of the Late Romantic period. The immense symphony, longer and more monumental than others, incorporates texts from the collection of poems by Clemens Brentano and Achim von Arnim entitled “Des Knaben Wunderhorn”. Composed over a period of four years from 1892 to 1896, with particular focus during the summers of 1895 and 1896 spent at the Attersee in Austria, it was premiered in its entirety on June 9, 1902, at the 38th “Tonkünstler Festival” in Krefeld. Mahler conducted the Städtische Kapelle Krefeld and Cologne’s Gürzenich Orchestra at this momentous event, which garnered great acclaim from his contemporaries. Between 1902 and 1907, the composer conducted his Third Symphony a further 15 times.

Among the symphony's six powerful movements, the slow fourth movement necessitates not only a large orchestra but also a mezzo-soprano solo for a setting of the “Midnight Song” (“O Man! Take heed!”) from Friedrich Nietzsche's poetical-philosophical work "Thus Spoke Zarathustra." In the cheerful fifth movement, the mezzo-soprano soloist is joined by a children’s choir and a female chorus for the song "Es sungen drei Engel" from "Des Knaben Wunderhorn." The symphony presents a significant challenge for all its performers, and this concert recording from December 2010 features a prestigious lineup: Mariss Jansons conducting the Chor and Symphonieorchester des Bayerischen Rundfunks, with the Tölzer Knabenchor, and solo parts sung by Nathalie Stutzmann.

Bach's Coffeehouse brings together a selection of Apollo's Fire recordings - old and new alike - featuring repertoire that is believed to have been performed at Cafe Zimmerman in Leipzig, the city where Johann Sebastian Bach served as Cantor. Coffee houses were all the rage at the time, centres for socialising and musical soirees. Bach would have found respite from his formal duties as Cantor, by curating informal concerts at the thriving coffee emporium. Bach's Coffeehouse features new recordings of Brandenburg Concerto No. 4 with virtuoso soloists Alan Choo, the Singaporean violinist and Assistant Artistic Director of Apollo's Fire, and recorder player Daphna Mohr; the Double Concerto for Oboe and Violin with Debra Nagy and violinist Johanna Novom; and "Air on a G String" from Orchestral Suite No. 3. Rounding out the album, Apollo's Fire brings back catalogue favourites by two of Bach's contemporaries: Telemann's swaggering Don Quixote Suite, and Vivaldi's fiery "La folia", featuring Alan Choo and Spanish violinist Francisco Fullana.

With Hail! Bright Cecilia, Henry Purcell, herald of the British Baroque, pays tribute to the patron saint of music through a score widely regarded as one of his masterpieces. Composed in 1692, this ode reflects both the artistic effervescence of 17th-century England and the central role of music in society at the time. Vincent Dumestre and Le Poeme Harmonique reveal the full expressive richness of Purcell's writing in a performance where jubilant brilliance, lyrical delicacy, and dramatic contrasts unfold with infectious vitality. Alternating between recitatives, solo arias, and sumptuous choruses, the score showcases Purcell's mastery of musical dramaturgy, balancing orchestral refinement with controlled theatricality.

Fourteen years after her victory at the XVI International Chopin Piano Competition, Yulianna Avdeeva documents her journey with the music of Frederic Chopin. Voyage focuses on his late works, all composed while surrounded by nature, and Avdeeva has recorded them at the rustic Tippet Rise Art Center in Montana, against the serene backdrop of the Beartooth Mountains. A pianist of fiery temperament and virtuosity, Avdeeva plays with power, conviction, and sensibility, having won over audiences all over the world. She returns to PENTA-TONE after her acclaimed label debut with Resilience (2023).

Under the motto "Dancing Organ," Czech organist Michael Bartek has compiled a varied program of dance pieces from different eras, including original compositions and some virtuoso transcriptions. In addition to popular works, there are also a few surprises to discover. This is performed on "his" Kuhn organ in the Richterswil Church near Zurich. For this SACD, the sound has been optimally captured in stereo and 5.1 surround sound. Unter dem Motto "Dancing Organ" hat der tchechische Organist Michael Bartek ein vielseitiges Programm von Tanzstucken verschiedener Epochen - Originalkompositionen und teils virtuose Transkriptionen - zusammengestellt. Neben popularen Werken gibt es auch so manche uberraschung zu entdecken. Als Instrument dient ihm "seine" Kuhn-Orgel in der Richterswiler Kirche, nahe Zurich. Fur diese SACD wurde der Klang optimal als Stereo- und auch als 5.1 Surround-Aufnahme eingefangen.

The singing quality of string instruments ties together "SONGS FOR A NEW CENTURY," a program featuring both world premiere recordings of new music commissioned for the artists and world premiere recordings of masterpieces by Mendelssohn.

The program opens with a set of Mendelssohn’s Songs Without Words, beginning with the Opus 109 written by the composer for cello and piano. It continues with a set of arrangements for cello and piano, some recorded for the first time, by the 19th-century cellist Alfredo Piatti, a personal friend of Mendelssohn’s upon whose cello Jonathan Miller plays. Gabriela Lena Frank’s Operetta for violin and cello, the composer writes, expands upon Mendelssohn’s concept of the “song without words,” creating opera without words that evokes scenes and characters through singing music for the duo of violin (Lucia Lin) and cello. Scott Wheeler’s second cello sonata, Songs Without Words, was inspired by Miller’s singing cello tone. Finally, Judith Weir’s Three Chorales for cello and piano meditate on religious poetry, departing from hymn texts –– and in the third Chorale, a melody from Hildegard of Bingen –– in a triptych that evokes the human condition.

"Operetta," "Three Chorales," and "Cello Sonata #2: Songs Without Words" were commissioned by Jonathan Miller and Diane Fassino for the Boston Artists Ensemble.

The Schumann Quartet and pianist Hinrich Alpers dedicate their upcoming album to three composers and the repertoire of the first half of the 20th century?. The album brings together three composers who could not be more different and who have different life stories - and yet have musical similarities?. It includes the following works: Frank Martin - Piano Quintet; Viktor Ullmann - String Quartet No. 3 (composed in Theresienstadt); Gabriel Faure - Piano Quintet No. 1.

Long available only in a larger box, the only available digital-era set of Martinu’s string quartets, recorded in 1990 by a native Czech ensemble.

Martinu composed seven quartets over the course of his career, from the First in 1918 to the Seventh in 1947. This chronological range therefore mirrors the development of his music, from Debussy and Franck-accented Bohemianism in the First to a more up-to-date French influence on the Second from 1925, which arrives in the finale at the kind of chugging accumulations of motoric energy that became his trademark.

The direct emotional appeal of all seven quartets is vividly brought to life by the Stamitz Quartet in a recording first issued in 1990, and which still has very few rivals on disc. Established in 1985, the Stamitz Quartet quickly became known as leading interpreters of Czech repertory. ‘I can heartily recommend this comprehensive traversal of the unpredictable, occasionally highly impressive works that make up the corpus of Martinu’s Quartets.’ (MusicWeb International)

Since 2017, violinist Emmanuelle Dauvin plays whilst accompanying herself on the organ pedalboard - recalling the musical technique of Nicolaus Bruhns at the end of the seventeenth century. This is OVNI Baroque : a spectacular yet forgotten musical practice. Alongside soprano Heather Newhouse, she created Cantata a 2 : a concert programme of arias and instrumental pieces, for soprano, violin and bass, by J.S. Bach, presented here in an innovative arrangement. The arias bring a consolidating balance to the sonata trio in which the text unfolds from the vocal line. From the purity of the trio by two, emerges a bounteous expression.

Sean Shibe returns to the classical guitar on Profesión, bringing together works by Agustín Barrios, Heitor Villa-Lobos and Alberto Ginastera. The album derives its name from Barrios’s “Profesión de Fe” (profession of faith), a poem which he often used as a preface to his concerts. The poem references indigenous mythological deities, and praises the power of the guitar as the ultimate conduit to the secrets of the divine South-American destiny. Barrios’s La Catedral and Julia Florida are combined with Villa Lobos’s 12 Études, while Ginastera’s Sonata completes the program.

These works by South American composers begin with homage and pastiche in reverence of the Old World, but build towards a totally original idiom - musical magical realism. The repertoire is voluminous, indulging in excess, and narcotic, and as such creates a counterweight to the reserved and introspective nature of Shibe’s acclaimed classical predecessor album Camino.

This will be Shibe’s first-ever album focusing on repertoire that was originally written for the classical guitar, and he plays a Hauser copy built for Julian Bream. It was considered one of the best instruments of the 1930s, and fits the sound world of this program like a glove.

REVIEWS:

It’s an extraordinary account [of the Villa-Lobos], bursting with nuance and personality and easily rivaling Julian Bream’s classic, late-1970s version.

— Gramophone

This is a gleaming and brilliant album that doesn’t fail to awaken the senses to the exhilarating world of un-adulterated acoustic sound.

— BBC Music Magazine

A rarely heard, fascinating solo instrument and an internationally multi-award-winning performer: on the new GENUIN album "From Keys to Strings", we are presented with an exciting combination! For her prizewinner production from the 2023 ARD Music Competition, harpist Tjasha Gafner has put together an unusual program in which she arranged works for her instrument. These are pieces that Joseph Haydn and Wolfgang Amadeus Mozart originally wrote for keyboard - or, in the case of Johann Sebastian Bach, for lute (or a lute-harpsichord?). The clarity and transparency of both transcription and interpretation by this outstanding young harpist provide surprising insights and new listening experiences!

Two violoncellos piccoli, one with four strings, the other with five, making a total of nine strings: it is as if a new instrument were born, an organ with strings instead of pipes, to perform virtuoso polyphonic masterpieces with a larger, enriched sound palette. Taking Gustav Leonhardt's keyboard transcriptions of the Suites, Sonatas and Partitas as his point of departure, Mario Brunello adds a new sonic dimension to three of Bach's solo pieces for unaccompanied violin and cello, making the polyphony previously confined to only four strings audible. He is partnered by his longstanding friend the specialist Mauro Valli, who has already appeared on Arcana with his personal reinterpretation of the Cello Suites (Bach in Bologna A459, 2019).

Bach's music is often described as indestructible, in the sense that no matter how it is performed or in whichever arrangement, it's essential spirit survives. In the Baroque period the practice of arranging one's own music or that of other composers was common place, and Bach himself was an indefatigable transcriber and arranger, using his own music to multiple purposes. Besides saving time and creative energy it gave the opportunity to other instrumentalists to play music of such high quality and universal value. This highly original and enjoyable new recording presents works by Bach transcribed for recorder ensemble. The recorder consort is based on a great tradition of polyphonic practice, which began in the Renaissance period and continued throughout the Baroque era. The recorder is one of those instruments with great "mix appeal", which in consort can produce a perfectly blended sound of rare beauty, with ancestral echoes. In this recording by Collegium Pro Musica, the sound of the flute consort, which normally resembles that of an organ, is surpassed by a vision that tends to identify the different sounds and personalities of the individual performers, all committed to conveying an idea of vibrant vitality. The album includes Motets, Concertos and Inventions. A wonderful, refreshing and fascinating recording by the Fiati del Collegium Pro Musica Recorder Ensemble, led by Stefano Bagliano, one of the foremost flute players of today.

On the 150th anniversary of the birth of Charles Ives - acclaimed by his champion Leonard Bernstein as the "first great American composer", who, "all alone in his Connecticut barn, created his own private musical revolution" - Sony Classical presents the most authoritative recording collection ever released of works by this eccentric, prophetic genius.

The 5-CD box set Charles Ives - The Anniversary Edition is a unique and provocative introduction only released previously 50 years ago on LP by Columbia Masterworks under the art direction of Henrietta Condak to celebrate Ives's centenary.

The first disc examines "The Many Faces of Charles Ives" through eight diverse works recorded between 1964 and 1970: Bernstein conducts the New York Philharmonic in The Fourth of July and The Unanswered Question; General William Booth Enters into Heaven, one of Ives's towering achievements, and The Circus Band are performed by the Gregg Smith Singers; baritone Thomas Stewart sings the moving song In Flanders Fields; organist E. Power Biggs plays Ives's Variations on "America"; composer Gunther Schuller conducts The Pond for chamber orchestra; and the Largo cantabile Hymn is performed by the New York String Quartet and double bass player Alvin Brehm. CD 2, "The Celestial Country", offers Ives's early cantata by that name, composed in 1897-99 for his conservative Yale composition teacher Horatio Parker. It is sung by the Gregg Smith Singers (accompanied by the Columbia Chamber Orchestra), who also perform arrangements of four of Ives's most powerful patriotic songs with the American Symphony Orchestra and Leopold Stokowski conducting. "The Things Our Fathers Loved", CD 3, contains 25 of Ives's songs, delivered by the soprano Helen Boatwright, who specialized in American song. She is partnered by John Kirkpatrick, who studied and worked closely with Ives and is still regarded as the most authoritative interpreter of his piano music. Gramophone in 1974 praised this famous recording as "the finest selection ever to appear" on LP of "what may well turn out to be considered his most important, characteristic and consistently inspired body of music."

This album showcases a selection of Ives’ shorter works for orchestra. Experiments, marches, arrangements, and enticingly incomplete fragments are included alongside the Four Ragtime Dances and Chromâtimelôdtune, one of Ives’ most startling creations. Ives specialist James Sinclair conducts. Includes seven world premiere recordings. Released to mark the 150th anniversary of Ives’s birth.

Around the central work of the CD, the "Friedenskonzert" by Daan Manneke, Gudrun Sidonie Otto, soprano, and the cathedral organist of the Basel Minster, Andreas Liebig, present a very multifaceted and expressive programme. The "Friedenskonzert" is part of the Baseler Psalms, which were commissioned for the millennium celebrations of the Basel Minster. In the programme, it is framed by two chorale arrangements on the Lutheran chorale "Aus tiefer Not schrei ich zu dir", one by Johann Sebastian Bach, the other by Max Reger. Furthermore, Gudrun Sidonie Otto sings two extremely demanding works, "Aus den Visionen der Hildegard von Bingen" by Sofia Gubaidulina and "Djamila Boupach�" by Luigi Nono. The whole programme is framed by two of the most important works of organ music, Bach's Fantasia et Fuga g-minor, BWV 542 and the organ sonata "Der 94. Psalm" by Julius Reubke, both masterly played at the organ of the Basel Minster by Andreas Liebig.

In 1955, the conductor Gary Bertini founded the Rinat Choir and thus established professional choral music in Israel. The founding of the Rinat had a significant influence on the development of the Israeli choral scene; the choir was finally named the national choir in 1972. Psalms, verses and hymns were set to music for the Rinat Choir by the country's leading composers and transformed into extensive Hebrew motets and oratorios. The founding generation of Israeli music consisted of outstanding professional musicians who were born in Europe around the turn of the century. Although these composers came predominantly from Germany, Eastern Europe and Russia, their sources of inspiration can by no means be reduced to the music of their respective countries of origin. On the contrary: what united many of these composers was their fascination with the traditional music of the Jews, especially of Sephardic, Persian and Yemenite origin, and with the music of the Arabs they encountered in Palestine. The next generation of Israeli composers were not necessarily born in Israel either, but were strongly influenced musically by this country from the very beginning. In the 1960s and 70s, this generation disseminated their inspirational sources and borrowed from contemporary styles that they had become familiar with during their studies in Europe and the USA. While some representatives of this generation carried on the tradition of the founding generation, other composers introduced current developments in the musical world into the Israeli art music of their time. The pool of influences was also expanded to include American composers such as Aaron Copland, George Gershwin, John Cage and Lukas Foss.

This second volume of George Walker's piano music joins its predecessor on Naxos 8.559916 (April 2024), together forming a unique complete piano works edition. On this new release, Steinway Artist Alexandre Dossin performs the cyclical Fourth Piano Sonata, which alternates between sections of virtuoso muscularity and lyrical repose, and the Piano Concerto, which integrates expansive Classical forms with inspiration derived from songs by Duke Ellington, something also cleverly hidden in Guido's Hand. The album closes with Walker's passionate Fifth Piano Sonata.

REVIEW:

Dossin makes much of the alternately moody and energetic first movement of the Piano Sonata No. 4. His ability to grasp the long line of Walker’s music is a really big factor in one’s enjoyment of his performances. The pianist's ability to use “space” in his interpretations makes these performances fascinating and ultimately rewarding.

— Art Music Lounge

Nominated for a GRAMMY® Award!

Karina Canellakis offers the first fruit of her exclusive Pentatone collaboration with a recording of Bartók’s 4 Orchestral Pieces and Concerto for Orchestra, together with the Netherlands Radio Philharmonic Orchestra, of which she is the Chief Conductor. The 4 Orchestral Pieces have a strong affinity with the stage works Duke Bluebeard’s Castle and The Wooden Prince, conceived in the same period. The Concerto for Orchestra is one of Bartóks final works, full of folk tunes, and utterly colourful and virtuosic for all the instruments. As such, it’s an ideal piece to showcase the congeniality between the Netherlands Radio Philharmonic Orchestra and its star Chief Conductor. Internationally acclaimed for her emotionally charged performances, technical command and interpretive depth, Karina Canellakis has become one of the most in- demand conductors of her generation. She makes her Pentatone debut as Chief Conductor of the Netherlands Radio Philharmonic Orchestra that returns to the label after its participation in Gordon Getty’s Beauty Comes Dancing (2018).

In April of 1996, Ofra Harnoy entered the venerable Abbey Road Studios in London with the London Philharmonic Orchestra to record Edward Elgar’s great cello concerto. Unfortunately, shortly after this event, the end result did not end up where it was supposed to be and was not released to the public. In fact, the whereabouts of the recording went unknown for quite some time, afterward.

In early 2022, through some diligent searching, the lost recording was located and will now be released paired with Harnoy’s remastered recording of the Édouard Lalo Cello Concerto, on the Sony Classical label. With the help of session notes from and conversations with recording producer Andrew Keener, the 1996 Abbey Road sessions were edited (Mike Herriott) and mastered (Ron Searles). The result is what will likely be lauded as one of the definitive interpretations of Elgar’s great warhorse for the cello.

Described by the New York Times as “born to the instrument”, Ofra Harnoy brings her unmatched passion and virtuoso to Elgar’s masterpiece and final notable composition. Very much influenced by Jacqueline Du Pré’s 1965 recording, and the rare opportunity afforded her to study the work with Ms. Du Pré, in masterclass, Harnoy’s own voice comes to the fore to capture Elgar’s own anguish and heartbreak.

As the progenitor of a style whose influence more or less came to define the instrumental music of the High Baroque, Arcangelo Corelli (1653 - 1713) occupies a position in music history as unenviable as it is to his great credit. Just what made Corelli’s style seem strikingly novel to his contemporaries is a tricky question. To be sure, his standardization and popularization of certain formal tropes – most notably the succession of movement types in Sonate da Camera and Sonate da Chiesa – was a significant part of what his followers considered the ‘Corellian’ manner.

But Corelli’s actual compositional style, his way of organizing musical thoughts into phrases and motives, is fundamentally derived from the expressive capabilities of his chosen instrument, the violin. Certain melodic patterns used to modulate and to effect sequences (e.g., chains of sevenths and fifths) basically derive from specificities of violin technique that amplify an instrument with origins primarily in dance music into one that in Corelli’s hands, could imitate the rise and fall of the sung and spoken human voice. This tension between idiomatically instrumental techniques and the evocation of the voice is the defining characteristic of Corelli’s style throughout all his surviving works and would establish the “Roman School” as the supreme measure of musical taste for generations.

For this exploration of the 18th century’s Corelli Craze, the dynamic star trio of Mahan Esfahani, Hille Perl and Michala Petri unite to trace the Roman’s influence, (sometimes in name only...) on the musical legacies of Bach, Händel and Telemann, and of course two works from the pen of the celebrated Italian Master, himself. Gramophone about the Petri/Perl/Esfahani Trio’s Bach recording: “While the tonal and expressive range of the recorder, viol and harpsichord may appear constrained in comparison to, say, flute, cello and piano, in the hands of foremost players such as these, even a relatively lightweight work such as the C major Sonata, BWV1033, comes over as the ideal demonstration of a particular facet of the composer’s style and the performers’ abilities.”

The two composers heard on this album, Giovanni Gabrieli (1553-1612) and Giovanni Bonato (born in 1961) have more in common than their first names: both hail from the Veneto in north-east Italy - there is no documentation of Gabrieli's birth, but he was probably Venetian, and Bonato was born in nearby Schio. Their music, too, is conceived in terms of it's sound in space, with Gabrieli using the cori spezzati that sang from the opposing galleries of St Mark's Basilica in Venice, and Bonato employing cori spazzializati to build a spatial dimension into the music itself. Juxtaposed, their styles offer a striking contrast, with Gabrieli's bold declamations set against Bonato's shifting, timeless suspensions.

A unique collection of both piano solo and concertante pieces by the Boulanger sisters, inspiringly brought to life by the Dutch pianist Duco Burgers. Despite her tragically early demise from tuberculosis in 1918, aged just 25, Lili Boulanger has become almost a household name in classical music during the last generation, through her slender but exquisitely crafted works for choral, orchestral and chamber forces above all, exemplified by her Psalm settings and her tone-poems such as D'un soir triste. Her music for solo piano is less well known, but still distinctive, as Duco Burgers persuasively demonstrates in these new recordings of the Prelude in D, the Trois Morceaux and the Theme and Variations. The Prelude is a work of her prodigious teenage years, while the Trois Morceaux belong to the happiest period in her short life, while she was staying at the Villa Medici in Rome, having won the prestigious Prix de Rome. The Fantaisie affords a fascinating window on to the aesthetic ambitions of the 25-year-old Nadia Boulanger as a creator in her own right, years before she became the renowned facilitator of others' creativity as a teacher of composition, theory and technique. The model of Franck's Symphonic Variations may be evident in the form and scale of the 20-minute work, dating from 1912, but Nadia presents her own, high contrasts of tragic nobility and free-flowing fantasy within the piece. Darker still is Vers une vie nouvelle, a solo piece from 1918, brooding and powerful out of all proportion to it's brevity. In his booklet essay, Duco Burgers weaves together commentary on the life and work of the sisters, entwined but distinct threads of energy, creativity and tragedy shaped by the world around them.

In 1884, Antonín Dvořák undertook his first concert tour to England. This was to become a highlight of his career to date and brought him international recognition and economic security. It was a time of private and professional bliss. It is interesting to note, however, that the Seventh Symphony by no means reflects a consistently pastoral, idyllic atmosphere. On the contrary, the music often has a dramatic and sombre effect. It is possible that Dvorak was coming to terms with the blows of fate he had suffered: he had lost his mother and three children. Four years after the premiere of the Seventh Symphony, Dvorak set to work on his Eighth, which differed substantially from it. In the Seventh, he still adhered to the form of the classical symphony according to Beethoven, but here he gave preference to melody over form. It leads through the work, creating the impression of a “sequence of atmospheric poetic pictures.”

Finnish conductor Pietari Inkinen has been chief conductor of the Deutsche Radio Philharmonie since 2017 and Music Director of the KBS Symphony Orchestra in Seoul since 2022. He has conducted many renowned orchestras, including the Pittsburgh Symphony, the Royal Concertgebouw Orchestra, the Gewandhausorchester Leipzig, the Accademia Nazionale di Santa Cecilia, the Orchestre Philharmonique de Radio France, the Los Angeles Philharmonic Orchestra and the Helsinki Philharmonic Orchestra.

Released on the occasion of the Swedish Radio Choir's centenary, this recording brings together works that testify to the richness and the vitality of the internationally acclaimed Swedish choral tradition. The programme features twelve extremely varied works, demonstrating the openness, versatility and flexibility of the Swedish Radio Choir and it's multi-award-winning conductor, Kaspars Putnins. It also pays tribute to the pioneering work of the choir's long-standing choirmaster Eric Ericson, whose work has influenced and inspired composers from many generations. The older works, by Ivar Wideen, Lars Johan Werle, Lars Edlund and Ingvar Lidholm, draw on ancient, secular and religious traditions, from Gregorian chant and madrigals, and combine clear melodic lines, glissandos, chants, whispers and traditional harmonies to create a language that is both modern and accessible. More modern works by Anders Hillborg, Britta Bystrom and Johannes Pollak and explore the human voice and it's possibilities in every conceivable way. Staffan Storm, Ulrika Emanuelsson and Anna-Karin Klockar pay tribute to the great Swedish Romantic Hugo Alfven in pieces composed for the 150th anniversary of his birth. Finally, Arne Lundmark and Jan Sandstrom adapt existing folk and religious pieces and 'expand' the musical content, offering a vision that is both personal and respectful of the original work. The Swedish Radio Choir and Kaspars Putnins invite you to celebrate a century of Swedish musical history.

UBIQUE lives on the border between enigmatic lyricism and atmospheric distortion. Through a combination of sounds, pitches, and textural nuances, low deep drones envelop lyrical materials and harmonies that breathe in and out of focus throughout the progress of the piece. The flow of the music is primarily guided by continuous expansion and contraction - of various kinds and durations - as it streams with subtle interruptions and frictions but ever moving forward in the overall structure. The work is inspired by the notion of being everywhere at the same time, an enveloping omnipresence, while simultaneously focusing on details within the density of each particle, echoed in various forms of fragmentation and interruption and in the sustain of certain elements of a sound beyond their natural resonance - throughout the piece, sounds are both reduced to their smallest particles and their atmospheric presence expanded towards the infinite. As with my music generally, the inspiration is not something I am trying to describe through the music as such - it is a way to intuitively approach and work with the core energy, structure, atmosphere and material of the piece. UBIQUE is 45 minutes in duration and is written in 11 parts, for flutes, grand piano, 2 cellos and pre-constructed electronics. - Anna Thorvaldsdottir

Following Sony Classical’s 16-CD release of Artur Rodziński’s New York Philharmonic recordings, here is the label’s eagerly awaited 13-disc collection of his complete recordings with the Cleveland Orchestra, which Rodziński headed from 1933 to 1943. The fiery, volatile Polish conductor (1892–1958) – whose lean, propulsive style emulated that of his idol Toscanini – earned a reputation as a builder of great orchestras: he led and developed the Los Angeles Philharmonic before taking up his position in Cleveland. In 1935, he brought nationwide attention to the midwestern orchestra when he conducted it in the US première of Shostakovich’s opera Lady Macbeth of the Mtsensk District. During his tenure in Cleveland, Rodziński moulded its orchestra into a brilliant ensemble which his successor, George Szell, would then elevate to international pre-eminence. Meanwhile, Rodziński was also active in Europe, becoming the first naturalized American to conduct the Vienna Philharmonic at the Salzburg Festival. There Toscanini admired his work and in 1938 picked him to train his new NBC Symphony Orchestra. In Cleveland between 1939 and 1942, Rodziński conducted a number of important recordings for Columbia Masterworks, all of them contained in this new set.

With dedicatee Louis Krasner as soloist, he made the first studio recording of the Berg Violin Concerto. His other acclaimed 78-sets include the Berlioz Symphonie fantastique, Rimsky-Korsakov’s Scheherazade (“among the finest statements ever given this incorrigibly popular score” – High Fidelity), Strauss’s Ein Heldenleben, the Fifth Symphony of Tchaikovsky (“Remarkable here is the tension of the second movement and the heroic close to the first” – Gramophone) as well as those of Sibelius and Shostakovich, Tchaikovsky’s Romeo and Juliet (“Unsullied excitement” – Gramophone), Debussy’s La Mer and the orchestral “scenario” from Jerome Kern’s Show Boat – plus a previously unreleased recording of Mendelssohn’s Violin Concerto with Nathan Milstein. Until now, most of these albums have only been released on 78s and reissued on LP. Thus Sony Classical’s meticulously transferred and mastered 13-disc collection of Rodziński’s Cleveland recordings fills a large gap in this still widely admired conductor’s CD discography.

Miloslav Kabelac ranks among the most significant Czech composers of the 20th century. Alongside Antonin Dvorak and Bohuslav Martinu, he is recognized as one of the greatest Czech symphonists, and his work represents a cornerstone of Czech musical heritage. His work encompasses nearly all musical genres except opera, but at it's core are eight symphonies, each with a unique orchestration. With the czech conductor Jakub Hrusa the ORF Radio Symphony Orchestra had a welcome expert for this recording, as he examines carefully these rich orchestrated scores of this still underrated music and composer.