Here is an album whose contents seem odd as it couples the violin concerto of a (still) Russian composer to the viola concerto of an English one. Instead, the coupling is very clever since Prokofiev’s First Violin Concerto, whose premiere was in 1923 (while the composer was still living in France, a few years before his return to Soviet Union) served as a much-admired model to Walton’s Viola Concerto, whose first performance was played by Paul Hindemith in 1929. The similarities between the two works go beyond the three-movement structure slow-quick-slow and concern themes, accompaniments and the rondo form of the virtuoso central Scherzo. The smart idea of such unusual coupling came to one of the few great living violinists who can really play the viola with equal skill: Isabelle van Keulen. This glorious album is crowned by the orchestrated version of Vaughan Williams’ masterpiece The Lark Ascending. One of German radio’s best orchestras, the NDR Radiophilharmonie is conducted by Andrew Manze, Keri-Lynn Wilson, and Andrew Litton.

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REVIEW:

Full marks for this well-conceived program, which brings together two works closely related but rarely coupled. Van Keulen plays the Prokofiev with a shiny, rather glassy (rather than glossy) tone. No reservations are needed for the Walton, whose introverted yet deep running emotion well suits van Keulen’s way with the husky-toned viola she plays. Conductor Keri-Lynn Wilson finds an ideal balance of restraint and (in the scherzo) extroversion.

– BBC Music Magazine

Import Hybrid-SACD pressing.

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

The music of Christian Sinding was highly thought of in its day and the composer certainly had his champions. Before the Second World War it was regularly played in Europe and America and was extremely popular in Germany. In 1907 his Second Symphony was premièred in Berlin by Felix Weingartner and the Third Symphony in 1920 in Leipzig under Arthur Nikisch.

Although Sinding lived in Germany for most of his life he was Norwegian by birth and had the luxury of receiving generous stipends from the Norwegian government for many years. Since his death in 1941 - and probably before that - he has been known for a single piece for solo piano the popular Frühlingsrauschen (Rustle of Spring). In the last decade there has been renewed interest with a number of recordings especially from Hyperion, Simax, Finlandia, Naxos and CPO.

Soloist Ukraine-born Andrej Bielow has a strong connection with Hanover studying in the city from the age of fifteen at the University of Music and Drama. He plays a Guarneri ‘Joseph Filius’ violin (c. 1730/35) loaned by the Deutsche Stiftung Musikleben.

The NDR Radiophilharmonie Hannover is no stranger to Sinding’s music. They have already recorded Sinding’s four symphonies on two separate discs with Symphonies No.1 and No.2 conducted by Thomas Dausgaard and Symphonies No.3 and No.4 under David Porcelijn.

The set opens with the Violin Concerto No. 3 in A minor composed in 1916/17. Shortly after completion it received its première at Bergen played by Leif Halvorsen. At times I was reminded melodically of Brahms especially in the extended opening movement. Bielow plays virtually continuously throughout in music that varies between moody and windswept. A yearningly emotional Andante has shades of the Sibelius and Nielsen concertos composed between six and ten years earlier. Finally in the Allegro non troppo the mood becomes more uplifting with the orchestra gaining greater prominence although Sinding’s writing feels rather lightweight.

The Legend for Violin and Orchestra from 1900 was given its first performance in Stockholm two years later. Initially the orchestral writing felt evocative of Elgar. Coming across as rather strait-laced the Legend takes itself rather seriously yet contains a degree of warmth communicated through Bielow’s long melodic line. I’m not sure if Sinding felt any special affinity or significance for his tender and warm Romance as he allocated the opus 100 to the 1910 score. Bielow’s solo line and orchestration reminded me of the Delius concerto; a work that was composed some six years later.

Sinding’s first Violin Concerto in A major was written in 1897/98. It seems it was completed in London and premièred later the same year in Oslo. Summery melodies in the manner of Dvorák inhabit the opening movement with bustling extended lines from the soloist. Low strings open the Andante suggesting a darkly-hued temperament set amid a strong sense of melancholy. In the central passage the music develops a weightier funereal tread which must surely be a commemoration of a significant loss. Buoyancy and exhilaration pervade the Finale, Allegro giocoso. Noticeably Sinding’s writing varies widely in pace and emotional content. At times Bielow is required to play at breakneck speed which certainly blows away any cobwebs.

CD two opens with the Violin Concerto No. 2 in D major first performed in 1901 in Berlin. The score’s dedicatee was the soloist Henri Marteau. It was a great success at the première. This work is predominantly wistful in nature. Bielow is required to play virtually continually throughout. At times I was reminded of Dvorák’s violin concerto. A lengthy orchestral introduction precedes a severe and dark-hued Andante. Serving as a stark contrast the Finale, Allegro is a light-hearted romp through verdant Norwegian pastures.

Originally composed in 1886/87 as a suite for violin and piano Sinding’s Suite in A Minor was not published until nearly twenty years later in this arrangement for small orchestra. The opening Presto is breezy and exhilarating in the manner of Dvorák followed by a warm-hearted Adagio of much tenderness. Marked Tempo giusto the final movement just glows with happiness. The Abendstimmung is a product of the Great War years. As the German title suggests the writing establishes a picturesque evening mood. This short single movement score is a sultry nocturne suffused with warm and summery temperament.

Bielow never over-indulges himself, taking a sensible middle-ground approach. He comes across as a sensitive and responsive violinist with a splendid technique who is equally at home with virtuosic requirements as he is in rapt emotion. Under the baton of Frank Beermann the NDR Radiophilharmonie Hannover come across as committed partners. They do not disappoint.

On this CPO release it took me a while to get used to the sound which is best heard with the volume turned up. The balance and overall impression is agreeable but I’m not sure how well Bielow’s Guarneri is served by the recording. The instrument’s timbre is rather thin and bright in repertoire that would surely have benefited from more warmth and sweetness. The presentation is enhanced by a detailed essay. The front cover uses a stunning image by Zemo Diemer titled ‘Fjord with a steamship’.

For those approaching Sinding’s music for the first time what should they expect? It is hard to hear a very individual voice in Sinding’s late-Romantic music. Seemingly highly derivative in nature, I felt the music mainly echoed the sound-worlds of Brahms and Dvorák. Sinding’s design seems to favour a thickly textured opening movement Allegro with a rather dark and sombre slow central movement. Only in the brisk final movements do things lighten up. There the music is usually cheerful and of a fresher, breezy quality.

Sinding’s music is appealing and has its share of impressive moments although in truth it contains very little in the way of memorable melodies.

-- Michael Cookson, MusicWeb International

Shortly after the Nazis had seized power, Paul Frankenburger, like many other Jewish composers, left Germany for Palestine, which was then under British administration. In Palestine he resumed his creative work with Ben-Haim as his Hebrew name. He became one of the pioneers of classical music in Israel, both as a composer and as an admired composition teacher. His Concerto Grosso, his first work for symphony orchestra, is embedded in the spiritual and technical sound world of German late romanticism and French impressionism and related to the Baroque concerto grosso only insofar as it contains numerous solos and homogeneous orchestral segments. Ben-Haim concluded the score of his Symphony No. 2, his longest orchestral work, in October 1945. This work adheres to the four-movement structure of classical and romantic music. The autographic score has an epigraph by the Israeli poet Shin Shalom: "Awake with the morning, O my soul, on the summit of Carmel over the sea." It indicates the hopeful, optimistic mood prevailing throughout most of the symphony. The conductor Israel Yinon (who unfortunately died in 2015) is once again our skillful guide through this second Ben-Haim production.

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

Black Mountain features original compositions by Alexej Gerassimez and Gordon Hamilton, who also conducts this recording with the NDR Radiophilharmonie. The program explores the dynamic interplay between orchestral sound and percussion, with a highlight being the work Leviathan by John Psathas-a powerful composition for percussion and orchestra, written specifically for Alexej Gerassimez.

Black Mountains features original compositions by Alexej Gerassimez and Gordon Hamilton, who also conducts this recording with the NDR Radiophilharmonie. The program explores the dynamic interplay between orchestral sound and percussion, with a highlight being the work Leviathan by John Psathas-a powerful composition for percussion and orchestra, written specifically for Alexej Gerassimez.

March 2012 marks the 100th anniversary of the birth of Xavier Montsalvatge, one of the most important Spanish composers of the 20th century. Included on this anniversary CD are some of his finest pieces: the famous “Cinco canciones negras,” a poignant song cycle featuring infectious Latin American rhythms; the “Poem Concertante,” first championed by the internationally acclaimed violinist Henryk Szeryng, and the “Concierto breve” for piano and orchestra. This recording has assembled three world-class soloists: American pianist Jenny Lin, mezzo-soprano Lucia Duchonova, and American violinist Rachel Barton Pine.

The NDR Philharmonie and Andrew Manze continue their exploration of Mozart’s late orchestral works with a recording of the composers 38th and 39th symphonies. Nicknamed after Prague, where it was first performed in 1787, the 38th shares with its successor a solemn, “Romantic” slow introduction to the first movement, followed by lighter music that shares a kinship with the playful arias and ensembles of Le nozze di Figaro and Don Giovanni, composed in the same period. By playing all repeats, Manze underlines the ambitious, expansive character of these works, but the NDR Radiophilharmonie never drags, offering the same energy and sense of urgency as in their acclaimed interpretation of Mozart’s 40th and 41st symphonies, released in 2019. In their collaboration, Andrew Manze brings his experience in the field of historically-informed performance to the polished symphonic sound of the NDR Radiophilharmonie, resulting in a prize-winning complete cycle of Mendelssohn symphonies (2017-2018), as well as highly-praised interpretations of Mozart’s 40th and 41st symphonies (2019) and Beethoven’s 5th and 7th symphonies (2020), all released on PENTATONE.

REVIEW:

This recording completes the set of the last Mozart symphonies by these forces conducted by Andrew Manze after their superb coupling of Nos. 40 and 41 from 2019 (PTC5186757). I was surprised that that recording didn’t garner more admiring reviews. I hope this new release gets the plaudits its companion didn’t get but certainly deserved.

Manze is one of the most interesting conductors around at the moment. Whether it is his excellent Vaughan Williams symphony series (Onyx) or his positive contributions to the dazzling Martin Helmchen’s recordings of the Beethoven piano concertos (Alpha), whatever Manze is up to is always worth listening to.

Pentatone continue their current run of state-of-the-art recordings and, as I have indicated, the NDR Radiophilharmonie play like a dream for Manze. This is wonderful Mozart. Unless you have an absolute need to hear this music played on period instruments, this is a recording to get.

– MusicWeb International

The works of the composer Markus Lehmann-Horn have already won several awards. As a border crosser between the classical and the technical-electronic music world, he also wrote numerous film music compositions for national and international film productions and was for this among others awarded the Franz Grothe Prize 2009. He has received numerous nominations and a Best Film Score Award at the annual Jerry Goldsmith International Award in Spain, as well as a nomination for the International Emmy 2012. Lehmann-Horn's music is played by renowned orchestras, conductors and ensembles, including the Ensemble Triolog, Minguet Quartet, BR Rundfunkorchester, the NDR Radiophilharmonie or the Schleswig Holstein Festival Orchestra. On this album, one will find recordings with the NDR Radiophilharmonie and percussionist Alexej Gerassimez and a song for soprano and orchestra with soprano Sibylla Duffe and the Munich Radio Orchestra.

An experiment that violinist Niklas Liepe dares to conduct here: to put the devil violin cycle of the Paganini Caprices into new light: 22 contemporary composers have participated in this experiment. Liepe plays confidently, without tears... differentiated in expression. A worthwhile experiment, wrote the press about Niklas Liepe's 2018 Sony Classical release "Paganini Project". The young German violinist had recorded Paganini's famous caprices in new versions for violin and orchestra in collaboration with the renowned arranger Andreas N. Tarkmann. For his new album #GoldbergReflections, Liepe has recorded, again in collaboration with Andreas N. Tarkmann, 13 variations from the famous "Goldberg-Variations" by Johann Sebastian Bach arranged for solo violin and strings. The violinist is accompanied by the NDR Radiophilharmonie under the direction of Jamie Phillips. Liepe has also invited eleven internationally renowned composers such as Moritz Eggert, Sidney Corbett, Wolf Kerschek, Rolf Rudin and Daniel Sundy to compose new variations on the basis of the Bach original. Tarkmann has transposed the variations into a baroque conceto grosso sound. These variations thus create a connection to the original and at the same time frame the new compositions, which bring the "Goldberg Variations", written 280 years ago, into the present. Anyone who is prepared to embark on something new will greatly enjoy this album. Bach's "Goldberg Variations" have never been heard in such an excitingly new and colorful way.

After their prize-winning Mendelssohn symphonies cycle and acclaimed Mozart symphonies album, the NDR Radiophilharmonie and its chief conductor Andrew Manze now present Beethoven’s Fifth and Seventh symphonies. While Beethoven’s Fifth is arguably the most famous symphony in the history of music, the Seventh counts as one of the most rhythmically-advanced pieces of nineteenth-century music; an “apotheosis of dance”, to quote Richard Wagner. Both works display Beethoven’s mastery of and audacious approach to musical form as well as the richness of his melodic invention, and are generally praised as paragons of symphonic composition. Andrew Manze brings his experience in the field of historically informed performance to the polished symphonic sound of the NDR Radiophilharmonie, providing an ambience that fits these early nineteenth-century works like a glove.

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REVIEWS:

The finale of the Seventh goes faster even than the already zippy metronome mark, and is tremendously exciting. It’s also quite graceful in its way, thanks in large part to Manze’s scrupulous attention to dynamic indications and articulation. Indeed, there’s an exceptional lightness of touch in much of this Symphony – sample the spring and sparkle of the dotted rhythms in the first movement’s Vivace or the nimbleness and unexpected delicacy of the third-movement Presto.

The Fifth has similar attributes in terms of clarity, balance and rhythmic verve but is in no way ‘Beethoven light’, as some historically informed performances have been labelled.

– Gramophone

A consummate interpreter, Manze never plays fast and loose with tempos, nor with radically over-emphasised dynamics. The rigour of his period performance practice and expressive consideration brings clarity and freshness, the sound finely judged, full of breadth, never ploughing through the symphony’s vulnerable moments.

– BBC Music Magazine

The soprano Ania Vegry, the recipient of many prizes, was nominated by Opernwelt as the Young Artist of the Year in 2009 and has been an ensemble member at the State Opera of Lower Saxony in Hanover since 2007. The Online Musik Magazin certifies that “her soprano voice, most highly fluent in the coloraturas, possesses warmth and substance, expressive power, and flawless intonation” – which makes her the ideal choice for the rich affections of the arias of Florian Leopold Gassmann, an Austrian composer on the cusp between the Baroque and Early Classicism. After two years of study with Giovanni Battista Martini, Gassmann became an organist in Venice. In 1757 he composed his first opera, and through 1762 he composed an opera every year for the Carnival season In Venice. The musical settings heard on this recording include arias belonging to the genre of the opera seria, the Italian-language serious opera of the eighteenth century. Others are exit arias in da capo form and typical of the genre: after the action – designed as a recitative in the music during the course of a singer’s time on stage – has advanced, one of the protagonists expresses his state of heart and mind in an aria before he exits from the stage. The da capo form (A-B-A) underscores the fact that dramaturgically the static unity of the affection to be expressed occupies the foreground. In his later vocal works Gassmann goes much farther in his elaboration of textual nuances, so that the works have the effect of vocal arias for an opera buffa. The text is bursting with emotional excitement, which Gassmann sets in a relaxed tone and with long coloraturas composed with fine art.

The Finnish artist Christoffer Sundqvist is one of the leading clarinetists of his generation, and we are very happy to have won him for our complete edition of Louis Spohr's works for clarinet and orchestra (partly first recordings!). Not only the extremely brilliant and masterful four clarinet concertos can be heard, but also all the other works for clarinet and orchestra, composed at that time for the virtuoso Johann Simon Hermstedt. When Hermstedt played Spohr's potpourri on themes from Winter's opera "Das unterbrochene Opferfest" op. 80 in Leipzig on October 13, 1812, the Allgemeine musikalische Zeitung commented: "The potpourri for clarinet was not only very happily composed from ideas of the sacrificial feast, but these ideas were also mostly quite excellently processed; and so it would like to stand at the top among the works of this genre. An indispensable complete edition, not only for clarinetists!

Two different traditions – Viennese Classicism and the Late Romantic virtuoso concerto – inevitably left their traces on George Enescu’s highly ambitious Concerto for Violin and Orchestra. Even though he left it unfinished, its total length of six hundred measures is by itself reason enough for astonishment. The first movement almost attains the dimensions of the Violin Concertos of Beethoven and Brahms. A striking formal interrelation is formed in the extended introduction: like Beethoven and Brahms, Enescu needs ninety measures before he is ready for the entry of the solo instrument. An instance of the greatest good fortune: our soloist Carolin Widmann! The »Allegro moderato« first movement alone employs three themes that are so engagingly formulated that they continue to echo in the ear even after a single hearing. In June 1898 Enescu composed his Fantasy for Piano and Orchestra, a work combining expressivity à la Brahms with bravura piano technique à la Liszt. The lack of a cadenza for the soloist and the wide-ranging harmony indicate that the work does in fact involve a fantasy and not, say, the first movement of an unfinished concerto. Neither the Fantasy nor the Violin Concerto has been published. But since today almost every Rumanian composer is also a musicologist and an Enescu expert, they were never completely forgotten. Pascal Bentoiu and Cornel Taranu assisted Peter Ruzicka, the conductor of the two recording premieres presented here, in the acquisition and supplementation of the scattered material. As a result, our picture of George Enescu, who continues to be a great unknown, is enriched by new facets – and the repertoire by two outstanding, previously unknown works.