Napoléon Coste was the most eminent French guitarist of the 19th century and a creative innovator. Fantaisie symphonique shows the range of his ambition with its quasi-orchestral textures, swift mood changes and virtuoso flourishes. Le Départ is one his most popular extended pieces, full of liquid transitions. Volumes 1–5 can be heard on 8.554192, 8.554194 and 8.554353-55.

Carl Teike achieved great success at the beginning of his career with Alte Kameraden (available on Naxos 8.574317), renowned as the German 'march of marches'. Characterised by a clear structure, inventiveness and a wide range of tone colours, Teike's marches significantly enriched the German concert march genre. On this second of three volumes they range from the festive Aus allen deutschen Gauen ('From All Regions of Germany') composed for veterans, marches with patriotic titles such as Der Kaiser kommt and Kaiser-Parole or dedicated to major cities in Northern Germany, to Die Welt in Waffen ('The Weaponised World'), which gave rise to political scandal in it's day.

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.

All the arrangements on this album are of instrumental works that Astor Piazzolla composed for his Quinteto Nuevo Tango. Most prominent is the Vivaldi-inspired Las cuatro estaciones porteñas reimagined in concerto style for solo violin and string orchestra by Leonid Desyatnikov. The seven other companion pieces are heard here in world premiere recordings of arrangements by conductor Ken Selden, who leads the Martingale Ensemble.

Fernando Lopes-Graca's importance to 20th-century Portuguese music cannot be overestimated. His study of native songs and traditions has been compared to that of Bartok, and the soulful melodies of the Três cancoes corais are an early example of his highly effective integration of folk style into rigorous historically established forms. From the reverence and purity of the Christmas Cantata songs to the harmonic density of the Três liricas castelhanas de Camoes, the powerful and often deeply moving combination of Lopes-Graca's use of classical structure alongside his country's musical heritage finds it's zenith in his writing for voices.

The collection of pieces by Anton Rubinstein is a mini-treasure trove. Delicate, tasteful and irresistible.

Anton Rubinstein has occupied an uneasy place in the history of Russian music, largely because of his Jewish origins, which led some to write him off, and the related perception of him as a ‘German in Russia’. In recent years his solo piano music has begun to be re-evaluated. This album focuses on the series of works written in the mid-1850s and reveals music of charm and flair. The Three Pieces, Op. 16 are conventional in form but attractive, and the Two Pieces, Op. 28 contain a strongly contrasted Nocturne and Caprice. More ambitious, and intended to be performed in his concert repertoire as one of the greatest virtuosos of the age, are the Six Pieces, Op. 51.

REVIEW:

Noted Brazilian, Steinway artist Sergio Gallo concentrates his effort on the Romantic era. One can hear his connection to these pieces, filled with ardor and efficiency: a delicate edging, yet mighty in pockets of dramatic regale. Each of the pieces inside opus 16 “sing” beautifully and contain delightful swells of pitches and turns, suffused by lyrical freedom.

A caprice, in the most literal term, directly translates into unexpected twists and turns. Certainly so, as there is much more tension inside the Three Caprices. Each of the three movements is independent yet totally connected. M. Gallo’s performance is beautifully nuanced, nudging notes where needed, yet retrenching where critically needed.

The opening “Nocturne” inside Two Pieces has strong lines into Frédéric Chopin, yet Rubinstein’s composition is more restrained and bold within. But there’s a beautiful contrast which Rubinstein chose to compose in the segue “Caprice”: undoubtedly, it is fresh with mild hints of flittering deviousness. Catapults are brisk, unannounced, and filled with delightful enclaves of devilish delight, and the closing denouement is understated yet ravishing. Smooth and sleek in parts, Sergio Gallo gives a spectacular reading of this highly vivacious and spirited œuvre.

Open the capsule of case studies as we turn to the Six Pieces with its journey inside a range of mild emotions. Sergio Gallo takes a dignified and thoughtful stance into these characterizations, each one eliciting precious thoughts and careful reflections. Nothing harsh hits the ear, so a 6-term journey through reflections is spectacular! Sergio Gallo exquisitely unfolds the thoughts with delicate discernment. Brilliant.

The collection of pieces by Anton Rubinstein is a mini-treasure trove. Delicate, tasteful and irresistible.

-- ConcertoNet.com (Christie Grimstad)

Alberto Franchetti and Ermanno Wolf-Ferrari shared a dual heritage, and all three of the works on this album were written while the composers were respectively in Germany. Late Romantic and cast in the German symphonic tradition, Franchetti's Symphony in E minor is a colourful, evocative and majestic work, heard here alongside Nella Foresta nera, which was inspired by the wild beauty of the forests of the Rhine valley. Wolf-Ferrari's expansive Sinfonia da camera rounds out the programme.

Gabriela Lena Frank's Conquest Requiem brings to life the complexities of colonisation, identity and survival through the story of Malinche, a Nahua woman from the Gulf Coast of Mexico who was given to the Spaniards as a young slave. Using a fusion of Western liturgical traditions, indigenous Nahua poetry and Latin influences, this powerful work deals with the fundamental question of how to reconcile a legacy of historical violence that continues to shape modern issues. Antonio Estevez's wildly popular Cantata Criolla - considered one of the greatest choral pieces of the 20th century in Latin America - is the composer's most celebrated work.

Between 1953 and 1967, the Italian composer Mario Castelnuovo-Tedesco wrote a series of Greeting Cards. These 52 musical folios, 21 of which were written for the guitar, are pen portraits of admired performers, students, friends and composers, performed here by Andrea De Vitis.

Renowned both as a guitarist and a composer, Carlo Domeniconi has written over 150 compositions, combining Eastern and Western elements in striking and individual ways. Sinbad, a Fairy Tale for Solo Guitar is a perfect example of his imaginative style and is one of the most remarkable works in the entire solo guitar repertoire, evoking the panoramic journey of the sailor and adventurer known from The Arabian Nights. The piece draws on diverse sources including Oriental-Persian scales, Arabic oud ornaments and extended techniques to chart, in three cycles, the Middle Eastern atmosphere through which Sinbad travels.

Clementi’s influence on pianists has proved enduring, whether through his compositions, books of instruction, or the introduction of new levels of virtuosity on the pianoforte. This album explores a selection of works that have never been recorded, reflecting the variety of his imagination and invention. Mozart heard Clementi perform his Toccata in B-flat major and grudgingly admired the Italian’s technical prowess. The Capriccios trace a quarter century of development – the earlier pieces exude cantabile warmth and bravura, while those published in 1821 belong to the new world of Beethoven.

The unique instrumentation of the three works in this album was pioneered by the innovative Lou Harrison, whose 1959 concerto encapsulates his culturally wide-ranging aesthetic. More conventional instruments work alongside calibrated extras such as wash tubs and flowerpots in a work of color, languorous elegance and kinetic energy. The companion works were composed in its honor: Robert Xavier Rodríguez’s Xochiquetzal evokes the ancient Mayan world in imaginary folk music to form a synthesis of time periods and cultures, while the economical serenity of Kati Agócs’s concerto also includes bitonal effects and zesty syncopation.

Unless one lived in a major European center with an orchestra, the opportunity to hear large-scale works by the great composers of the age was well-nigh impossible. The insatiable demand for new chamber versions of famed orchestral works saw Hummel ar-ranging Beethoven’s Symphonies Nos. 2 and 6 ‘Pastoral’ not long after the great composer’s death. Hummel approached his task with great care, bringing a fresh perspective to the works in his sensitive and compelling chamber music configurations. Hummel’s arrangements of Symphonies Nos. 1 and 3 ‘Eroica’ can be heard on Naxos 8.574039.

Hans Werner Henze was initially an avant-garde composer but Nachtstücke und Arien symbolised his departure from dodecaphonic writing, to the annoyance of his contemporaries Boulez, Nono and Stockhausen at Darmstadt. With this new direction Henze’s music became highly rhapsodic, as heard in the challenging but lyrical solo cello that suggests the intimate texts of the Englische Liebeslieder. Referring to Goya, Los Caprichos captures the strangeness of this artist’s visions with long-breathed melodic lines and fleeting changes of texture, from military-sounding bustle to moments of profound stillness. Marin Alsop is chief conductor of the ORF Vienna Radio Symphony Orchestra, which she leads at Vienna’s Konzerthaus and Musikverein, and on recordings, broadcasts and tours. Her discography includes acclaimed Naxos recordings of symphonies by Brahms with the London Philharmonic, Dvořák with the Baltimore Symphony, and Prokofiev with the São Paulo Symphony. The first and only conductor to receive a MacArthur Fellowship, Alsop received the World Economic Forum’s Crystal Award and was the first woman to conduct the BBC’s Last Night of the Proms. She is director of graduate conducting at the Peabody Institute and holds honorary doctorates from Yale University and The Juilliard School.

REVIEW:

Hans Werner Henze's rigorously constructed and orchestrated works require careful and well-prepared performances, and that’s just what they get here from conductor Marin Alsop and the Vienna Radio Symphony. This might, in fact, make a good initial Henze album, for it leads the listener into his music in a logical way. All three pieces respond to extramusical models in different ways. He is not everybody’s cup of tea, but this release realizes his ideas exceptionally well.

-- AllMusic.com (James Manheim)

Featuring more than a hundred pieces, this album showcases the charming dances Schubert composed for the many fashionable salons in Vienna between 1815 and 1823. It joins other Naxos albums dedicated to Schubert’s piano dances and miniatures by Yang Liu (8.573941) and Daniel Lebhardt (8.574145, 8.574277). French pianist Didier Castell-Jacomin is a Steinway Artist.

At the invitation of Respighi’s great nieces, conductor Salvatore Di Vittorio has restored and edited the Berceuse and Lamento d’Arianna. His completion of the orchestration for the Tre Liriche is heard here in a premiere recording. Di Vittorio conducts the Chamber Orchestra of New York with the mezzo-soprano Alessandra Visentin as soloist.

REVIEW:

Alessandra Visentin’s contralto voice acts as a perfect bridge between the 18th and 20th centuries and therefore becomes an ideal voice for this project. The orchestral colors bloom wide and iridescent. Salvatore Di Vittorio more than capably holds the reins, reconciling the voice with the opalescence of the instruments.

— Il Trillo Parlante (Fabio Tranchida)

Here are two very personal, immediately spontaneous and highly dramatic interpretations of the two concertos, in which so many things sound excitingly new.

For 19th-century audiences Beethoven’s Piano Concerto No. 3 was the most loved of all his piano concertos, a work in which the balancing of high drama, tenderness, lyricism and humour is most pronounced and in which a coda resolves inner tensions with brilliance and triumphant grandeur. Piano Concerto No. 4 is the most introspective and poetic of the concertos. The simplicity of its opening piano statement gives way to an unprecedented dialogue in the central movement between a heartfelt piano and an austere unison string orchestra, before the infectious energy of the dramatic finale.

REVIEW:

Beethoven’s 3rd Piano Concerto is a departure into a new era. And that’s what Boris Giltburg makes us feel in his interpretation with the Liverpool Orchestra under Vasily Petrenko. His first movement is very agitated and rhetorical, and the Largo is not a beautiful romance, but rather a reflection and lingering, a recharging of the batteries, so to speak, whose energy is used up in the last movement. On the whole, the contrasts are highly dramatic. Orchestra and pianist sometimes seem to want to go in directly opposite directions.

Excitement and contrasts between orchestra and piano also characterize the first movement of the Fourth Concerto in which Giltburg makes the cadenza particularly exciting and expressive. The second movement ends enormously sombre and hopeless, the Passagio experience is fearfully depicted. The last movement is jubilant and fluttering, extremely virtuosic and ravishing in its exalted manner.

So we have here two very personal, immediately spontaneous and highly dramatic interpretations of the two concertos, in which so many things sound excitingly new. And that makes us recommend these pianistically and orchestrally magnificent recordings without hesitation.

-- Pizzicato

Scriabin composed most of his single-movement fourth symphony The Poem of Ecstasy between 1905 and 1908 in Italy and France. He originally intended it to be called Poème orgiaque (‘Orgiastic Poem’) with its unprecedented raw sensuality and overpowering aesthetic, taking chromaticism beyond even Wagnerian voluptuousness. His earlier Symphony No. 2 in C minor adopts César Franck’s cyclical ideas to which Scriabin layered sweeping climaxes, majestic intensity and rich orchestral colour that enliven its five movements with ceaseless invention.

REVIEW:

The Poem of Ecstasy is an extremely effective piece. JoAnn Falletta’s sleek, graceful performance, at 19 minutes, is on the swift side of things, and well balanced for transparency and texture. The Buffalo Philharmonic paints in lovely light colors, and nothing drips. The electronic organ used by the orchestra supplies a fine weight for the conclusion of the piece. Falletta delivers the last apocalyptic chord after a slight pause, all the more effective given the fact that this has been a swift performance unencumbered by needless rubato. The Poem of Ecstasy emerges gleaming and appealing.

Falletta’s traversal of the Second Symphony is, if anything, even better, and almost relentless. This reading is ablaze with forward motion, bringing the piece home in 40 minutes. Scriabin has not provided many moments for the music to catch its breath, so it turns out that an effective counter to this is to speed one’s way through the score and gradually ratchet up the tension.

Falletta does not linger excessively over the slow movement. This is where conductors can get into trouble dwelling on atmosphere. In the propulsive last third of the symphony, Scriabin seems to tighten his compositional approach, as if aware of this pitfall, and the Buffalo Philharmonic is with him all the way, brass and percussion snarling through the whiplash winds of the Tempestuoso and ultimately hitting paydirt with the memorable march that brings the symphony to its powerful and optimistic conclusion. 

The Naxos engineers are to be congratulated throughout. The recorded sound is utterly natural and true to the hall. Falletta deserves kudos for daring to be brisk and for knowing how to build satisfying climaxes. This is the best version of the Second Symphony I have heard.

-- Fanfare (Steven Kruger)

In this third volume of Liszt's Schubert song transcriptions, which includes some rare versions, the composer’s prodigious capacity for colouration, shifting textures and use of myriad pianistic devices brings refinement and beauty to each song. Follows Volume 1 (8.553062, Volume 5 in the Complete Liszt edition) and Volume 2 (8.554729, Volume 17 in the Complete Liszt edition) of the Schubert Song Transcriptions series. Goran Filipec also contributed to Volumes 42 (8.573458), 49 (8.573705) and 55 (8.573794) of the Liszt Complete Piano Music series.

Vassily Sinaisky's widely acclaimed cycle of Schmidt symphonies with the Malmo Symphony Orchestra is now available as a 4-CD box set. Also included are the popular orchestral excerpts from the opera Notre Dame, Variations on a Hussar's Song, the Fuga Solemnis for organ, brass and percussion, as well as the monumental Chaconne. From 8.570828, 8.570589, 8.572118, 8.572119

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.

The brothers Antoine and Max Bohrer were highly respected musicians who received praise from Berlioz. They also co-composed several works including the Grande symphonie militaire included on this album. Antoine’s Violin Concerto and Max’s Cello Concerto complete this programme of all world premiere recordings.

This album showcases recent works for two guitars by the Chilean composer and guitarist Javier Contreras. He is joined by fellow Chilean guitarist and pedagogue, Jose Antonio Escobar - a decisive figure in Contreras's musical development - to explore the composer's inventive harmonic and cosmopolitan influences, which range from South American folk music to jazz. The Sonata for Two Guitars evokes the uniquely versatile sirilla dance in a work that marries introspection with vitality and virtuoso flourish. Elsewhere, Patagonian folkloric elements, exotic dances, high-speed dialogues and exquisite colours are conjured up in music of subtlety and energy.

Providing an overview of almost a century, this album reflects the aspirations of Polish nationalism through the works of three pivotal figures: Karol Kurpinski, whose Fantasy for String Quartet is both serious and ingenious in design, Zygmunt Noskowski, whose witty piece on a theme of Viotti includes the use of a polacca, and Stanislaw Moniuszko, whose quartets balance the hymnal with the rustic.

This latest entry in Naxos' Spanish Classics series is also the ninth and final volume in the Albéniz piano music series. The focus here is on Albéniz’s compositional evolution and his use of inspired folk-based melodies, Hispanic nostalgia and vivid dance rhythms, encapsulated by the intoxicating Chants d’Espagne. The album also includes five works heard in exciting new arrangements for two pianos made expressly for this recording. Miguel Ángel R. Laiz is joined by Santiago L. Sacristán in the works for two pianos.

Cesar Guerra-Peixe's compact First Symphony and the colourful Nonet date from his years as part of the Música Viva group - a collective of young composers influenced by Hans-Joachim Koellreutter, the German composer and teacher who brought serial techniques to Brazil. Guerra-Peixe's relationship with serial composition was intense and short-lived, but both of these earlier pieces were admired internationally and remain two of the finest works produced by this movement. From the 1950s onwards, Guerra-Peixe turned to musical nationalism with many successes including his award-winning and eloquently programmatic Second Symphony.

César Guerra-Peixe was one of the most versatile Brazilian musicians of the 20th century, as well as one the leading composers associated with musical nationalism in Brazil, gaining a particular mastery of orchestration and creating his own inimitable sound through extensive work in radio, television, and cinema. This album presents three of his best-known compositions, all written in the early 1970s. Guerra-Peixe’s toe-tapping Symphonic Suites Nos. 1 and 2 can be heard on Naxos 8.573925, acclaimed by ClassicsToday.com as ‘absolutely world class.’

Goffredo Petrassi's reputation was established in 1932 when his Partita (available on Naxos 8.572411) won critical acclaim. Petrassi then composed his Concerto for Orchestra, the first of eight, which, upon it's 1935 premiere, secured his reputation outside of Italy. The Second Concerto from 1951 reveals more avante-garde tendencies, while the Third Concerto from 1952-53 is animated and playful.

Goffredo Petrassi was 28 when his Partita (recorded on Naxos 8.572411) propelled him to European fame. He fused neo-Classicism with more contemporary traits reinforced by his mastery of polyphony, qualities that can be found in his eight Concertos for Orchestra (Nos. 1-3 are available on 8.573702). Concertos Nos. 4-6 were written in the mid-1950s and are striking examples of emotional turbulence and structural compression, fastidiously scored and imaginative in their formal conception. The soloistic writing of Invenzione concertata (Concerto No. 6) adds another layer of sonic complexity to these gripping concertos.

In the early 1960s Goffredo Petrassi's idiom was almost indistinguishable from that of the Italian avantgarde. Completed in 1964, the Seventh Concerto evolves with mounting tension and a sense of underlying menace. The Eighth Concerto from 1972 was commissioned and premiered by the Chicago Symphony Orchestra. It is a substantial piece of outright virtuosity, with dissonance, trenchant dialogues and a fraught atmosphere. The much earlier Sonata da camera for harpsichord and ten instruments finds Petrassi poised between neo-Classicism and a more modernist direction. This is the third and final volume of Petrassi's complete Concertos for Orchestra on Naxos (Nos. 1-3 are on 8.573702; Nos. 4-6 are on 8.573703).