Early music specialist Federico Maria Sardelli conducts his Modo Antiquo ensemble in this live performance of Cavalli’s Il Xerse – a highly innovative dramma per musica premiered in 1655. Recorded during the the 48th Festival della Valle d’Itria in Martina Franca, Italy, the cast includes the countertenor Carlo Vistoli and soprano Ekaterina Protsenko. A Blu-ray and DVD of this performance were released in June this year on the Dynamic label (DYN-57983 & DYN-37983).

REVIEW:

Francesco Cavalli’s Il Xerxe was first performed in Venice in 1655. The plot essentially consists of the efforts of the Persian Xerxes to win over the beautiful vassal Romilda, who is, however, in love with the king’s brother, Arsamene. The other main characters are also involved in the intrigues: Amastre, the woman already promised to the Persian king, and Adelanta, Romilda’s sister, who would love to see herself on the Thorn.

Countertenor Carlo Vistoli sings the title role with a warm and round, well-managed voice, which also convincingly conveys the character of the fickle figure. With her powerful voice, Gaia Petrone succeeds in interpreting Arsamene in a vocally worthy and credible manner. Ekaterina Protsenko sings a very attractive Amastre, and Caterina Lippo is also convincing as Romilda. The other roles are satisfactorily cast as well. Frederico Maria Sardelli leads the excellent Orchestra Barocca Modo Antiquo in a spirited, flowing and energetic performance.

-- Pizzicato

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.

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.

Anton Rubinstein’s remarkable virtuoso career during the 19th century coincided almost exactly with the final developments of the modern piano. The increasing popularity of the instrument combined with Rubinstein’s formidable execution earned him enormous popularity as a performer. The Six Preludes and Fugues in Free Style are major works, each piece dedicated and alluding to famous composers and performers of the day. The charming Three Pieces are small-scale character works, while the Concert Étude in C major is a witty display piece in which ‘wrong notes’ are instantly corrected, like an errant pupil attempting to disguise mistakes.

Few composers have achieved greater success with their first published composition than Erno? ? Dohna?nyi with his Piano Quintet in C minor, Op. 1. Written in 1895 and praised highly by Brahms, who is believed to have organized a Viennese performance shortly afterwards, it heralded the emergence of a major new talent. The harmonic ambiguity of the 1914 Piano Quintet in E flat minor points to the composer’s awareness of ongoing developments in European music. Still underestimated, it ranks among the most important works of Dohna?nyi’s ‘middle period’.

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)

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.

This album presents a selection of Suppé rarities and classics. Poet and Peasant and Morning, Noon and Night in Vienna are two popular examples of Suppé’s mastery. The previously unrecorded Fantasia Symphonica was rediscovered in Viennese archives by Ola Rudner who conducts the Tonkünstler-Orchester on these recordings. Includes two world premiere recordings.

Ernani was Verdi’s most successful opera until he composed Il trovatore. James Conlon conducts this acclaimed live performance from the Maggio Musicale Fiorentino featuring the stellar soprano Maria José Siri. Also available on Dynamic DVD (DYN-37972) and Blu-ray (DYN-57972).

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.

This selection of transcriptions celebrates childhood in a variety of ways, featuring popular works – Schubert’s Erlkönig, Granados’s atmospheric Tales of Youth, Mozart’s elegant Sonata facile, Schumann’s Scenes of Childhood and Debussy’s Children’s Corner – presented in a totally natural and idiomatic manner within the guitar’s distinctly expressive soundworld.

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.

Richard Strauss’s Josephs Legende is a ballet in one act composed for Diaghilev’s Ballets Russes in 1914. Fabrice Bollon conducts the Staatskapelle Halle in a work of alluring sensuality and soaring themes.

REVIEW:

All in all, the result is a thoroughly suggestive interpretation, which of course cannot completely take over the scenic element. Nevertheless, the dramaturgical contours are beautifully worked out, and everything leads up to the apotheosis, when Joseph and the Archangel disappear into other spheres. Once again, Fabrice Bollon allows the Staatskapelle Halle to make full use of its potential and to immerse itself in the story, which is not always the case in the tutti passages, which sound somewhat distant – perhaps in order to avoid any pathos. Nevertheless, this remains a rewarding recording of Richard Strauss’ first ballet score.

-- Pizzicato

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.

Zdenek Fibich was one of the most important Czech composers of the second half of the nineteenth century, after his Czech predecessor, Smetana, and near-contemporary, Dvorák. His Symphony No 2 in E flat major, Op 38 is one of his greatest orchestral works, holding in perfect balance the dual influences of the Czech Nationalist School (and particularly Dvorák) as well as Austro-German models such as Schumann, Weber and Wagner. Most of the main themes derive from some of his own piano pieces but they are integrated and developed in masterly fashion. At Twilight is a lusciously scored orchestral piece, whilst the Idyll is gently melancholic.

As a leading virtuoso who premiered Beethoven’s final violin sonata with the Archduke Rudolph, Rode was at the center of European musical life, his compositions sitting at the apex of the French violin school. The final volume in this acclaimed series presents one of his most inspired pieces, the Violin Concerto No. 11 in D major, lyrically expressive and full of good-humored zest. Violin Concerto No. 12 in E major is notable for the ingenious ways in which, through trills, staccato, spiccato and cadenzas, Rode heightens the music’s bravura. Violinist Friedemann Eichhorn studied with Valery Gradow at the University of Music in Mannheim, with Alberto Lysy at the International Menuhim Music Academy in Gstaad, Switzerland, and with Margaret Pardee at The Juilliard School in New York. He performs with many renowned orchestras across the globe, and his previous recordings for Naxos were highly acclaimed.

Rossini’s operas have remained amongst the most popular in the repertoire but over the last decade of his life he turned largely to piano music. The Péchés de vieillesse (Sins of Old Age) occupy thirteen volumes, and the deliciously informal and comic fourth is called Quatre hors d’oeuvres et quatre mendiants. Its theme is food, and Rossini lavishes all his abundant abilities of characterisation in his descriptive passages, not least the introduction of a parakeet.

Volume 7 of Rossini’s complete piano music, Péchés de vieillesse (Sins of Old Age), ranges across six of the fourteen albums to include works for both solo piano and for piano and voices. Two of the pieces – Andantino mosso (track 3), recently discovered in manuscript, and La notte di Santo Natale (track 5) receive their first recording. ‘Alessandro Marangoni sounds completely at home… and he presents the music with style, good humour and no mean virtuosity’ (MusicWeb International on 8.573107 / Volume 6).

Recording information: Warsaw Philharmonic Concert Hall, Poland (09/24/2008-09/27/2008); Warsaw Philharmonic Concert Hall, Poland (09/30/2008); Warsaw Philharmonic Concert Hall, Poland (12/03/2008-12/04/2008).

This is the first of two volumes of George Walker’s complete piano works, both featuring performances by Alexandre Dossin. The three sonatas heard here offer compelling contrasts. Sonata No. 1 (rev. 1991) is his longest and utilises folk tunes, No. 2 is darker and unified by tonal relationships, while No. 3 (rev. 1996) displays contrapuntal mastery and translucent elements. The album opens with the serene and majestic Prelude and Caprice, while both Spatials and Spektra are atonal. Bauble is heard in a world premiere recording.

REVIEW:

Judging by the compositions on this album, his piano music is communicative, colorful, expressive and, above all, characteristic. As a student of Rudolf Serkin, he was himself an outstanding pianist with an impressive career in Europe and the United States. This may have been conducive to his talent as a composer. 

Pianist Alexandre Dossin shows himself to be an accomplished interpreter, making Walker’s tonal language his own with his flexible and sensitive playing.

-- Pizzicato

To commemorate the 75th anniversary year of Turina’s death, this album presents some of the composer’s most admired works heard in arrangements for strings, performed by Spanish ensemble Concerto Málaga directed by Gil de Gálvez. Two of his best-known works – La oración del torero (‘The Prayer of the Bullfighter’) and Orgía, from Danzas fantásticas – open and close the program. Other examples include a sinuous Andalusian Tango and a rare example drawn from his incidental music, Aparición del Arcángel.

REVIEW:

All eight works presented here originally had different instrumentation but could be transferred to a string section without any loss of substance, enabling Concerto Málaga to present a nice collection to mark the 75th anniversary of the composer’s death.

Two of the composer’s best-known works, La oración del torero and Orgia, can be heard at the opening and closing, interspersed with other pieces that illustrate Turina’s style.

The 12-member, Andalusian string ensemble Concerto Málaga and its leader and violinist Gil de Gálvez offer interpretations that are more subtle than extremely evocative of Spanish color. The predominantly short movements charmingly and elegantly presented. Despite the uniform instrumentation throughout, the different characters become clear.

-- Pizzicato

Franco Alfano possessed an innate melodic facility combined with a talent for unexpected timbres. From the neo-Classical Divertimento to the noirish post-war Nenia, the lightness of touch of Amour… Amour… to the impressionistic Una danza and luxuriously orchestrated Suite romantica, each work reveals a different aspect of this multifaceted composer. This release of world premiere recordings features the Orchestra Sinfonica di Milano conducted by Giuseppe Grazioli who makes his Naxos début.

REVIEW:

Franco Alfano (1875–1954) remains a marginal figure in musical life despite a fair degree of coverage in record catalogs. Yet he is a thoroughly original composer, one who possessed an innate melodic gift combined with a talent for unexpected timbres, as can be heard in the lavishly orchestrated Suite romantica. The half-hour work is heard on this album in a very colorful and expressive, excellently performed interpretation.

With Una danza, completely different colors are expressed and one may hear an influence of Debussy. This is followed by Nenia, a somewhat melancholy solo piece for accordion, sensitively played by Davide Vendramin, which finds its counterpart in the Aria of the Divertimento, even if the outer movements are very lively and playful.

The program, pleasing and excellently played, ends with the Waltz Amour… Amour…, originally composed for piano in 1901 and orchestrated in 1928.

-- Pizzicato