This fascinating release of Beethoven’s Symphony No. 9 stands apart from any other recording of the work. This is the first time that the magnificent piece has been recorded in HD and 5.0 surround sound, offering the most outstanding sound quality available today. Christian Thielemann leads the Wiener Philharmoniker in this moving interpretation. “Thielemann’s reading of the Beethoven symphonies stands heads and shoulders above the countless and mostly undistinguishable versions on offer.” (Die Presse) This performance is accompanied by an hour-long documentary featuring the conductor and Germany’s foremost music critic, Professor Joachim Kaiser. The film provides insights into Beethoven’s thinking, as well as interpretal comparisons from conductors like Karajan, Bernstein, and Jarvi.

One of our day’s most legendary performers, pianist Rudolph Buchbinder has been appearing on stages all over the globe for the last fifty years. Later this year, in celebration of his 70th birthday, he will be honored in numerous concert halls, including Carnegie Hall, Suntory Hall, and the Berliner Philharmonie. The Kurier newspaper described this performance with rave reviews. “It is not every day that Brahms sounds so perfect as this.” (Kurier) They also praised Buchbinder as a “phenomenal piano virtuoso.” In the Golden Hall of the Vienna Musikverein, under the baton of Maestro Zubin Mehta, Buchbinder performs for this release the First and Second Piano Concertos of Johannes Brahms. These works demand a soloist with a wide range of both interpretal refinement and technical skill, both of which Buchbinder brings to the table. “What Rudolph Buchbinder, the Vienna Philharmonic and conductor Zubin Mehta delivered at the Musikverein easily deserves the accolade ‘milestone’.” (Kurier)

Picture Format: 1080i, 16;9
Sound Format: PCM Stereo, DTS-HD MA 5.0
Region Code: 0 (Worldwide)
Running Time: 96 mins

Over the course of musical history, the Prelude developed from a short, semi-improvised introduction to a larger scale work into a work of art in its own right. Champion of Minimal Music Jeroen van Veen writes about his preludes: “composed in a major and minor keys in the order of Chopin’s Preludes the basic idea was to see if I would limit myself to just a few chords and techniques if I could create different works.” The booklet contains informative liner notes by the composer, himself.

Also available on Blu-ray

Joni Mitchell’s work The Fiddle And The Drum delves into the artist’s long-held concerns about the human race’s blatant neglect of the environment and mankind’s war-hungry nature. The piece is a ballet which is performed to a soundtrack of her music. Joni has called this work “the best project of her career.” Combining three art forms- music, dance, and visual art- Joni creates an enthralling spectacle. Internationally recognized choreographer Jean Grand-Maitre of the Alberta Ballet Company has joined Joni for this production. The musical selections to which Jean Grand-Maitre has set his dance include works from Joni’s entire career such as For the Roses, Passion Play, Slouching Towards Bethlehem, The Beat of Black Wings, and of course The Fiddle and The Drum. Special bonus features on this release include behind the scenes, video installations form the set, image galleries, and interviews with the performers.

Picture Format: NTSC, 16:9
Sound Formats: PCM Stereo, DTS 5.1
Region Code: 0 (Worldwide)
Running Time: 55 mins (Ballet), 60 mins (Bonus)

Along with Petrali, Davide di Bergamo and Fumagalli, Giovanni Morandi was one of the most influential organ composers of the 18th century. During his time as Master of Music at the cathedral of Senigallia, he wrote a great deal of liturgical works for organ. Morandi’s organ pieces feature brilliant melodies, pianistic writing, and sonic effects which mirrored the Italian opera world that was thriving around Morandi. This particular recording is made on an organ built by Gaetano Callido for the Paris church of SS Simon and Thaddeus in Borca di Cadore, as well as on an 1830 organ built by Antonio and Angelo Amati. Full organ specifications are included in the booklet.

Polish pianist Ignaz Friedman was one of the leading virtuosos of his day as well as a composer and a master transcriber. Friedman's transcriptions are both a delight for the listener and a challenge for the performer, and his creative imagination gives these delicious, charming and moving works a life of their own. The pianistic effects are both breathtakingly bravura and disarmingly subtle while remaining faithful to the originals.

This new release is the Christmas equivalent of The King’s Singers’ recent release, Great American Songbook. Paying homage to the a capella group’s heritage while still acknowledging their modern passion for swing, the group mixes Christmas classics like “In the Bleak Midwinter,” and “The Holly and the Ivy,” with modern tunes such as “Winter Wonderland,” “Frosty the Snowman,” and “Sleigh Ride.” The group’s favorite arrangers have reworked all of these tunes specifically for the ensemble- Berty Rice, Keith Roberts, and Alexander L’Estrange.

REVIEW:

The latest King’s Singers CD, a seasonal celebration from Signum Classics, mixes well-known American carols with some from “the other side of the pond.” The result is a blend that... is every bit as smooth as a perfectly prepared cup of hot cocoa, and just as warming.

The exceptional adaptability of the King’s Singers is shown in the handling here of songs as different as Santa Claus Is Coming to Town and White Christmas, either of which could easily be a throwaway and neither of which is. The group’s beautiful melding is apparent in different ways in numbers such as The First Nowell and Silent Night. The King’s Singers simply have a way of bringing joy to the world.

– Infodad.com

The Modern Jazz Quartet was formed in 1952, largely by the rhythm section of the Dizzy Gillespie Band. When these recordings were made, John Lewis was still trying to develop the Modern Jazz Quartet as a jazz chamber group, attempting to make a unique style of jazz, free of cliché. The motto of the MJQ was “Change your attitude.” Each of the thirteen tracks on this album show the ensemble’s unique and dignified style. As Andre Francis wrote of the group, the musicians are “a sensitive instrument which vibrates in the same universe of sound, achieving a communion unique in the world of jazz.”

One of the most influential composers of the early Spanish Baroque, Juan Bautista Comes (1582-1643) was one of the first composers to fuse together elements of Renaissance style with the emerging styles of the Baroque. Juan Bautista Comes held the post of chapel master of the Valencia Cathedral, the cathedral that since 1437 held the Holy Chalice, the cup that Jesus drank from at the Last Supper, which is the reason Comes composed extensively for the Eucharist. This new recording not only includes sacred Motets, but also a selection of choral works composed in the vernacular language and based on popular music to make the liturgy more accessible to common people.

Philippe Hersant (b. 1948) was once a student of Andre Jolivet, and since then has embraced tonality and modality, and found his own eclectic voice, establishing himself as one of the most noticeable and successful modern French composers. This new recording focuses on Hersant’s bassoon music, brilliantly showcasing an often neglected instrument. Featured are duos for bassoon and viola, 8 Pieces for bassoon and instrumental ensemble, and several works for solo bassoon. Italian bassoonist Andrea Bressan performs these works. Bressan is notable in the chamber music community, and has won several awards in international competitions for chamber music.

One of the most emotional liturgical works, the Stabat Mater meditates on the suffering of Mary the mother of Jesus during the crucifixion. The Stabat Mater by Boccherini, featured on this new release, was composed for solo soprano and string ensemble, one of the most intimate settings for this text. A specialist in Baroque repertoire, soprano Francesca Boncompagni performs here alongside the Ensemble Symposium, which performs on original instruments.

This unique release contains live recordings taken in 1957 and 1958 from the broadcast concert series Eddie Sauter’s Music Time, during which Eddie Sauter was leader of the orchestra at the Sudwestfunk. Trumpeter and bandleader Eddie Sauter took over Kurt Edelhagen’s orchestra at the Sudwestfunk in 1957. This was his first time conducting a jazz Big Band without a co-leader. Eddie Sauter’s Music Time became a place for Sauter to experiment with his music. The programme recorded here shows a fantastic balance between standards, originals, and experiments.

Albert and Emil Mangelsdorff are two brothers who had an important impact on the development of German jazz. Emil studied clarinet at the Hoch Conservatory in Frankfurt, but he is more widely known for his saxophone playing. After he was a member of the illegal ensemble Hot Club, (jazz was banned in Germany at the time) he was imprisoned by the Gestapo and forced into the Hitler Army. After the war he performed in the Frankfurt All Stars and the Jazz-Ensemble des Hessischen Rundfunks before forming his own quartet in the 1960s. Albert is most known for his technique of playing multiphonics. A trombone player, he led a hard bop quintet in the late 50s, and performed frequently with his brother. This release is a compilation of concerts and studio sessions, recorded in the height of the brothers’ career, between 1956 and 1963.

Guido Alberto Fano (1875-1961) lived and worked in Germany and Austria, where he developed as a composer and as a pianist. After his time there, he held important posts at the conservatories of Milan and Naples, and had the respect and admiration of several popular composers, namely Richard Strauss. The Piano Sonata in E is a highly technical work, composed in the late romantic style. It remains one of the most influential Italian piano sonatas. Pietro de Maria performs these works, and is one of Italy’s most notable pianists. He has also recorded the complete piano works of Chopin.

This release is the final installment of the Schubert Complete String Quartet cycle. The entire series has proved to be an outstanding achievement by the German Diogenes Quartet. A centerstone of this album is the G major quartet, which was Schubert’s final quartet, and one of the finest ever written. The Diogenes Quartet was founded in 1998, when four musicians came together to dedicate themselves to chamber music. The ensemble is consistently praised for their commitment and interpretive playing.

This release is an interesting musical journey through the paths that led to Arnold Schoenberg’s composition of his masterpiece for string sextet, Verklarte Nacht.+ The pieces presented on this album, which are diverse and include pieces by Bach, Brahms, and Berg, show development of harmony and tonality from Bach’s era all the way to the late romantic period, when a new harmonic language began to emerge. The string sextet utilized in this recording was formed from the principal players of the Orchestra da Camera di Mantova, and led in this recording by Alessandro Maria Carnelli.

One of Philip Glass’ most glorious themes, this release focuses on the subject of love. From his BAFTA award-winning music for The Hours to his iconic Music In Fifths, the genius of this composer is felt throughout the duration of this album. The Hours is featured here in its entirety, complete with three previously unpublished movements. The release also includes the breathtaking Modern Love Waltz and the world premiere recording of Notes On A Scandal. Performing these works is Nicolas Horvath.

This release is the first of three discs devoted to the piano music of George Enescu. The works chosen for this first album are three significant pieces - Nocturne in D-Flat Major "Hommage a la Princesse Marie Cantacuzene", Pieces impromptues, and Piano Sonata No. 1 in F-Sharp Minor. Enescu’s Romanian influences show in these works, which feel strongly of Romanian folk music. Pianist Josu de Solaun performs these works.

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REVIEW:

His technique is excellent here. The concluding Sonata 1 is shot through with harmonic twists and driving rhythms, handled expertly.

– American Record Guide

While overshadowed by the piano concertos of Mozart during the 1780s, composer Leopold Kozeluch was holding his own as a master of the piano sonata, performing in Vienna’s most renowned private concert soirees. The four works on this release show why his sonatas might be called the pinnacle of the high-Classic style. One can definitely feel the influence of Mozart in the Sonatas, but Kozeluch forges new paths, particularly in No. 22. These works are performed by Kemp English.

Famous and controversial stage director Calixto Bieito presents this raw and evocative interpretation of Bizet’s classic opera, Carmen.; This live production at the Gran Teatre del Liceu emanates a sensual and convincing ambiance full of imagery.; The vocalists in this production are truly second-to-none, and include Beatrice Uria-Monzon as Carmen, Roberto Alagna as Don Jose, Erwin Schrott as Escamillo, and Marina Poplavskya as Micaela.

Centered around accordionist Vincent Peirani, the ensemble Living Being presents this new, extended album. The works on these two discs were recorded at the November 2013 SWR NEWJazz Meeting. For this meeting, Peirani expanded his core quintet to include Mathias Eick and Leila Martial. The extended group performed three concerts, in Tubingen, Mainz, and Karlsruhe.

During the 17th century, the Roman Catholic Church accepted instrumental interludes during mass as an addition or as a replacement of other parts of the mass. This practice inspired composers of that era, who wrote elaborate organ works to show their compositional skills.; Giovanni Salvatore (1620-1688) was one such composer, whose works are featured here. Salvatore worked as an organist in Naples.; With a compositional style reminiscent of the Neapolitan Baroque liturgy, Salvatore’s works feature rich vocals and instrumental polyphony.; Performing these works is organist Federico Del Sordo and the Nova Schola Gregoriana, conducted by Alberto Turco.

Classical Music

In nineteenth-century Portugal, Italian opera was king. During this time, however, instrumentalists still emerged. Piano prodigies Jose Viana de Mota and Guilherme Daddi did considerable work to advance concert life in Portugal throughout their careers. Not only were these gentlemen outstanding pianists, they were also virtuosic composers. Their entertaining and challenging pieces helped to draw Portugal into the scene of European music-making. Performing these works is Sofia Lourenco, an outstanding pianist and educator.

Listen to the Naxos Podcast to learn more about this release

Silvestre Revueltas’ score for the 1935 film Redes (“Nets”) remains one of his greatest works, full of captivating rhythms, vivid instrumental color, and characteristic melodic inspiration. It is splendidly performed here by the PostClassical Ensemble conducted by Angel Gil-Ordóñez, newly synchronized to a lovely restored version of the original film. The movie itself isn’t much. Although cinematographer Paul Strand’s work is gorgeous as visual art, the story is a leftist morality play at its most primitive.

Villagers in small Mexican fishing community vainly struggle against the evil rich guy (complete with waxed mustache). At the start, the poor fisherman Miro begs for money to take his sick son to the hospital. Evil rich guy refuses. The child dies and is buried in a lavishly decorated coffin that makes one wonder why they didn’t invest the funeral funds in medical care in the first place. The grieving dad organizes the villagers and they go fishing, determined to resist the exploitation of the town’s wealthy business class. They catch fish. As they return with their catch there’s a rumble with the rich guy’s team. Soldiers are called in and the villagers flee, but Miro gets shot in the scuffle. He nobly ignores the pain, but dies anyway. End of story.

The entire film takes about an hour. There are fabulous shots of the Mexican seaside, lots of macho posing, and of course, fishing sequences. Thrilling it is not, but Revueltas’ score is sensational. Not being terribly into visuals, I would hope that Naxos will release a complete soundtrack album. The music is certainly worth hearing beyond the already familiar suite. Indeed, the film is scored almost throughout. Dialogue is minimal. For the last fifteen minutes or so in this new version the dialogue had to be abandoned in favor of the new soundtrack’s continuous music (English subtitles remain). If you want to hear the (few) spoken bits, the original film with its original soundtrack is thoughtfully included.

You also get several bonus features: discussions of Revueltas, his work in film, his politics, and the music, all produced by PostClassical Ensemble Executive Director Joseph Horowitz. I didn’t watch these, as I general ignore all such things. As a matter of principal, I believe that musical works stand or fall on their own merits, as entertainment, and nothing bores me more than being preached at or having the pleasure of listening turned into an academic symposium. I do recognize, however, that there is a time and place for such things, and other listeners/viewers may feel very differently. To see how Revueltas’ music enhances this visually beautiful film is worth experiencing just for itself, and requires no special pleading.

– ClassicsToday (David Hurwitz)