Naxos
Naxos, the world's leading classical music label, is known for recording exciting new repertoire with exceptional talent. The label has one of the largest and fastest growing catalogues of unduplicated repertoire available anywhere with state-of-the-art sound and consumer-friendly prices. The catalogue includes classical music CDs and DVDs as well as other genres such as jazz, new age and educational.
4217 products
KENTON, Stan: MacGregor Transcriptions, Vol. 3 (1941-1943)
Art And Music - Canaletto - Music Of His Time
Includes work(s) by various composers.
Glass: Symphonies Nos 2 & 3 / Alsop, Bournemouth Symphony
Elsewhere, the dark and brooding moods are never overplayed or undersold by Marin Alsop. This isn’t the world’s most virtuosic band, but they rarely, and only very slightly sound strained by Glass’s high-lying violin lines. More performances from the big-name orchestras would bring a more expressive, forthright performing tradition, and maybe a faster finale for the Third. Glass’s Indian roots are often on display (there’s an Eastern cut to his thematic jib, here), but expressive results are fruitful. There are some reminders of other symphonists. In the Second it sometimes seems Alan Hovhaness, Lou Harrison, and Bill Schuman have met up for a drink with Sibelius, who is playing the Widor Toccata over there in the corner. Glass’s individual symphonism works, though, in this 43-minute piece, thanks to the skillful manipulation of orchestral contrasts as a structural device, a legacy, maybe, of his film-score experience. The Third Symphony is closer to the Glass mainstream, in four short movements for strings alone. Here, Alsop’s patient approach brings out the meaning in the music, away from the talk of polyrhythm and process. There’s fear, anxiety, and dismay (the world) behind some of those sunny repetitions, and physicality in the dance rhythms. Well-caught pizzicatos in the second movement, too, and an expressive solo display from the violin in the edgy, pulsating third section, which is a major success in this tense, sensual reading.
I wholeheartedly recommend this release (the first of a cycle, I trust), and again salute Philip Glass for doing it his way. The music deserves the widest exposure and popularity, and it deepens with acquaintance. This Naxos CD transformed my opinion of these works.
Paul Ingram, FANFARE
Philip Glass' symphonies are unique among the composer's output for their relative harmonic and thematic complexity. Listeners put off by Glass' endlessly repeated arpeggios will be relieved to find scant evidence of them in these works. Instead, like his opera Beauty and the Beast, Glass spins long melodic lines that go through many harmonic permutations before they are inevitably repeated. Thus, Symphony No. 2's first movement creates an air of expectation, something that Glass maintains through shifting instrumental timbres and stimulating dynamic contrast as the movement builds, Bolero-like, to a grand climax. After the soothing, somewhat meditative sonic environment of the slow movement, the finale breaks in with its agitated dance rhythms. This movement has the least harmonic variety of the three, and listeners unsympathetic to Glass' method may experience repetition fatigue.
Symphony No. 3 is almost radical in its use of traditional forms, including chaconne and rondo. Glass replaces the expansiveness of the earlier work with a highly concentrated thematic process that packs substantially more musical ideas into only slightly more than half the former symphony's duration. The second movement is particularly interesting, with its compound meters and hints of Bartók. Marin Alsop brings her long familiarity with the composer's music to her convincing performances of both works, although she faces strong competition in the No. 3 from Glass specialist Dennis Russell Davies, who leads a slightly more compelling rendition with the Stuttgart Chamber Orchestra. For its part, the Bournemouth Symphony plays keenly, maintaining enthusiasm and rhythmic exactitude even in the more repetitious passages. Naxos' warm and spacious recording presents the music with a compelling impact. [12/03/2004]
--Victor Carr Jr, ClassicsToday.com
Opera Explained - An Introduction To Monteverdi: Orfeo
Opera Explained - An Introduction To Beethoven: Fidelio
This selection includes an explanatory commentary of this opera, written by Thomson Smillie and narrated by David Timson.
American Classics - Barber: Orchestral Works Vol 2 / Alsop
Lyricism and obsessive patterns are finely realised by the RSNO, while conductor Marin Alsop shows a keen sensitivity to both scores and balances their rhetoric with the clean-edged clarity of their textures. In addition, her performance of the now-ubiquitous Adagio for Strings is a model of restraint, proving the saying that less equals more. Attractive sound, with a wide range and plenty of definition. - BBC Music Magazine
Vaughan Williams: Mass In G, Choral Music / Edison, Et Al
None of these challenges proves troublesome at all for the Elora Festival Singers, which during the past 20 years has become one of Canada's--and the world's--finest choirs. Director Noel Edison obviously cares about balances and clarity of line, and also shows concern for his singers (and listeners) by maintaining sensible, effective tempos. However, in one significant place, the crucial, final Agnus Dei movement, I found Edison's tempo just too fast to allow the layers of vocal lines to build sufficient tension and create the energy to achieve the intended, truly powerful climax. Nevertheless, you never get the sense that Edison gets any less than he asks for, especially since the other works on the program are performed with equal intensity and technical confidence. (In the mass, he's also got a terrific quartet of soloists, who not only deliver the notes and maintain the mood in their individual passages, but also make a well-matched ensemble.) It's a real treat to hear the motets sung so well (just listen to that lovely opening to Lord, Thou hast been our refuge, and to the shimmering, jazzy dissonances in the Prayer to the Father of Heaven), and the setting of the beautiful hymn Come down, O Love divine (Down Ampney) makes an appropriate close, a tribute to this composer's immeasurable contribution to the English hymn repertoire. Placing O vos omnes immediately before the mass allows us to easily hear the similarities between these two compositions, written around the same time.
Now, for the slightly bad news: the recording levels make trouble for full enjoyment of these inherently full-bodied, rich-textured works. True, the acoustics of Toronto's illustrious Church of St. Mary Magdalene are somewhat tricky to tame, but if you adjust the volume high enough to comfortably hear softer passages--the beginning of the motet Lord, Thou hast been our refuge, for instance--the louder sections (the entrance of the organ and the work's conclusion), are just too loud. This is true for the mass as well; it seems that the engineers decided that a more distant listening perspective was preferable to a closer one that would have posed its own balance problems. Nevertheless, I eventually was able to find a satisfying middle ground that my ears quickly adjusted to, allowing me to put aside my sonic concerns enough to devote several more hours to this one disc. And I will certainly return to it again, because the performances are that good.
--David Vernier, ClassicsToday.com
Varèse: Arcana, Octandre, Etc / Lyndon-gee, Castets, Et Al
Play this recording of Arcana next to the recent Boulez/Chicago on DG, and you're in for a big surprise. No, the Polish National Radio Symphony Orchestra isn't Chicago, and Naxos has paid for a recording of great immediacy and clarity of texture by accepting a very dry, attenuated bass. But musically, Christopher Lyndon-Gee blows Boulez away. His Arcana is only about a minute faster, but sounds about ten times more exciting, more dynamic, more rhythmically emphatic, more committed. Here is a conductor who understands what the composer means when he writes a triple forte, and he charts an unerring course from the pounding opening right through the mysterious closing bars.
The other works offer still more evidence of extraordinarily communicative musicianship. Tangy wind sonorities give a playful edge to Octandre's acerbic central movement, and a vocal, human warmth to its outer ones. Déserts, unlike the Boulez version, includes its taped interpolations and explores a stunning sonic landscape in which Lyndon-Gee's contributions sustain the work's atmosphere far more impressively. Intégrales reveals greater sensitivity to dynamic gradation than Boulez permits his Chicago players, and Offrandes' mysterious, sensual landscapes still mesmerize despite the dryness of the sound and the close-up focus on the otherwise fine soprano, Maryse Castets. In short, this wholly unexpected surprise of a disc will delight Varèse fans. You won't find Chailly's level of polish and sophistication, but Lyndon-Gee's interpretations offer a wholly winning freshness of their own. Now dare we hope for Amériques from these same forces?
--David Hurwitz, ClassicsToday.com
D. Scarlatti: Complete Keyboard Sonatas Vol 5 / Benjamin Frith
Thompson: Symphony No. 2 - Adams: Drift & Providence - Barber: Symphony No. 1 / Ross, Natioinal Orchestral Institute
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REVIEW:
This is the second recording by the National Orchestral Institute Philharmonic, a summer training programme for conservatory students. It’s as impressive as its predecessor in terms of the quality of orchestral execution, and perhaps even more valuable in its choice of repertoire.
– Gramophone
DANZI: Wind Quintets, Op. 68, Nos. 1-3 / Horn Sonata, Op. 44
Reinhardt, Django: Django Reinhardt (1938-1939)
Choral Music, Vol. 1 – Sometimes I Feel Alive / Rilke Songs / Introit For The Season Of Epiphany / Arise, my Love / Come, Thou Fount Of Every Blessing / Ave, Dulcissima Maria / Missa Brevis / Aaronic Benediction / Behold The Tabernacle Of God
American Classics - M. Brouwer: Aurolucent Circles, Etc
Margaret Brouwer (born in 1940) is head of the composition department at the Cleveland Institute of Music. Based on this excellent new Naxos recording, she has an individual voice with a fine ear for orchestral colors. Her 2002 Concerto for Evelyn Glennie? Aurolucent Circles ?is immediately arresting, with its powerfully phrased opening voiced in the lower strings. The evocative entrance of Glennie in its potent mystery reminded me of some of Holst?s outer and more arcane planets. This is appropriate, as the concerto?s first movement is titled ?Floating in Dark Space.? Besides virtuoso passages for the soloist accompanied by full orchestra, the work has strongly contrasting sections employing two concertino groups which show off the very fine first-desk players in the Royal Liverpool Philharmonic. Glennie?s solos cover a kaleidoscopic range of percussion instruments and colors. The second movement, ?Stardust,? takes those colors and plays them about the stage, drifting and more often sweeping through various sections of the orchestra. The final movement, ?Cycles and Dances,? continues the notion of motion about and through the orchestra in a frenetic dance interrupted by lower brass?a favorite gesture of Brouwer?s. Glennie is the star around which all this revolves. The recording of the concerto (and the remainder of the disc as well) is both exciting and detailed, with a convincing sense of space around the instruments.
Mandala was inspired by a Tibetan sand painting and a Dutch psalm melody (Psalm XCI in the Dutch Reformed hymnal.) The trombone intoning the Psalm tune could equally be playing a version of the Buddhist om. Adding to this interesting musical-cultural mix are musicians whispering barely audible bits of random text, always with the ever-present Psalm never far from the surface. Whether this adds up to a work that will stand up to repeated hearing remains to be seen: I have a strong feeling it well may.
Pulse is an accessible and attractive score with an unexpectedly melismatic theme heard mainly from the winds and then the solo violin. As someone who usually appreciates the elegiac mood, I was looking forward to hearing Remembrance, dating from 1996 and the earliest score on the recording. It is affirmative rather than mournful, but perhaps somewhat long for its material.
Brouwer?s musical commentary on the rapid pace of 21st century life is expressed in the disc?s final work SIZZLE . Three trombones and a horn play a similar role here as in Mandela : they stand apart in time and space, representing different currents in a fast moving stream.
Gerard Schwarz?s performance of all these works is authoritative and convincing. He is ably abetted by his orchestra and the fine production and engineering.
FANFARE: Michael Fine
IVES, C.: Songs, Vol. 2
Music for Wind Band, Vol. 10
American Classics - Huang Ruo: Chamber Concerto Cycle
HUANG Chamber Concertos: No. 1, “Yueh Fei”; No. 2, “The Lost Garden”; No. 3, “Divergence”; No. 4, “Confluence” • Huang Ruo, cond; Int’l Contemporary Ens • NAXOS 8.559322 (63: 48)
Born on Hainan Island, China, in 1976, Huang Ruo moved to the US in 1995 and is now an American citizen. He has won several prizes, and his music has been conducted by Sawallisch, James Condon, and Dennis Russell Davies, among others. Huang is currently completing a D.M.A. degree in composition at Juilliard. In the week this review was written, his cello concerto People Mountain People Sea (commissioned by Chinese-born cellist Jian Wang) was premiered in New York to some acclaim. Huang’s chamber concertos were composed between 2000 and 2002, for varying sizes of ensemble: a quintet in the case of No. 3 (flute/piccolo, clarinet, violin, cello, and piano), an octet for Nos. 1 and 2 (adding a second violin, viola, and percussion), and 15 players for No. 4 (adding more strings, a brass section, and harp).
An anonymous reviewer from VPRO Radio Guide describes Huang’s style as “a convincing synthesis between the hushed Chinese sound world and modernist composition techniques.” That synthesis is the basis and raison d’etre of these colorful works. Certain instrumental signposts common to both idioms occur frequently, such as timpani “tattoos,” string glissandos, and drones. Forceful statements from timpani and other percussion often serve to separate musical segments, as in Chinese opera, and we hear imitations of Chinese stringed instruments (No. 1, first movement) and Chinese flute (much of No. 2). Western influences are equally present: the use of ostinato (No. 3, first movement) and the syncopated, aggressive rhythmic bite of jazz/rock (No. 1, fourth movement). Online reviewer David Toub of Sequenza21 found this to be problematical, dubbing Huang a synthesist but not a composer—unlike Ives who, in cramming various influences together, created a uniquely individual voice. I don’t have that problem with Huang’s music—cutting-and-pasting is a perfectly legitimate procedure—but, because these pieces are so segmented, it inevitably means some parts are likely to be stronger than others without an obvious through-line to connect them.
Then, there is the contentious matter of asking the musicians to sing, chant, or recite. While this sometimes contributes to the texture in a satisfying way (as in the final movement of No. 1), in Nos. 2 and 3 the effect puts a brake on the music’s progress, robbing it of force. And, it must be said, the expert instrumentalists of the International Contemporary Ensemble are less expert when it comes to vocalizing.
Concerto No. 2 is probably where the pros and cons of Huang’s synthesizing approach are at their most extreme. The concerto is subtitled “The Lost Garden.” The composer claims in his note that “one can feel the wind and hear the birds singing,” which is true, but we don’t reach that pastoral vision until the very end. Because of the segmentary nature of the preceding music, one has little sense of a peaceful conclusion having been earned. It feels tacked on; in this instance, the language of expressionism sits awkwardly with Asian detachment. Even so, Huang provides spine-tingling moments along the way, such as a passage featuring a long slow descent in double stops from the violin, falling into the black hole of a reverberant bass cluster from piano and tam-tam (very George Crumb), which slowly rises again as piano figuration like a flock of Messiaen’s birds.
My favorite among these concertos is No. 4 (originally premiered alone by the AKSO Ensemble). Formally, it is the tightest and most coherent of the four, as you would expect from the title “Confluence.” The larger ensemble enables Huang to command greater textural variety: indeed, the loveliest passage on the entire disc is the wind-dominated second movement, anchored by the warm tone of the bassoon. Another plus: in this work the musicians are not required to vocalize. Concerto No. 4 brings together musical ideas from the three preceding concertos, but I think that the parts of this cycle are greater than their sum and are best listened to separately.
It is thought provoking to hear Chinese-accented music emanating from a CD in the “American Classics” series— it speaks volumes about diversity in Western musical culture—and Naxos is to be commended for putting this young composer on its roster. The sound quality is excellent, and the musicianship of a very high standard. Despite my reservations above, Huang’s music is undeniably vibrant, visceral, and full of color.
FANFARE: Phillip Scott
AMERICAN CHORAL MUSIC – COPLAND, A. / CORIGLIANO JR., J. /FOSS, L/ IVES, C. / PERSICHETTI, V.
American Classics - Sousa: Music For Wind Band Vol 6
Includes work(s) by John Philip Sousa. Ensemble: Royal Artillery Band. Conductor: Keith Brion.
BOLCOM: Songs
Opera Explained - Puccini: Turandot
Arvo Pärt - A Portrait
Includes work(s) by Arvo Pärt.
Copland: Appalachian Spring Suite, Quiet City, Clarinet Concerto
This disc substantially duplicates the repertoire on an all-Copland program produced by DG with the Orpheus Chamber Orchestra. However, where DG included the Short Symphony, Naxos offers the Clarinet Concerto. While the Nashville Chamber Orchestra doesn't offer quite the tonal refinement and polish of Orpheus, it basically plays just as well, and its slightly weightier, gutsier, more rustic sonority arguably suits the music even better. In the famous rehearsal disc that accompanied Copland's own recording of the original chamber version of Appalachian Spring, he can be heard exhorting his players not to sentimentalize the music: "...it's a little too much on the Massenet-side," he tells them. Obviously Paul Gambill understands this point, for he offers interpretations ideally poised between warmth and simplicity, full of those clean and clear sonorities that Copland made his own.
It should come as no surprise that, as a major musical capital, Nashville offers a large pool of excellent professional performers from which to draw, and as with its full-sized symphony, the Nashville Chamber Orchestra obviously employs some major talent, particularly among its strings. Copland's music is full of complex rhythms, often combining them with stratospheric violin writing. At such moments as the "Danza de Jalisco" from Three Latin American Sketches, or the initial allegro of Appalachian Spring, the Nashville players offer impressive accuracy of both rhythm and pitch. Quiet City benefits from some smooth-as-silk trumpeting from Scott Moore, while Laura Arden (principal clarinet with the Atlanta Symphony) turns in a masterful performance of the Clarinet Concerto. She commands a lovely, liquid tone in the lyrical opening movement (her pianissimo playing at the end is exquisite) and captures the finale's jazz elements without ever turning raucous.
The version of Appalachian Spring offered here is billed as the "Original Ballet Suite". It is not. The "original" ballet suite is the full orchestral version most familiar to music lovers, dating from just after the premiere in the mid-1940s. More than a decade later, in 1958, Copland published a new orchestration of the suite in which he returned to the chamber instrumentation used in the full-length ballet, allowing the option of a few extra strings (which I assume are used here), and this is what Naxos gives us. Gambill conducts this piece as well as anyone ever has; he's particularly adept at sustaining the flow of the slower sections without letting the music sag, and he gets an astonishingly full sound from his ensemble (listen to the focused tone of the basses when they first enter in the "Simple Gifts" variations). Sonics of ideal transparency and presence set the seal on a disc that's practically perfect from just about any perspective. [12/14/2002]
--David Hurwitz, ClassicsToday.com
Opera Explained: VERDI - Falstaff (Smillie)
Discover - Early Music
Includes work(s) by various composers.
Story Of American Classical Music (The)
Rachmaninov: Piano Sonata No 2, Etc / Konstantin Scherbakov
The five Op. 3 pieces are notable for the beautiful tonal quality of the playing (this and the recording throughout are first class). I’ve heard more cohesive takes on the Prelude, the second of the set (Hofmann, for example, and the composer himself), and the opening ‘Élégie’ has a slightly indulgent tempo, but Scherbakov’s individuality and character carry the day.
In the Sonata he manages to combine drama, breathtaking articulation and clarity of texture (usually one disappears at the expense of the other in this work). While it does not claim the pent-up, nerve-jangling thrill of Horowitz’s famous account, and despite a slight loss of tension in the final pages, Scherbakov’s must rank as a front runner among modern recordings.
-- Jeremy Nicholas, BBC Music
WEBERN: Passacaglia / Symphony / Five Pieces
If you’re new to the music of Anton Webern, this superb budget CD is just the introduction you need. Until now, there’s been nothing much to tempt those unwilling to pay top price for Herbert von Karajan’s seminal recordings, or the equally engrossing and sometimes more revelatory DG remakes with the Berlin Philharmonic under Pierre Boulez. In contrast, Takuo Yuasa isn’t a household name, and his Ulster Orchestra isn’t in the big league, but don’t let those factors deter serious evaluation of this release alongside the best available alternatives.
Yuasa’s account of the Op. 1 Passacaglia affords striking evidence of the high quality of his ensemble. The playing is fine-grained and exact, and the cumulative effect of the performance is mightily impressive, with the vehement 16th variation especially telling. Webern’s Symphony Op. 21 may only last seven minutes or so, but Yuasa manages to pack a terrific wealth of detail and vast emotional range into its diminutive time-frame. There are some superb moments in the performance, none more shattering than the fearsome outburst from the first horn during the second section.
Equally shocking is the whip-crack violence Yuasa unleashes in the third of the Five Pieces Op. 10, played very fast and with impressive precision by this accomplished team. The awesome funeral march (No. 4 of the Six Pieces Op. 6) hasn’t quite the impact of Karajan’s, and Boulez’s is more monstrous yet; but Yuasa’s skill at building angst-ridden crescendos comes into its own in one of the finest of many outstanding moments on this recording. The muted trumpet solo in No. 5 (with celesta and glockenspiel) has the required eerie quality, and the uneasy stasis of the close is persuasively attained.
In sum, although the Ulster Orchestra’s solo and ensemble work is of high order, the principal benefit of the Karajan and Boulez recordings is that the Berliners produce playing of unrivalled tonal beauty side by side with those moments of near-seismic disturbance that are the true essence of Webern’s music. By choice, I’d opt for Boulez, whose more recent recordings are finer than DG’s earlier ones with Karajan; but Yuasa’s accounts have the spare, skeletal feel and expressive economy that makes them very rewarding indeed. An outstanding achievement.
— ClassicsToday.com (David Hurwitz)
Laureate Series, Guitar - Lorenzo Micheli
Castelnuovo-Tedesco was one of Italy's most promising young composers in the 1920s. A Sephardic Jew, Castelnuovo-Tedesco felt an affinity for Spanish music and culture that is reflected in much of his work. Unfortunately, he was forced out of Italy once state-approved anti-Semitism took hold.
Castelnuovo-Tedesco's music is deliciously rhapsodic, and Micheli's guitar sings gloriously in this program. 'Escarramán' is a suite of Spanish dances inspired by Cervantes. Micheli plays this colorful work with grace and verve. Two movements are standouts: "El Canario," an elegant dance that displays Micheli's fluid technique; and "El rey Don Alonso el Bueno," a charming set of variations on an old nursery tune. Micheli has fire to spare, and dazzles with his picking technique in the spicy 'Tarantella,' Op.87b.
