Arturs Maskats (b. 1957) is an award-winning Latvian composer who has been at the center of Latvian cultural life for decades, especially in the field of theater and opera. Besides operas, incidental music and film music, his catalogue of works includes several orchestral works and concertos, songs and choral works. Maskats’ compositions are tonal, often romantic and cinematic, and marked by deep atmosphere. One of Maskats’ latest creations in the field orchestral music is his Accordion Concerto (2021) here performed by his fellow Latvian, star-accordionist Ksenija Sidorova, one of the brightest names in classical music today. His Tango (2002) for symphony orchestra is Maskats’ internationally most well-known and one of the most often performed orchestral pieces of Latvian music.

REVIEW:

A wonderfully diverse collection of music from this contemporary Latvian composer whose work spans a number of different musical fields. The spirited Tango (2002) pairs well with the very recent Accordion Concerto “What the wind told the sea” and is followed by a further two pieces, Cantus Diatonicus (1982) and the extended My river runs to thee from 2019. All of this music was new to me and very enjoyable.

-- Lark Reviews (Stephen Page)

Latvian Radio Choir’s new album conducted by Sigvards Kļava marks the international debut of composer Alfred Momotenko (b. 1970). Momotenko was born in Lviv, Ukraine, in 1970. He studied at the Sochi College of Arts and later percussion at the Moscow State University of Culture and Art. In 1990, the political situation having changed, Momotenko moved to the Netherlands where he continued his studies at the Brabant Conservatory and at the Royal Conservatory in the Hague. Momotenko’s timeless choral works continue the centuries old great tradition of choral works combining them with contemporary language, a blend most recently exemplified by the likes of Alfred Schnittke.

Surrounded by choral music in his youth, Momotenko has returned to the world of choral music at a relatively late period: all the works on this album have been written between 2017 and 2022. Many of his enigmatic choral works are religious and could be described as poems or chants – larger than a miniature but less extensive than a fantasy, a narrative, a ballad or a story. Often there are two contrasting musical languages that are present: the ancient, pristine Znamennyj Chant and the modern one. Besides liturgic texts, Momotenko’s choral works include settings to poems by Boris Pasternak and Joseph Brodsky. The largest work, Na Strastnoy (On the Passion), is a companion piece Rachmaninoff’s All-Night Vigil.

REVIEW:

The recital is cleverly structured. We start on familiar ground with Creator of Angels – a setting of lines from Bella Akhmadulina (distilled here into a shorter whole) that supplicate for mercy. Threads of Znamenny chant run through thick vertical textures, always rooted in widespaced bass parts. The effect is ancient, but softening into 21st-century lyricism. We hear flickers of Silvestrov, Tavener and E≈envalds, but also of Chesnokov, Grechaninov and their ilk.

Then we start to push off from land – gently at first in the short Three Sacred Hymns, with their modal harmonies and sinuous lines that always seem to tug back to the fixed point of unison, and then more rhapsodically in Lullaby: upper voices an endless flat horizon, harp ripples and sound-bursts silhouetted against them. We’re in another world by the time we reach On the Passion. This setting of Pasternak’s poetry from Dr Zhivago (this time intended as a companion for Rachmaninoff’s Vespers) is a trove of imagery. Birdsong, bells, Holy Week processions and folk dances draw a musical ‘essay’ from Momotenko that extends the composer’s harmonic and textural vocabulary with nonsense syllables and stamping – effects as well as melodies. Voices are fragmented down to endless solo strands (the technical challenge is immense), intersecting and coming together with Ives-like sonic cinema.

Kl,ava marshals his singers with unobtrusive precision. The 24-strong group are shape-shifters, slipping imperceptibly from chorus to soloists, from knitted web to filigree strands. Balance, not dynamics, is the principal expressive force here. Kl,ava pulls details and lines forwards or pushes them back flush, creating the depth and play of light that really makes this debut sing.

-- Gramophone

Robert Trevino’s first album together the Basque National Orchestra featuring orchestral works by the great French-Basque composer Maurice Ravel (1875–1937) received an excellent response. The program in this second volume is perhaps more ‘French’ in nature, but the Basque orchestra is giving dazzling performances of these works by their own national composer. While the first album was focused on some of Ravel’s most popular orchestral works, this album includes some rarities, including Ma mère l’Oye (Mother Goose) in its complete ballet version, as well as one world première recording: Pierre Boulez’s orchestration of Ravel’s World War I-era piano work, Frontispice.

REVIEW:

Can we ever have enough Ravel? Certainly not when the performances are this good. For the second disc in his traversal of Ravel’s orchestral works, Robert Trevino and the Basque National Orchestra offer an enticing mix of familiar and unfamiliar items. You get an aptly crystalline performance of the elusive Valses nobles et sentimentales, fortified by an appealing lightness of rhythm, followed by the zillionth version of the unkillable Menuet antique. Frontispice, a tiny “avant-garde” work originally written for piano five-hands, and here orchestrated by Pierre Boulez, comes off sounding very much like, well, Pierre Boulez. So now we know where he got much of his own inspiration.

The Shéhérazade Overture, Ravel’s first big orchestral work, seldom gets played and the reasons aren’t surprising. It’s long (14 minutes here), kind of formless, and lacking in memorable ideas, but of course the orchestration is marvelous and it’s good to have such a vivid new recording and performance. Finally, there’s the complete Mother Goose ballet, one of Ravel’s major masterpieces. This version is gorgeous, nicely flowing in the main numbers, and full of atmosphere in the evocative interludes between them. Trevino wisely refuses to sentimentalize the concluding “Fairy Garden,” which sounds so much more touching for just that reason. In short, this is a lovely, interesting program that offers far more than the “same old Ravel.” It’s a keeper.

-- ClassicsToday.com (David Hurwitz)

Internationally acclaimed Swedish pianist Peter Jablonski is known as a fervent champion of Polish music. In this album Jablonski returns to some of his dearest piano music – Chopin’s Mazurkas. For Chopin, the Mazurkas became a deeply personal, intimate statement of his feelings as an émigré Polish composer living in Paris. From some of his very first compositions to his last, it is the only form that Chopin composed regularly throughout his life. Similarly, Chopin’s Mazurkas have followed Peter Jablonski throughout his entire career as a pianist in nearly every solo recital.

REVIEW:

Peter Jablonski is no stranger to Chopin’s Mazurkas, having recorded the Opp 6, 24, 50 and 68 groups in 2008. He’s now setting down the complete Chopin Mazurkas for Ondine.

This first volume reveals an authoritative, idiomatic, and individual stylist. He’s generally an epic, large-scale player who favors a wide range of dynamics and articulations. He can be yieldingly lyrical, yet he’s not afraid to get dirt underneath his fingernails.

He playfully inflects the cross-rhythmic phrases in the central section of the B flat Op 17 No 1. While he takes his time over the A minor Op 17 No 4’s decorative tracery, his grounded tempo is fluid and flexible.

Each of Op 30 No 2’s echoed phrases has its own character and color, words that succinctly describe Jablonski’s edgy way with No 3. The tension and release of No 4’s trills wouldn’t be out of place in Scriabin. Op 33 No 2 is not especially fast yet it still conveys boisterous lilt, and with very little sustain pedal for the most part. Jablonski’s effectively understated Op 33 No 3 sets the stage for a strikingly contrasted and personalised B minor No 4. An angular, questioning take on the short and swift B major Mazurka stands out in the well-played Op 41 group.

Needless to say, I look forward to this excellently engineered and annotated release’s follow-up volume.

-- Gramophone (Jed Distler)

In the Autumn of 2021, the Finnish Radio Symphony Orchestra together with its new chief conductor, Nicholas Collon, arranged a Thomas Adès festival in Helsinki devoted to the world famous composer’s music in addition to works by other composers chosen and conducted by Thomas Adès (b. 1971). One of the highlights of the festival’s program was the world première of Märchentänze in its version for violin and orchestra performed by violinist Pekka Kuusisto, Adès’ long-time artistic partner. This new album by the Finnish Radio Symphony Orchestra includes four recent and exciting orchestral works written by the composer between 2016 and 2021 in world première recordings.

In addition to the Märchentänze, this album includes Adès’ orchestral Hotel Suite from Powder Her Face, an adaptation based on the music from the opera through which Adès first made a widespread name for himself in the mid-1990s. The orchestral version of Lieux retrouvés, originally written for Steven Isserlis, could be described as a cello concerto in the spirit of Marcel Proust. Orchestral work Dawn was written for the 2020 London Proms for ‘orchestra at any distance’, due to the coronavirus pandemic. Adès’ Dawn comes across as timeless music floating in a serene universe of beauty all its own.

REVIEW:

These performances by the Finnish Radio Symphony Orchestra (FRSO) under their current Chief Conductor, British-born-and-trained Nicholas Collon (b. 1983) are magnificent and bring out all the subtle colorations in these superbly scored works. That said, Finnish violinist Pekka Kuusisto gets a big hand for his superb playing in Märchentänze [T-10 thru 13]. And the same goes for Finnish cellist Tomas Nuñez in Lieux retrouvés [T-6 thru 9].

The recordings were made in October 2021 (Hotel… & Lieux…) and April-May 2022 (Märchentänze & Dawn) in the Helsinki Music Center’s Concert Hall. They present consistently generous, dynamically wide-ranging sonic images with both soloists centered, well captured and effectively highlighted. As for the orchestral timbre, it’s characterized by titillating highs, a pleasant midrange and clean bass. While these recordings are good on headphones, this colorfully scored music is even better over a good home theater system.

-- Classical Lost and Found (Bob McQuiston)

Pawel Łukaszewski (b. 1968) is possibly the most-performed contemporary composer from Poland. His spiritual choral works are performed by both professional and amateur choirs around the world. Łukaszewski’s output has a significant position in Great Britain where his works are performed and premiered by renowned London and Cambridge choral ensembles. This new album by the award-winning State Choir LATVIJA under Maris Sirmais includes several world première recordings from the Polish master.

REVIEW:

The performances presented here by the State Choir of Latvia under its conductor, Māris Sirmais, are simply outstanding. At what seems to be about 50 voices, the choir is larger than a chamber choir but smaller than a symphonic choir, and it manages to combine the virtues of both in this tremendously impressive recital. The choir has no faults to my ear. Intonation and ensemble are excellent, all parts exhibit outstanding internal blend with no individual voices sticking out, and excessive vibrato – the bane of choral excellence – is non-existent. The choir exhibits an extreme dynamic range, and yet at both ends of that spectrum its technical control never wavers, whether at fff – where it can produce an immense sound with no sign of hardness – or when reduced to more soloistic proportions. The recording is well up to the challenge that such an ensemble presents, and the sound is rich, deep, resonant, and detailed all at once.

-- Fanfare

In this new concerto album one of the greatest violinists of his generation, Christian Tetzlaff, offers profound interpretations of two deeply dramatic and lyrical concertos – those of Brahms and Berg – together with the Deutsches Symphonie-Orchester Berlin conducted by Robin Ticciati.

“Reasons of substance justify the recording of the Violin Concertos of Johannes Brahms and Alban Berg on a single album: both works concern existential human states of being. For me, the concerto by Johannes Brahms is a work that in a violin concerto dares to address very dangerous, abysmal, and profound states of the soul. Here an enormous contrast between ecstasy and total lonely isolation is in evidence. (...) Brahms also has a lot to say about pain. That’s rare in violin concertos – and links the Brahms concerto to the one by Alban Berg. I’ve been playing both concertos for 40 years – and I’ve played both of them, taken together, much more than 300 times. Here it seems to me as though the experience of these pieces changes one’s own life.” (Christian Tetzlaff)

REVIEWS:

This is a master violinist at the height of his powers. Teztlaff's playing demonstrates the range of emotion that each work requires. Needless to say, he is wholly in command of the technical demands of each work. The balance between soloists and orchestra is good.

-- MusicWeb International

Tetzlaff’s performance of the Brahms Concerto is brisk, and his interpretation at times feels very much of the moment. The first movement’s second subject is deliciously languid, but always moving onwards, and he develops increasing excitement and momentum in the build-up to the great tutti.

-- The Strad

Final volume in the first-ever complete recorded cycle of symphonies by Talivaldis Keninš (1919–2008), one of the most prominent post-WW2 composers in Latvia and Canada. This album includes three of the composer’s eight numbered symphonies performed by the Latvian National Symphony Orchestra under Andris Poga.

Although born in Latvia, Keninš lived most of his life as an exile. He was educated in Paris, where he studied under Tony Aubin and Olivier Messiaen, and won several awards. Keninš emigrated to Canada in 1951 and became a respected pedagogue and a very influential figure in Canada’s music life. Alongside his eight symphonies, the composer also wrote 12 concertos. However, he also included many concertante elements in his symphonies and the Symphony No. 2, “Sinfonia concertante” (1967), scored for three wind instruments and symphony orchestra, is very close to a triple concerto. The symphony’s extensive second movement is based on a lullaby of the Mi’kmaq First Nations people. Symphony No. 3 (1970) was completed few years after its predecessor and is a step forward in the composer’s journey as a symphonist. Here we encounter the idea of a lyrical hero, which, in the ears of the listener, could be personified. Although many consider Kenins’ 8th Symphony to be his symphonic climax, the 7th Symphony (1980) is by no means a lesser work: it could be even considered as one of the composer’s most personal and intimate creations. The symphony ends with an aria based on a text by the composer’s father and the atmosphere of the work seems to stem from the composer’s emotional trauma on the occupation of his native Latvia by the Soviet troops.

REVIEW:

Ķeniņš composed his first symphony when he was forty and almost a decade elapsed before he turned to the genre again. However, his Symphony No 2 “Sinfonia concertante” does not strictly adhere to any symphonic mould. That the composer had a trio of wind instruments as some sort of a concertino tends to show that he was not completely sure of how to tackle that form again. This also shows is the lay-out of the piece, i.e three movements of strongly contrasting character as well as weight. In fact, the whole weight of the symphony lies in the long central movement whereas the brief opening Lento and the equally brief final Molto animato e marcato merely function as a prelude and epilogue of some sort. Moreover, the central Molto moderato: Tema e variazioni is twice as long as the two other movements put together. The weighty central movement is cast as a theme and variations on a lullaby of the Mi’kmaq First Nations people which the composer also used in his Suite in D major for organ. Anyone interested in what the Mi’kmaq First Nations people may be referred to Wikipedia for it all seems a rather long story. The variation movement of the Second Symphony is an impressive piece of music in which Kenins’ contrapuntal mastery is already fully displayed.

The Symphony No 3 is Ķeniņš’ first large-scale work for large symphony orchestra and again the composer demonstrates his assurance in his handling of form and counterpoint. The central movement Lento inquieto, though shorter than that of the Second Symphony, is again the emotional heart of the piece but it is nevertheless counterbalanced by two outer movements of fairly equal length but of quite different character. Georgs Pelēcis is quoted in Orets Silabriedis’ excellent notes as saying that “Kenins rejects seemingly essential symphony ingredients, such as the sonata form. That does not appear in any of the three movements … only one main theme is developed in each movement, and they are all interrelated. The unifying element is the rich chromatic intonations …”. The Third Symphony is clearly a work by a composer in full command of his aims and means, which shows in the way that the composer handles polyphony – an essential component of his music making. The first and second movements end with uncertainty, preparing for what is to follow, but the final movement Molto animato e brioso ends with an assertive gesture. As Silabriedis puts it: “I am responsible for everything that I have said and done”. (Incidentally, one might be reminded of RVW, whose Fourth Symphony also ends abruptly with a fist banging on a table and a door brutally slammed.

The Symphony No 7 “Symphony in the form of a Passacaglia” is scored for large orchestra and a mezzo-soprano in the final aria. Half the duration of the piece is purely orchestral and cast as a fully developed Passacaglia capped, so to say, by a short Allegro molto before the final aria for mezzo-soprano on a poem by the composer’s father, Atis Ķeniņš (1874–1961), who was also a statesman and one of the founders of the Republic of Latvia in 1919. The poem must have had a particularly personal resonance for the composer. “The mezzo-soprano solo links the composer more tightly with his family roots, expresses itself in more trusting and optimistic feelings; however, the unease in the harmonies and rhythm likely cannot hide the composer’s fears about out era. The concluding epilogue is like an Agnus Dei. The finale should express hope and faith, which stands over life’s troubles, soothing our darkest predictions, and suppressing our fears” (the composer’s words quoted in Silabriedis’ notes). The text, as translated in the booklet, may seem somewhat dated but has now acquired some new relevance in our troubled times and the symphony now carries a most welcome and needed appeal for peace. Nonetheless, Ķeniņš’ Seventh Symphony is quite an impressive piece of music in its own right and its “message” (if such there is) may be heard by any man of goodwill.

This final installment in Ondine’s Ķeniņš cycle has been carefully prepared and is as immaculately performed as the preceding ones. These are committed performances throughout, in excellent sound, up to Ondine’s best standards and Orests Silabriedis’ notes are excellent.

Ķeniņš’ symphonic cycle is on a par with other largely forgotten similar cycles that would probably have remained ignored or little known, were it not for brave and enterprising recording companies who have invested in similar projects. Examples that immediately come to mind are BIS’ recordings of Tubin’s symphonies and the hopefully ongoing Wordsworth cycle by Toccata. One cannot but hope that ventures such as these will encourage others to follow suit.

Ķeniņš’ music is too good to be ignored and these performances do it full justice; I am sure that they will play a part in securing his music its deserved status.

-- MusicWeb International

Ondine is proud to release these world premiere recordings of two new Zemlinsky arrangements by Richard Dünser with Lapland Chamber Orchestra conducted by John Storgårds. The works of Austrian composer Alexander Zemlinsky – much admired by composers such as Mahler, Schoenberg and Berg – have gained more attention during the last decades. He wrote only 27 works with an opus number, but several of them can be considered among 20th century masterpieces. In 2013 composer Richard Dünser, pupil of Francis Burt and Hans Werner Henze, made two new rich arrangements of works by Zemlinsky. Seven Songs of Night and Dream (Sieben Lieder von Nacht und Traum) is an orchestration of songs from opp. 2, 5, 6, 8 and 10 based on the themes of night and dream. In this recording the songs are sung by mezzo-soprano Jenny Carlstedt. Chamber Symphony is a 40-minute orchestration of Zemlinsky’s String Quartet No. 2. In this orchestration the limitations of a string quartet is set free by using a larger ensemble. Zemlinsky’s String Quartet contains references to the works of his most famous pupil, Arnold Schoenberg.

REVIEWS:

Fanfare (5-6/98, pp.236-37) - "Mattila is in radiantly lovely voice for this recital. The tone is shining and steady, produced evenly from top to bottom. The very beauty of the singing seizes the listener's attention immediately..."

BBC Music (3/98, p.65) - Performance: 5 (out of 5), Sound: 5 (out of 5) - "...In this satisfying, logical sequence of Lieder...[Karita Mattila's] voice sounds as distinctive as ever, big toned and milky smooth. Mattila's way of getting inside every piece and phrasing each with long-breathed musicality makes this a disc to return to again and again."

This set includes a Blu-ray audio CD playable on Blu-ray players only and a standard CD playable on all CD players.

This special CD Blu-Ray Audio Ondine release includes world première recordings of three orchestral works by Norwegian composer Rolf Wallin (b. 1957), among the most exciting contemporary composer figures in Scandinavia, performed by the Bergen Symphony Orchestra and Finnish conductor John Storgårds. Fisher King, a concertante piece for Trumpet and Orchestra (2011) features one of today’s greatest trumpeters, Håkan Hardenberger. Composed more than thirty years ago, Id was Mr. Wallin’s first-ever orchestral work. Manyworlds is an extensive, half-hour’s long orchestra work, jointly commissioned by the Bergen, Helsinki and NDR, Hannover orchestras. The title of the work refers to the Many-world theory in quantum physics dealing with a very large, perhaps infinite number of parallel universes. The Blu-Ray Audio disc, an Ondine first, also includes a 2D & 3D Video by Boya Bøckman based on Manyworlds.

Uniko features Grammy winning Kronos Quartet, Finnish accordion adventurer Kimmo Pohjonen and sampling guru Samuli Kosminen.

Commissioned by Kronos in 2003, Uniko is highlighted by Pohjonen's electrified and MIDI-fied accordion with Kosminen's electronic percussion devices which reproduce his own accordion samples and his samples of Kronos' instruments. These samples, together with live strings and electric accordion plus effects and manipulations create a new, multi-dimensional sound world.

"Uniko is like an ocean tide coming in. Big waves of sound build in complexity, animation and sometimes sheer frenzy..." – The New York Times

"The Kronos Quartet’s latest CD achieves a fantastical fusion of musical styles... ”UNIKO” highlights the exceptional talent and the courageous, exploratory spirit that makes the Kronos Quartet such an indispensable part of the musical landscape. The album is one of their most compelling recent efforts." – Ronni Reich, New Jersey Star-Ledger

Erkki-Sven Tüür’s ongoing cycle of interesting symphonies (in 2017 he arrived at No. 9) makes him–by quality more significantly than quantity–the premiere symphonist of our time. Always good for the inclusion of seemingly eclectic instruments (electric guitar, accordion, big band, percussion, tape, synthesizer) in his orchestral works, he expands the tonal palette much the same way Gustav Mahler did when he threw the mandolin or guitar or castanets or xylophones or a hammer into his symphonies, all before perfectly unsuspecting audiences. (Happily, this is much easier on the ears than when other composers stick with the traditional instrumental apparatus only to then make these instruments generate every sound except those they were meant to produce in the first place.)

In this Fifth symphony, premiered in 2005 at the Stuttgart Eclat New Music Festival, the electric guitar has some particularly lyrical quasi-cadenzas in the second movement. The fact that we might find it curious is only a consequence of our aural associations with and expectations of an electric guitar. But all the rest of the symphony is pretty classical, down to the four movements and their structure, which goes to show that there’s still much left in the old form and “old”–i.e., tonal–modes, if only a composer can muster sufficient imagination.

Tüür does. In fact his works are bursting with originality and fantasy, freed of all academism and perceived “ought-to’s”. Not all of them are as successful as this Fifth (or the Seventh) symphony, perhaps, but are always full throttle and never display originality for its own sake. The groove of the third movement is befitting any classical Scherzo; the Big Band gets its moment in the spotlight, backed by a percussive, happy but firmly embedded, organic beat (sound clip)–not as artificially superimposed and faddish as large percussion sections can sound in too many contemporary works (Higdon, Sierra, Widmann, Golijov, et al.).

It’s possible that connoisseurs of conventional symphonies wrinkle their brows in disapproval of these allegedly foreign ingredients. This brings to mind a beverage-related spoonerism of composer and linguistic genius Franz Mittler: “I would rather have a boot in my rear/Than a root in my beer.” But Tüür’s symphonies are not symphonies in name only; they are decidedly real beer–just a modern variant of the classic original. Maybe something Dogfish Head Brewery would concoct.

Rounding out a fabulous disc is the accordion concerto Prophecy, a substantial work in four continuous movements that often ends up in a swarm of sound with intermittent, hallmark Tüür moments (dry timpani before a canvas of dark quiet, for example). In it, the accordion is less folksy than it is grave; the whole thing more redolent of an organ concerto than a polka.

– ClassicsToday (Jens F. Laurson)

Erkki-Sven Tüür (b. 1959) is one of the most outstanding voices in contemporary music today and regarded by many as one of the foremost living symphonists. This new album by Tapiola Sinfonietta and conductor Olari Elts includes world première recordings of two concertante works featuring violist Lawrence Power and recorder soloist Genevieve Lacey together with a late masterpiece, Symphony No. 8. Tüür describes his viola concerto Illuminatio (2008) is “a pilgrimage towards eternal light”. The work opens with a mysterious soundscape. As the work progresses, the music develops and grows, and the relationships between the soloist and the orchestra is in a constant change. Whistles and Whispers from Uluru (2007) for recorder and chamber orchestra was written to a commission from the Australian Chamber Orchestra for recorder virtuoso Genevieve Lacey. When the composer was writing the work at his summer residence in the island of Hiiumaa in Estonia, it was spring and the air was full of birdsong. In his mind, he connected Uluru, the sacred mountain of the Australian Aborigines, to his northern surroundings, and the two impulses fused. The soloist goes through multiple members of the recorder family, from sopranino down through treble, alto and tenor to bass, and then back to the heights of the sopranino. An electronic soundtrack augments the texture at times. Symphony No. 8 was commissioned by the Scottish Chamber Orchestra and was completed in 2010. Tüür scored the work for a sinfonietta-type ensemble instead of a large symphony orchestra, and as a result the music has at times a chamber music feel.

Crowning their series of recordings together for Ondine, The Philadelphia Orchestra and Christoph Eschenbach are featured here with Peter Tchaikovsky's most popular orchestral pieces, Romeo and Juliet, String Serenade, and Francesca da Rimini. As an added bonus, the Orchestra's brass principals perform two brass quintets by Victor Ewald.

The Philadelphia Orchestra and the music of Peter Tchaikovsky form a relationship on which a legend was built. Enthusiastic press and success followed on the release of the previous recordings of the three final symphonies Nos. 4-6. Romeo and Juliet is Tchaikovsky's first acknowledged masterpiece and today one of the most popular orchestral compositions ever written. The swirling orchestral mastery of Francesca da Rimini makes this a true showpiece for the Orchestra with its legendary "Philadelphia Sound". The Mozart-like String Serenade remains one of the most beloved of all works for string orchestra. Both Tchaikovsky and Ewald were active composers in St. Petersburg's musical life during the same time and familiar with each other's work. Esteemed by all lovers of brass music, Ewald's Quintets are imbued with romantic Russian national feeling.

This is the ninth CD under the "formidable Ondine-Eschenbach-Philadelphia partnership" (Gramophone), which since 2005 has produced discs that have been honored with accolades including BBC Music Magazine's Disc of the Month, Gramophone's "Editor's Choice," The New York Times' "Top Ten Recordings of the Year," and the German Record Critics' Award, among others.