Camillo Schumann, a pupil of Carl Reinecke in Leipzig, enjoyed an admired career as an organist, pianist and prolific composer. He pursued a traditional path that reflected his own training, interests and beliefs- barely acknowledging the tumultuous contemporary musical world of Schoenberg and Stravinsky. Instead, his works for horn and piano enshrine the finest qualities of German Romantic music. Sur la montagne by Laurent Menager, a leading Luxembourgian composer, is a richly evocative depiction of a mountain landscape.

Beethoven lived in a time when the popularity of the guitar was vastly growing, especially in Vienna. Guitar teachers like the Bohemian Wenzel Matiegka were highly paid for their services to the Austrian nobility, while the internationally renowned masters of the instrument flooded the Viennese market with ver-new editions of their own works and arrangements. The Neapolitan Ferdinando Carulli, living in Paris, and Mauro Giuliani from Apulia, living in Beethoven's Viennese neighborhood, were the most prominent figures in that scene. For the present recording Volker Hoh Volker H�h combined two Beethoven arrangements by Carulli and Matiegka with Beethoven's own mandolin pieces, played on historical Viennese guitars. Parts of the repertoire are world premi�re recordings.

Telemann wrote a portfolio of fantasies for unaccompanied instruments, and in addition to those for violin, keyboard and viola da gamba was the set of Twelve Fantasies for Solo Flute, dating from 1732/33. Although written with an eye to the amateur or student market, these are highly inventive and original works. With their eloquent melodies, frugal writing, and contrasts of register and phrasing they make an enchanting set, played here by Giovanni Roselli on a conical ring-key flute, which has quieter keys allowing for more elegant trills. Born in Italy, Giovanni Roselli has performed worldwide, and in 2009 was invited to play at the concert for Sir James Galway's 70th birthday celebrations at the Teatro alla Scala.

Beethoven was involved in theater in one way or another from boyhood, and the commission to compose incidental music for Goethe's play Egmont at the Royal Imperial Court Theatre in Vienna was the first of many such collaborations. Beethoven's score conveys the essence of this tragedy and reveals his clear affinity with it's theme of heroic sacrifice by a man condemned to death for taking a valiant stand against oppression. Leif Segerstam is recognized internationally as a conductor, composer, violinist and pianist. He is currently chief conductor of the Turku Philharmonic Orchestra. He has also conducted many of the world's most prestigious orchestras, and was one of the most important ambassadors for Sibelius' 2015 anniversary year. His many recordings have been critically acclaimed, and feature works by contemporary composers as well as the complete symphonies of Mahler, Sibelius and Nielsen among many others.

Life and Works: Haydn

Haydn’s creative imagination was stimulated by eminent Italian composers such as Porpora and Scarlatti and by his contemporary C.P.E. Bach, whose piano sonatas Haydn had performed. Through Georg Wagenseil, an important figure in Viennese music for the piano, he also absorbed a new sense of musical form. Together, these influences generated Haydn’s own individual language, as shown in the Sonata in C major with its elegance and wit. The Andante con variazioni in F minor shows further refinement and development in the composer’s command of variation form. Alexandra Ivanova performs on fortepianos from Haydn’s era.

For a quarter of a century the Montenegrin guitarists Srdjan Bulatovic and Darko Nikcevic have thrilled audiences worldwide not only as artists but with their unique blend of original compositions. Sharing a common thread of Montenegrin traditional music, movie soundtracks, and contemporary world and popular music, while drawing on improvisatory Middle Eastern modes, flamenco, and Balkan rhythms, their music recreates the rhythms of Spain, wistful Slavic melodies, as well as the atmosphere of the eastern Mediterranean and the Middle East.

The Caminos del Inca, or Inca Trails, is a road network that traverses South America connecting lands and peoples. The area's musical traditions are ancient and varied, taking in indigenous sounds as well as European influences, and the composers represented on this album have all been inspired by this musical legacy, the people of their homeland, and the land itself. The interconnections include late-Romanticism, folkloric dances, reinterpretation of popular music, mestizo ('hybrid') elements, Stravinsky-like primitivism, and music of simplicity and beauty that both captures and celebrates village life. This unique programme of world premiere orchestral works is one with a mission. Based in Oslo, the home of the Nobel Peace Prize, conductor Miguel Harth-Bedoya and the Norwegian Radio Orchestra have sought to explore places that are not normally associated with symphonic music. It follows their February 2021release Journeys, featuring music that represents every continent - from Europe and the Americas to Africa, Asia and Australasia.

Includes work(s) by Frédéric Chopin.

This disc of chamber music by Ned Rorem (b. 1923) is an outstanding addition to the series. Rorem is both a composer and a writer, best known for his art songs. (A collection of Rorem's songs is available on another Naxos disc in this series.) The performers are a group of seven young British musicians who call themselves the "Fibonacci Sequence". There are three pieces on the CD dating from 1975 through 1987. The first piece, "The End of Summer" consists of three movements and was written in 1985. It is scored for clarinet, violin, and piano. The most striking aspects of this music are the long declamatory passage for solo violin which opens the piece, and the lyrical secondary themes that appear in the first and third movement. The music does indeed have a yearning, autumnal quality.

This selection contains narration about Tchaikovsky's life and works by Jeremy Siepmann, Malcolm Sinclair and others. It contains a 106 page companion booklet with the complete spoken text, a detailed historical background and graded listening plan.
This selection was recorded at Hats Off Studio, Oxfordshire, and Motivation Sound Studios, London, England.

This performance goes right to the top. Not since the amazing mono Ancerl recording has there been a version of this work of such intensity, such expressive urgency, and (yes, believe it or not) such incredible orchestral playing. It's impossible to praise the Royal Liverpool Philharmonic enough: they put their London colleagues to shame. The cellos and basses have a dark, tactile presence in pianissimo not heard since the old Kondrashin Melodiya recording. The horns play the daylights out of their solos in the first and third movements, while Petrenko has the violins sustaining, articulating, and phrasing the climax of the first movement with a passion and grit that's beyond praise.

Indeed, as an essay in Shostakovich conducting alone this performance deserves an honored place in every collection. Petrenko has the players digging into the second movement with unbridled ferocity at an ideally swift tempo. He ferrets out every subtle detail of scoring in the crepuscular Allegretto while never permitting the music to drag. His finale has just the right manic high spirits, and he clarifies the DSCH motive in the timpani at the end better than anyone else ever has. It's all captured in gloriously vivid, present sonics by the Naxos engineers. Thrilling, perfect, essential--a magnificent achievement and hands down the modern reference recording.

--David Hurwitz, ClassicsToday.com

Shortly after taking up the position of Thomaskantor in Leipzig in 1723, Bach wrote a Magnificat in E flat major for performance at Christmas. Around a decade later he revised the work, transposing it down to D major and making it more concise. Utilizing a Biblical text, the piece is suffused with a series of memorable arias and choruses and orchestrated with spectacular grandeur. Lumen is a contemporary musical dialogue that urges empathy between the three Abrahamic religions. Translating the oratorio form into a 'unity of diversity,' Robert M. Helmschrott has converted the poetry of the Old and New Testaments, the Torah and Qur'an into an interfaith 'language of sounds and singing.'

Tomas Breton's distinguished career as an opera composer and leading figure in Madrid's musical life at the turn of the 20th century has tended to overshadow the significant contribution he made to Spanish chamber music. He remained true to the historic roots of the string quartet genre- his First String Quartet being a tribute to the Viennese tradition in it's Classical poise. The Third String Quartet exudes Mendelssohnian inspiration in it's first movement with overtly Spanish idiom, the Allegro no mucho third movement also having been turned into a version for piano trio as the Scherzo andalou. This is the first of two albums of the complete string quartets.

Representing three generations of Spanish composers, these works reveal the diversity and depth of the Iberian musical imagination. Albeniz's Suite is a perennial evocation of Iberian Romanticism that transcribes naturally from piano to guitar, and Jose's original and inventive Sonata revives a reputation cut short by the Spanish Civil War. Dedicated to Segovia, Manen's Fantasia-Sonata is rich in Catalonian sentiment both elegiac and celebratory. Vojin Kocic's debut recording, 'and what a debut it is' (The WholeNote), can also be heard on Naxos.