"Highways and Byways: A Double Album of Rarities for Recorder"

A seminal contribution to the canon of recorder music, this recording assumes a pivotal role, enriching the repertoire and captivating audiences with its distinct allure and technical prowess. Serving as a valuable resource for connoisseurs of recorder music and an inviting introduction for novices, Highways and Byways features a diverse array of compositions. Through its discerning curation and expert execution, this recording not only commemorates the recorder's storied legacy but also fosters an appreciation for its enduring elegance and adaptability.

John Turner presents recorder pieces by renowned composers such as Lennox Berkeley, John McCabe, and Thomas Pitfield. Discover rare gems by Igor Stravinsky and Alexander Gretchaninov, alongside a remarkable composition for recorder and two violas by the distinguished American composer William Bergsma.

As a special treat, the album includes two previously unknown pieces by the late Christopher Ball, along with two compositions by John Turner himself, including a homage to Ukraine. It's a veritable feast of rare and captivating music!

Renowned as one of today's leading recorder players, John Turner's illustrious career spans performances with esteemed ensembles like David Munrow’s Early Music Consort of London and recordings with prestigious orchestras worldwide. With over 600 premieres to his credit, including works by Leonard Bernstein and Peter Sculthorpe, Turner's artistry has left an indelible mark on the contemporary recorder repertoire.

Featuring performances by John Turner (recorder), Stephen Bettaney (piano), Laura Robinson (recorder), Catherine Yates (viola), and Alex Mitchell (viola), "Highways and Byways" is a testament to the dedication of these exceptional musicians.

The Arcadia Quartet’s acclaimed survey of Weinberg’s String Quartets continues with this fourth volume containing Quartets Nos 6, 13, and 15. Quartet No. 6 was composed in 1946, the composer dedicating it to his friend Georgiy Sviridov, whom he had met in Shostakovich’s circle. The Quartet is a summit of his early achievements, and its musical language is strikingly advanced in relation to traditional Soviet works in the genre. It was banned by the authorities, and as a result, Weinberg wrote no more quartets until after the death of his mentor Shostakovich. String Quartet No. 13 was composed in 1977 and dedicated to the Borodin Quartet. It comprises a single movement lasting some fourteen or fifteen minutes, making it the shortest of all Weinberg’s quartets. String Quartet No. 15, from 1979, is in many respects the most radically conceived of all Weinberg’s quartets – certainly its nine-movement design suggests so. In expressive terms, too, it is one of the most elusive. The movements carry no titles or expressive directions, and, as in the case of his previous two quartets, Weinberg confines himself to metronome indications, avoiding all specification of character.

REVIEWS:

The Arcadia Quartet's underlying technical finesse and emotional commitment duly reinforce this music’s stature.

— Gramophone

Whatever the music’s texture and temperature, the Arcadia group plunge in without fear, doubly armed with their sturdy technique and total commitment to Weinberg’s cause.

— The Times (U.K.)

César Franck's only symphony came at a time when the French music world was seeking to rival the great Austro-German tradition. The 'darkness-to-light' narrative of the Symphony in D minor owes a debt to Beethoven and there is a unique power within its distinctive themes, innovative cyclic form, and general gravitas. Franck's student Ernest Chausson was no doubt inspired by his teachers thematic metamorphoses, but the anguished influence of the ever-present Wagner is also ever present.

The published score of Chausson's Symphony in B-flat includes many errors which conductor Jean-Luc Tingaud meticulously corrected after careful study of the composer's autograph manuscripts.

A young female singer in 17th-century Venice: she is a virtuoso and extremely charming, and the gentlemen of her select audience are at her feet. They call her the "Singing Venus". But Barbara Strozzi wants more: she regularly publishes her compositions – more than any woman before her. The new BR-KLASSIK audio biography tells her story.

Until the 20th century, female composers had a hard time in a male-dominated art. And in historiography for even longer: it was not until 1978 that a female American musicologist published the first specialist article on Barbara Strozzi. Today, it is generally accepted that she is one of the most important voices in the history of vocal chamber music. She is featured on a growing number of CDs, concert programmes and websites. However, although research has begun, a lively account of her life and work, accessible to a wider audience, has been lacking.

This audio biography brings together all the key documents and research that represent her – and also vividly introduces us to the unique cultural space in which the composer lived. The exuberance of Carnival, the development of the fledgling art of opera, and Venice - the"città galante"- are all linked to the phenomenon of"Barbara Strozzi" and her art. Listeners unfamiliar with this music are invited to rediscover lost treasures – and to get to know one of the great women of music history. Wiebke Puls, an actress at the Münchner Kammerspiele and a singer herself, lends her voice to Barbara Strozzi.

With this programme, we want to show that these female composers - Josephine Lang and Ethel Smyth - can not only hold their own alongside an established and frequently performed song cycle by one of the "big names", Richard Strauss, but that their emotionality, quality and compositional accuracy are absolutely essential in the great canon of song literature, because that is where they undoubtedly belong, bringing a unique perspective and a message that is still far too little heard to this colourful genre in the most creative way. Duo Yvonne Prentki/Benedikt ter Braak

This new large-scale setting of the Magnificat has been written as a companion piece to J.S. Bach’s famous setting (BWV 243). Although making use of a more contemporary musical language, it uses similar instrumentation, follows the same framework of chorus and solo movements, and makes use of a number of features that are typical of Bach’s music.

When Fanny Hensel, nee Mendelssohn Bartholdy, the wife of the Prussian court painter Wilhelm Hensel, died unexpectedly on 14 May 1847 at the age of 41 as a result of a stroke, the music writer and poet Ludwig Rellstab coined the beautiful phrase that she "also shared the sisterhood of talent with her famous brother".

This assertion has only recently been recognised in its full significance. Felix Mendelssohn Bartholdy's eldest sister, granddaughter of the philosopher and Lessing's friend Moses Mendelssohn, niece of the scandal-ridden Dorothea Schlegel, was not only a musical prodigy, an outstanding pianist and conductor, her brother's closest confidante and advisor and a brilliant writer of letters, but also "the most important female composer of the 19th century" (Franz Krautwurst). Jahrhunderts" (Franz Krautwurst in Die Musik in Geschichte und Gegenwart, Supplement, article Fanny Hensel, 1979).

The present CD offers mostly first recordings of some piano compositions, primarily works that were published by the composer herself, and thus helps to gain a more differentiated picture of the creative abilities of this unusual woman.

With their new CD "Hymne à l'amour"; the Duo Minerva once again shows how exciting and multifaceted classical music can sound. Their arrangements; woven with great artistry; their virtuosity and their exceptionally emotional style of music-making breathe fresh life into often-heard works. With a great deal of playfulness; the well-rehearsed duo moves between the most diverse genres and combines classical masterpieces with contemporary avant-garde; folk music and a pinch of the as yet unheard on the subject of love - entirely in Duo Minerva style.