Stellar violist Anna Serova pays homage to Sir William and Lady Walton, and to ‘La Mortella’ – the beautiful garden they created at their home on the island of Ischia. The album features Walton’s Cello Concerto transcribed by Serova for viola, plus three new works by Italian composer Roberto Molinelli dedicated to La Mortella; World Premiere Recordings.

JoAnn Falletta conducts the National Orchestral Institute Philharmonic in works by four extraordinary mid-20th-century American composers who helped shape the country’s musical destiny: Aaron Copland, Walter Piston, Paul Creston and Ulysses Kay. Includes two world premiere recordings – Paul Creston's Saxophone Concerto and Ulysses Kay’s poignant and elegiac Pietà.

The next instalment in this popular series now focuses on the life and music of Mendelssohn. This insightful biography explores the breadth of his achievements, the complexities of his privileged upbringing, and the reasons for the fluctuating nature of his reputation. Written by Davinia Caddy, narrated by Leighton Pugh, and featuring many musical excerpts include the Violin Concerto, String Octet and Elijah, as well as his choral works, symphonies, sonatas and songs.

Tom Winpenny conducts this album of choral works by Elizabeth Poston (1905–1987) – an English composer renowned for her great sensitivity of word setting, a profound appreciation of ancient folk-song traditions, and timeless melodic charm. Performed by the Cathedral Girls Choir and Lay Clerks from St Albans Cathedral, located in her native Hertfordshire – this is the first album to be dedicated entirely to Poston’s work. Includes many world premiere recordings.

The 20th-century Lithuanian composer’s dialogue between modern forms of expression and folk motifs is well represented in the four works in this recording. There is a sense of playful lightness in the Romantic aesthetic of Gruodis’s work, while Banaitis incorporates national lyricism with personal grief in his Sonata. Composed under the restrictions imposed by Soviet occupation, Vainiunas’s Sonata, Op. 38 is suffused with tragedy and sorrow, while Juzeliunas’s distinctive style had an enormous impact on the future of Lithuanian music. All of these pieces are symbolic of survival and represent being truthful to one’s creative identity while under the harshest of conditions.

The cello was a vital part of Catalan musical expression in the first half of the 20th century. Pablo Casals as composer and cello virtuoso was its revolutionary force, and his student Gaspar Cassadó joined him in writing superb transcriptions and expressive original works with a strong sense of tradition and national melodic flavour. Casablancas’ Cant per a Frederic Mompou ‘Remembrança’ pays homage to another great friend and colleague, while Enrique Granados’s soulful Madrigal is accompanied by delectable arrangements of piano works with cello such as the Goyescas.

Italian piccolo virtuoso, Francesco Viola, presents this highly personal album of concertos for his instrument by Eastern European composers. Baksa’s Grande concerto piccolo and Viola’s arrangement for piccolo of Hida’s Oboe Concerto are both world premiere recordings. Viola is accompanied by the Nationaltheater-Orchester Mannheim conducted by Salvatore Percacciolo.

Between 1879 and 1880, as he approached his 40th birthday, Giovanni Sgambati completed his Piano Concerto in G minor, a work on which he had been working for about two years. It was a significant moment for Italian instrumental music: it was, in fact, the first Romantic piano concerto by a composer from the country that had given the world both the instrument, invented by Cristofori almost two centuries earlier, and the genre itself.

The Piano Concerto displays an assured compositional hand. It constitutes not only a new beginning for Italian piano music but also a synthesis of the possibilities offered by the genre. An extremely difficult work to play, it is not immediately accessible on a first hearing, given the density of its material, but reveals more about Sgambati’s inventiveness and technical mastery every time you listen to it.

The Sinfonia festiva (Ouverture de fête) was composed in 1878 or 1879, making it contemporaneous with the Piano Concerto and proof of Sgambati’s growing dedication to orchestral music. It is a short but mature work, confidently written, clearly inspired by the dance-like character of Beethoven’s Seventh Symphony. Three main themes, the first lean and lively, the second more lyrical, the third impudent and leaping, are organized according to the principle of sonata form, with a development section in which the initial motif pops up time and again, wandering between tonalities, sometimes giving the impression of formal freedom, sometimes of obeying rondo form.

REVIEW:

A pupil of Liszt, Giovanni Sgambati (1841-1914) stood out among 19th-century Italian pianists for his advocacy of the German school and classical models. His massive three-movement Piano Concerto in G minor (1880) might be described as a hybrid that fuses the similarly scaled Brahms D minor concerto with piano writing marked by Lisztian bravura.

Imagine Liszt reworking the echt-Hungarian finale of Brahms’ Violin Concerto for piano on his own stylistic terms, and you’ll get an idea of what Sgambati’s third movement sounds like. Similarly, the grandiose first movement owes much of its existence to the arpeggiated flourishes in Beethoven’s Emperor concerto first movement and motives from Liszt’s Hungarian Fantasy.

Recorded live in 2013, the (late) pianist Massimiliano Damerini handled the daunting piano part with brilliance and confidence. He positively opens up and thrives in front of an audience.

Both conductor and orchestra make a splendid case for the delightful Sinfonia festiva (‘Ouverture de fête’), presented in its world premiere recording here.

  -- ClassicsToday.com (Jed Distler)

Angel Stanislav Wang (b. 2003, California), winner of the 2022 Jaén Prize International Piano Competition, presents his debut recital featuring Liszt’s monumental Sonata in B minor, and Shostakovich’s Piano Quintet in G minor accompanied by the Bretón String Quartet, plus excerpts from Granados's Goyescas and the competition imposed work Poema a un amor eterno by Laura Vega.

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.

2024 Centenary of his death - Gabriel Fauré (1845 - 1924)

Gabriel Fauré’s Piano Quartet in C minor was one of the first of its genre in France, composed as part of the ‘Ars Gallica’ idea of strengthening French music against German cultural domination. Fauré didn’t entirely escape the influence of Brahms however, and both he and his pupil George Enescu share a spiritual closeness to German late Romanticism in the melancholy complexity of expression in these chamber masterpieces. The monumental first movement of Enescu’s First Piano Quartet contrasts with the rhythmic momentum of the last, in a work that integrates French impressionism with the unmistakable folk music characteristics of his native Romania.

The stellar Fine Arts Quartet returns to Naxos with an album of Dvorák gems and surprises. The Second String Quartet is a fascinating example of early experimentation that would foreshadow the modernistic innovations of Schoenberg and his contemporaries. The Bagatelles are heard here in their original instrumentation featuring the harmonium.

REVIEW:

Did Antonín Dvořák suspect that his second string quartet was musically ahead of its time? Was he himself perhaps surprised, even shocked, by its harmonic boldness? Did he not yet feel confident enough as a composer? All of this could explain why the first private performance of the B flat major quartet did not take place until 63 years after it was written – in 1932 – from a reconstructed score. In the meantime, the quartet has been recorded more often than it has been heard in the concert hall.

In its complete recording, the Fine Arts Quartet has now also reached this second string quartet and places it in relation to the Bagatelles op. 47 and the Rondo op. 94.

In both works, the Fine Arts Quartet touchingly captures the Bohemian character, the folk song-like quality that is a basic element in Dvořák’s music. Lots of charm, a soft sound and supple bowing provide the necessary lightness and a slight smile behind the notes.

This grace can also be found in the string quartet – here, however, it comes across more as intimate passion, which is transformed into convincing expressivity through the daring harmonies. Despite the quasi-rhapsodic structure of the work, the Fine Arts Quartet never allows the songfulness of Dvořák’s music to be forgotten by finely differentiating the forward-looking harmonies so that the composition never becomes piecemeal. This also applies to the dance-like moments, which appear again and again and form an exciting symbiosis with Dvořák’s new ideas in this interpretation – in a quartet that also formally dispenses with classical structures.

-- Pizzicato (Guy Engels)

Taro’s Wonderful World was conceived by conductor/composer Fabrice Bollon and author Julia Liebermann as an introduction to or initiation into classical music both for children and adults unfamiliar with the genre. A digital-only version with German narration is also available (9.70356); the CD version does not include any narration. World premiere recording.

Trio Pangea continue their exploration of Portuguese piano trios with this third volume in the series. The repertoire ranges from the late 19th century to the present day. All world premiere recordings.

The latest instalment in this popular series takes us through the life and times of Franz Schubert. Written by Davinia Caddy, narrated by Leighton Pugh, and featuring a wide selection of musical excerpts from the Naxos catalogue and affiliated labels.

Paul Reale is best known as an esteemed educator but his composing career blossomed in the latter part of his career. The three works on this album – the Cello Concerto “Live Free or Die”, Piano Concerto No. 1 and Piano Sonata No. 6 ‘The Waste Land’ – all display Reale’s signature use of expressive melody, Baroque counterpoint, references to many types of jazz, and extensions of tonality. World premiere recordings.

The latest instalment in this popular series turns to the life and times of Robert Schumann. The text is written by Davinia Caddy, narrated by Leighton Pugh, and features excerpts from some of Schumann’s best-known works.

The guitar works on this album are by two towering figures of Catalan music – pianist Federico Mompou and cellist Gaspar Cassadó. Both shared a friendship with Andrés Segovia who inspired these pieces. Performed by Italian guitarist Eugenio Della Chiara.

John Adams’ City Noir was inspired by the cultural and social history of Los Angeles, with the composer himself calling it ‘an imaginary film score’, while Fearful Symmetries exemplifies his steamroller motor rhythms. The album ends with a capricious ‘Spider Dance’ of memorable rhythmic drive – a work dedicated to Marin Alsop who leads the ORF Vienna Radio Symphony Orchestra in these performances.

REVIEWS:

Marin Alsop has been quietly championing John Adams abroad—and now at the Met Opera conducting his El Nino— for decades. A new Naxos recording with the ORF Vienna Radio Symphony Orchestra demonstrates her flair and feeling for his distinctive idiom. City Noir, premiered by the LA Phil in 2009, is a vivid, multi-textured score inspired by mid-20th century urban California. With its jazz inflections and brooding canvases, the debt to the City of Angels and film noir are equally clear. This is the work’s third recording but well worth acquiring for Alsop’s theatrical bite and detailed interpretation. Punchier than Robertson and livelier than Dudamel (though Robertson’s ravishing sonics make for essential listening), she holds the attention with a sure eye for the work’s architectural twists and turns. The companion piece is Fearful Symmetries from 1988, one of Adams’s most infectious scores and yet only receiving its second outing on disc. Alsop takes the chugging basic pulse a tad faster than the composer’s own recording without sacrificing any of the infinite variety to be found in Adams’s orchestral details. It’s a joyous, carefree work and beautifully recorded. The same goes for the recorded premiere of Lola Montez Does the Spider Dance. Happily rehabilitated after getting the chop from Girls of the Golden West, this six-minute essay in wriggling cross rhythms is laced with sardonic wit.

-- Musical America (Clive Paget)

John Adams’s City Noir has been pretty well represented on disc in the fifteen years since its 2009 premiere: Marin Alsop’s new recording of the score with the ORF Vienna Radio Symphony is the work’s fourth. In general, this celebration of the city of Los Angeles benefits from her approach. It’s swift and characterful...its structure emerges nicely intact in Alsop’s hands. The central “The Song is for You” boasts a series of idiomatic solos (especially from alto saxophone and trombone), at times seeming to channel Gershwin. [The] ORF’s woodwinds, trumpets, and jazz drummer really shine here. By about any measure, this is some brash and chill Adams.

Even more welcome is the pairing’s account of Fearful Symmetries, a half-hour-long study in rhythm and texture that’s only been recorded once before. Granted, that earlier release was led by the composer and it’s aged well. But Alsop’s new take is downright invigorating. The conductor brings a strong sense of drive to the music, drawing out a beautiful blend of colors – from invitingly swooning saxophone quartet playing to unexpected synthesizer colors – from her forces. What’s more, hers is a reading that manages to vigorously illuminate the sophistication of Adams’s compositional language, circa 1988. It’s a keeper.

-- The Arts Fuse

This sixth album in this series is rich in music that ranges across Auber’s creative periods where finesse of orchestral detail and piquant harmonies are met by verve and wit. It includes some of Auber's least well-known music, some in world premiere recordings, as well as scores that explore vivid dance themes. Previous volumes can be heard on 8.574335 (Vol. 5), 8.574143 (Vol. 4), 8.574007 (Vol. 3), 8.574006 (Vol. 2) and 8.574005 (Vol. 1).

On this latest release in the Guitar Laureate series, Georgi Dimitrov-Jojo, winner of the 2022 European Bach Guitar Award, presents a selection of works transcribed for guitar from the rich repertoire of Johann Sebastian Bach. Dimitrov-Jojo’s beautiful sound and poetic interpretations bring an intimate connection to Bach’s boundless imagination, crowned in this substantial programme by the famous Ciaconna, BWV 1004.

Valentin Silvestrov is Ukraine’s leading composer and one of the most distinctive musical voices of our time. This album brings together the two superlative works of Silvestrov’s early maturity – Postludium for Piano and Orchestra and the Symphony for Violin and Orchestra ‘Widmung’. Recorded in the presence of the composer. The Lithuanian National Symphony Orchestra conducted by Christopher Lyndon-Gee can also be heard on 8.574123 in Silvestrov’s Symphony No. 7, Ode to a Nightingale and Piano Concertino.

REVIEW:

If you don't know [this] 86-year-old composer's music, a new album by conductor Christopher Lyndon-Gee and the Lithuanian National Symphony Orchestra makes a sonically satisfying place to start. It contains a pair of symphonic works that embody two recurring ideas for Silvestrov: that an end can also be a beginning, and that sweet, nostalgic music can thrive alongside concussive eruptions.

In Postludium for Piano and Orchestra, the composer essentially offers an ending, a "postlude," that becomes something brand new by mixing the avant-garde with old-school romanticism. The piece convulses in orchestral earthquakes of low brass (complete with aftershocks), but eventually gives way to delicate music that yearns for the long-ago beauty of Mozart.

The more expansive work on the album is a 44-minute symphony for violin and orchestra titled Dedication. Who's it dedicated to? Lyndon-Gee, writing in the album's booklet, treats it as an homage to the "life-force" of the human race — which encompasses not only tragedy, but also love and renewal. And yet for Silvestrov, he says, "Everything is a postlude to that which is slipping, inevitably and unceasingly, from between our fingers."

In Dedication, the violin — played with unwavering detail by Janusz Wawrowski — is not battling against the orchestra for domination, as in a typical concerto. Instead, the two protagonists complement each other, breathing as a single organism in Silvestrov's colossal exhalations of sound. Great waves of percussion crest over a spiky violin, a reminder that Silvestrov's early works from the 1960s were considered too avant-garde for Soviet-era officials.

Silvestrov has created his own sound world, charged with turbulence and bittersweet fragments of melody that can seem like quotes from other composers, but aren't. Near the end of Dedication, an elegiac theme, reminiscent of Mahler, emerges in the strings, struggling to rise ever higher through a dark cloud of roiling harmonies.

-- NPR Classical (Tom Huizenga)

Highly regarded as a teacher and composer, Robert Fuchs was an established part of Vienna’s musical landscape. This second volume of his six violin sonatas fuses his trademark lyricism with folk-derived melodies. Violinist Hyejin Chung and pianist Warren Lee present yet more Romantic rarities for violin and piano – works by Schubert (8.573579), Seitz (8.573801, 8.573965) and volume 1 of Fuchs’s violin sonatas (8.574213) are also available.

This latest instalment in the Great Composers series focuses on the life and times of Richard Wagner. Written by Davinia Caddy, narrated by Nicholas Boulton and featuring excerpts from Wagner’s best-loved operas and more.

Volume 62 of the Liszt Complete Piano Music Series focuses on transcriptions of religious works by Mozart, Rossini, Verdi, von Goldschmidt, and Liszt himself. Prize-winning pianist Martin Cousin returns to the series (he is the pianist on Volume 61 / 8.574545) for this selection of spiritual and mystical pieces.

Rhapsodies is the fourth album on Naxos dedicated to the lauded American composer Margaret Brouwer - renowned for her music's lyricism, imagery and emotional power. Marin Alsop conducts the ORF Vienna Radio Symphony Orchestra in this programme of world premiere recordings including Symphony No. 1 'Lake Voices' and the dazzling Rhapsody, Concerto for Orchestra.

Oscar Lorenzo Fernandez was a key figure in the cultural life of Rio de Janeiro. The primordial power of Batuque, the final movement of his Afro-Brazilian influenced suite Reisado do Pastoreio, gained the composer international fame. Without ever abandoning his Brazilian roots, in his later career Lorenzo Fernandez moved away from explicit nationalism towards a more universalist idiom as can be heard in the vigorously themed and atmospheric First Symphony of 1945 and the programmatic Second Symphony, inspired by the life and death of the heroic 17th-century explorer Fernao Dias Paes Leme. Symphony No. 1 is a world premiere recording.

Carl Teike's Alte Kameraden is one of the most popular marches in the world but surprisingly little is known of it's composer or the circumstances surrounding his compositions. This release is the first volume in a comprehensive edition of Teike's marches, made with The Royal Swedish Navy Band conducted by Alexander Hanson.

Ausias Parejo won the 2022 'Alhambra' International Guitar Competition at the age of 17. In this programme he includes works by Leo Brouwer, Ponce and Guastavino, as well as works by Juan Erena, Lorenzo Palomo (a premiere recording) and Ausias's father Ruben.

Airat Ichmouratov's Concerto Grosso No. 3 subtitled 'Liechtenstein' is a world premiere recording and was composed specifically for Alexander Gilman and the LGT Young Soloists, one of the world's most successful touring youth orchestras. Mahler's arrangement of Schubert's Death and the Maiden string quartet expands it into a grand orchestral spectacle.