Their third release on Signum Classics, David Temple and Hertfordshire Chorus present Karl Jenkin’s The Armed Man. This is the first recording of the ensemble version of The Armed Man: A Mass for Peace. It was conceived by the composer as an alternative where performances of the full symphonic version are not possible. The work loses none of its impact, retaining the same big sound with driving rhythms, thundering climaxes, fearful moments and tender, memorable melodies. This recording features celebrated mezzo soprano Kathryn Rudge as well as muezzin Osama Kiwan and cellist Jamal Aliyev.

Saxophonist Pat Posey goes to extremes for his solo debut album, they/beast. Introducing the tubax – a German-invented, modified version of the contrabass saxophone – Pat plays deep, dark renditions of J.S. Bach’s Cello Suite No. 3, Melodies for Saxophone by Philip Glass, Bach-inspired Mo’ingus by Brooklyn-based composer-saxophonist Shelley Washington, and Pat’s own Hymn.

REVIEWS:

Pat Posey’s solo album they/beast displays the Tubax›s incredible sound with a wide variety of materials, from Bach cello suites to Philip Glass› Melodies for Saxophone. If listening to Paul Desmond’s alto sax is like sipping a fine white wine, Posey’s Tubax is like drinking a delicious porter. Its lows are glorious and Posey dexterously wrestles it through some very complex material. they/beast is a unique and sonically adventurous treat.

-- The Whole Note

The growling, guttural timbre and harmonic timbre and harmonic overtones are perfectly showcased…Posey displays colossal lung power and technique…fiendishly virtuosic…a dazzling, unsettling spectacle by a musician pushing the creative envelope.

-- BBC Music Magazine

The tubax has an amazing low register, and in the hands of a player like Pat Posey, it can be nimble and produce astonishing multiphonics … Posey’s own Hymn (2022), a real tour-de-force of inspiration, beauty, quirkiness, and earblowing sounds. Fantastic album.

-- American Record Guide

Kellen Gray has reunited with the Royal Scottish National Orchestra for a second instalment of African American Voices. Though representing differing schools of thought regarding African American classical music, the composers here are united by their roots in black history, culture and its rich musical heritage. Drawing upon jazz and spirituals – ‘I Want Jesus to Walk with Me’ serving as the source material – Margaret Bonds’ Montgomery Variations engages with African American history, namely the Montgomery bus boycott and the 1963 Birmingham church bombing. In this work, re-discovered in 2017, Bonds tackles the themes of strength, resistance, determination and faith. Bonds’ contemporary, the prolific composer Ulysses Kay cultivated a neoclassical voice, as his Concerto for Orchestra exemplifies, very much in line with William Grant Still and his teacher Paul Hindemith. A versatile musician, Coleridge-Taylor Perkinson comes a generation later. In his Worship: A Concert Overture, we can hear a blend of Baroque counterpoint, elements of the blues, spirituals and black folk music.

REVIEW:

Margaret Bond (1913–1972) wrote her 1964 Montgomery Variations as a seven-movement theme-and-variations on the spiritual “I Want Jesus to Walk with Me.” Bond’s impassioned cri de coeur bypasses the constraints of academic cd’s and don’ts as it chronicles in boldly theatrical music the beginnings of the Civil Rights Movement, from the Montgomery bus boycott through the tragic 1963 Sixteenth Street Baptist Church bombing. Bond dedicated the piece to Dr. Martin Luther King, Jr., though sadly never heard it performed during her brief lifetime.

Ulysses Kay (1917–1995) reflects in his 1948 Concerto for Orchestra the influence of several of his mentors – including Paul Hindemith – as a thoroughly tonal work conceived in mid-20th century, in a moment in which the music of the followers of the Second Viennese School reigned supreme in the classical music worlds of both Europe and America. Kay’s classically structured, richly orchestrated, harmonically dense, and contrapuntally complex composition remains at its core a consonantly melodic, post-Romantic work.

In his 2001 Worship: A Concert Overture Coleridge-Taylor Perkinson (1932–2004) successfully amalgamates sacred and secular music, incorporating blues in his nobly elegant treatment of Praise God from Whom All Blessings Flow.

-- All About The Arts (Rafael de Acha)

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.

Philippe Herreweghe and Collegium Vocale Gent have made a lasting impression on the Bach discography with their many recordings devoted to the Kantor. They have also explored other sacred repertoires by Beethoven, Haydn, Dvorák and Bruckner, to which they have brought all their excellence and sensitivity. Here they are together for the first time in a boxed set of 11 CDs.

This album marks the culmination of two special Hallé collaborations and includes four major pieces from one of the most distinctive of current British compositional voices. Delyana Lazarova (Hallé Assistant Conductor 2020-23) and composer Dobrinka Tabakova (Hallé Artist in Residence 2022-23) were both born in the historic city of Plovdiv, Bulgaria. Working together for the first time during their time with the orchestra they formed a strong musical connection in which the Hallé musicians displayed a close understanding of the intricacies and dialect of Tabakova’s musical language. This album contains two of Tabakova’s major orchestral works. The three-part Earth Suite, which the composer says was inspired by ‘the overwhelming force of Nature’, recently drew ‘exquisite playing’ from the Hallé (Bachtrack, April 2023).

Orpheus Comet features fast rhythmic material combined with atmospheric transparent orchestrations and a glorious climax featuring quotations from Monteverdi. The two significant concertos for strings and soloists included on this album solidified Tabakova’s reputation as an outstanding contemporary voice and display the composer’s close affinity with string instruments. Ukrainian-British Maxim Rysanov, is one of Tabakova’s longest collaborators who premiered the Concerto for Viola and Strings in 2004, a piece described as being ’saturated with an inner, captivating and natural energy’ (Culture Magazine, Nov 2004). The Concerto for Cello and Strings (whose score was described as ‘gorgeous’ by the Daily Telegraph, Australia) is here performed by Guy Johnson, one of the most exciting British cellists of his generation.

Learn more about this recording on the Naxos Classical Spotlight podcast!

Mandolinist Alon Sariel continues his series of Bach transcriptions with Plucked Bach II. On his first Plucked Bach album, Sariel played the Cello Suites on a wide range of plucked instruments. Yet in this new recording, he performs works for the lute, organ and violin - all performed on 'only' two types of mandolins. By offering a distinctive and groundbreaking interpretation of his own transcriptions and arrangements, Sariel manages to breathe new life into some very well-known works by Johann Sebastian Bach.

The iconoclast Toccata and Fugue in D Minor (BWV 565) for the organ receives a contemplative and intimate character on the mandolin. Excerpts of the Lute Suite (BWV 998) and the Violin Partita No. 3 in E Major (BWV 1006) are drawn in a whole new palette of colors. For Bach's Violin Sonata No. 2 in A Minor (BWV 1003), Alon Sariel shows the in-credible suitability of the mandolin for Bach's music. And as an encore, you will hear his rendition of Ysaÿe's dazzling Obsession. Alon Sariel is one of today's most versatile performers, known as a multi-instrumentalist in the realm of plucked strings with a growing reputation as a fascinating Bach interpreter.

For nearly 20 years, Seraphic Fire’s Christmas concerts have heralded the change of seasons for our audiences in South Florida, and there is no piece more associated with these yearly musical celebrations than Jesus Christ the Apple Tree. Written by Elizabeth Poston, English composer and purported World War II spy for the Allies, Jesus Christ the Apple Tree takes a Federal-era American text and clothes it in music so simple, that it could easily be an 18th-century colonial hymn. With its elegant treble-voice verse and luxurious ending canon, Jesus Christ the Apple Tree has become an indispensable part of Christmastide for thousands of our friends in our hometown of Miami, FL, and beyond.

With Poston’s masterpiece as our polestar, this new holiday recording by Seraphic Fire celebrates the simple and the authentic. From Praetorious’s double choir setting of In dulci jubilo and Gottfried Wolter’s spine-tingling Maria durch ein Dornwald ging, to familiar American carols arranged by composer contemporaries of Seraphic Fire (including Susan LaBarr, Edwin Fissinger, Timothy Takach, and Seraphic Fire’s founder Patrick Dupre Quigley), this new recording hopes to introduce new settings of old melodies that will hopefully become instant classics in your Christmas soundscape. Each Seraphic Fire Christmas program is special, and we hope that The Apple Tree: Christmas with Seraphic Fire will continue our tradition of bringing peaceful, tuneful contemplation to our beloved audiences, near and far. – James K. Bass

In 1700, Corelli published his 12 violin sonatas, Opus 5, in Rome. A veritable revolution in violin technique, they won the admiration of eminent composers (Bach, Dandrieu, Couperin) and greatly influenced the French (Francoeur, Leclair, Senaillé, Quentin), who were to try their hand at this virtuoso and brilliant Italian style. At the end of the 1730s, the first six sonatas of opus 5 were"adapted to the transverse flute with the bass" by a Parisian publisher. The level of virtuosity they demanded was quite innovative at the time. This display of virtuosity is also to be found in the compositions of Jean-Baptiste Quentin, known as Le Jeune. We have very little biographical information on Quentin himself, but all his work is greatly inspired by Italian music and is heavily influenced by Corelli. Anna Besson has made the world's first recording of his sonatas, with the help of two other eminent performers of the new Baroque generation, Myriam Rignol on viola da gamba and Jean Rondeau on harpsichord…