In September 2024, the music world celebrates the 200th anniversary of Anton Bruckner's birth in 1824. To coincide with the anniversary itself, and following the release of Bruckner's Ninth 4 earlier in 2024, Accentus Music will release the recording of Bruckner's Symphony No. 2 with the Bamberg Symphony, this time under the musical direction of their conductor laureate Christoph Eschenbach. Composed in a rather restless and pessimistic state of mind, Bruckner's Second oscillates between heartfelt prayers, desperate outbursts, helpless silence, and ecstatic dance scenes. A co-production with BR-Klassik

After Alec Frank-Gemmill's critically acclaimed recordings of nineteenth-century works for horn and piano (BIS-2228), chamber music by Brahms (BIS-2478) and pre-Mozart horn concertos (BIS-2315), a version of Mozart's famous horn concertos from him has been eagerly awaited. As on his disc of concertante works, he is accompanied here by the Swedish Chamber Orchestra conducted by an expert in 18th-century style, Nicholas McGegan. Mozart's relationship with the Viennese horn player Joseph Leutgeb was both a friendly and a musical one, and most of the works here were written especially for him. Spanning some ten years, from 1781 to the composer's death, the four standard concertos and other fragments follow Mozart's stylistic development, and are thus contemporary with the operatic trilogy with libretti by Da Ponte, the final symphonies and the last piano concertos. Elegant, refined and suave, the horn concertos take advantage of the unique colours of this instrument and do not shy away from the it's traditional associations with the postal service and hunting. In addition to Mozart's four 'official' concertos, this recording also includes movements left in draft form, completed and restored by the composer and horn-player Stephen Roberts, giving us a further work here named 'Concerto No. 0'.

The first complete edition of Supraphon recordings made by the legendary conductor Lovro von Matacic with the Czech Philharmonic Orchestra. This set contains unique historical recordings of six great symphonies of the Romantic era with the Czech Philharmonic Orchestra and the conductor Lovro von Matacic. These recordings were made between 1959 and 1980 by one of the most remarkable conductors of his generation. Matacic was born in Croatia when it was still part of Austria-Hungary. He studied in Vienna, where the great world of music revealed itself to him, and opera especially. The difficult path he had to follow led him through two world wars, but in the end he became a charismatic figure capable of inspiring and galvanising any orchestra. He repeatedly conducted the Philharmonia Orchestra, the London Symphony Orchestra, the Dresden Staatskapelle, the Munich Philharmonic, the Vienna Symphony Orchestra, and the NHK Symphony Orchestra in Japan, and he stood at the helm of the Monte-Carlo Philharmonic Orchestra. The Czech Philharmonic Orchestra and the Czech public always welcomed him as a special guest, and Supraphon enabled him to record first Beethoven's Eroica and two great symphonies by Tchaikovsky. Especially rare are the three symphonies by Anton Bruckner with the best-known Seventh, the grandiose Fifth, and the concluding Ninth representing Late Romanticism at it's zenith. This one-of-a-kind creation shows the orchestra of Ancerl's and Neumann's era in a different light. Around the world, Matacic is better known for his opera recordings, so this Supraphon set of orchestral recordings is unique.

Hans Winterberg grew up in Prague where he was one of a whole cadre of composers in the new Czech musical tradition. He is one of the few Jewish composers who survived the terror of World War II. His tale of survival is complicated and involved him, as a Czech Jew, having to seek refuge in post-war Germany, whereas contemporaries and colleagues like Viktor Ullmann, Erwin Schulhoff, and Hans Krása died in the concentration camps. He saw his music as “a bridge” between the Slavic East and the West and admitted at one point that his musical starting point was Schoenberg. Audibly more present than Schoenberg, however, is a central European Impressionism, synthesized with complex rhythms.

REVIEWS:

Of these three works, the concerto is the most engaging. With the other two, you can respect the composer’s integrity and firmness in not compromising his vision. That said, they’re best appreciated by dedicated fans of 20th Century modernism as their dense, fragmented, dissonant textures aren’t easy to take straight. The performances sound accomplished. Pianist Jonathan Powell contributes not only a strong reading of a difficult work, but also enlightening program notes on the work itself.

-- American Record Guide

Of its time: the three works here date from 1936 (the First Symphony), 1948 (the first of three piano concertos) and 1966 (Rhythmophonie, a very up-to-the-mark title). Always tonally based at root, the works reflected Winterberg’s stylistic preoccupations and enthusiasms, whether Schoenbergian expressionism in the rather fine symphony, a beguiling mix of neoclassicism and romanticism in the concerto – which deserves to be a hit in this marvelous account by Jonathan Powell – or the slightly self-conscious modernism of Rhythmophonie. The last-named is longer than the symphony and concerto combined, a tour de force, rather choreographic in effect. Its slightly abrupt conclusion is typical of the composer.

-- Gramophone

Delve into the captivating compositions of Johann Friedrich Fasch with Accentus Music's latest CD release, "Fasch: Sonatas," interpreted by Austrian baroque ensemble Barucco. Fasch, renowned as a composer even before assuming the prestigious role of court Kapellmeister in Anhalt-Zerbst in 1722, left an indelible mark on the musical landscape of the Baroque era.

This meticulously curated collection offers a glimpse into Fasch's diverse repertoire, showcasing his skillful fusion of form and melody. It presents the intricate structures as well as the melodic richness of his sonatas, each piece encapsulating Fasch's innovative approach to composition.

Listeners will be enthralled by the intricate interplay of instruments, as exemplified in works like the Sonata in B-flat, where recorder, oboe, violin, and continuo engage in a spirited dialogue. Meanwhile, the Sonata in F presents a delightful blend of two oboes and two bassoons, reflecting Fasch's mastery of chamber music instrumentation.

Performed with precision and passion by Barucco, this recording offers a faithful interpretation of Johann Friedrich Fasch's compositions, allowing audiences to experience the music as it was intended. "Fasch: Sonatas" is a testament to the composer's enduring legacy and a valuable addition to any classical music aficionado's collection.

A recording of Österreichischer Rundfunk (Radio Österreich 1).

Shout for joy, praise & cheer! Gordon Safari has put together a collection of festive cantatas and motets by Johann Sebastian Bach for his ensemble of instrumental and vocal soloists recorded in the authentic setting of St. Thomas Church in Leipzig. BachWerkVokal is critically acclaimed as one of the most exciting new ensembles in the field of historical performance practice. The high quality of MDG's 2+2+2 recording technique reproduces the rich acoustics of Bach's original church, up into the heights of the vaulted ceiling.

Alexander Asteriades effortlessly manages the balancing act between ambitious artistic demands and refreshingly accessible sonority. He often finds inspiration in literary sources, which provide a fascinating glimpse into the composer's imagination. With his preference for traditional forms and a modern approach to tonal composition, Asteriades escapes the cul-de-sac of atonality.

After his first recording for na�ve of Bach's Goldberg Variations (V7566, 2022), the Chinese pianist Tianqi Du gets back to the composer closest to his heart, of whom he this time plays four Concertos, with the Academy of St Martin in the Fields, conducted by Jonathan Bloxham. The four works chosen here by Tianqi Du are among the most famous and remarkable of the series of Bach's keyboard Concertos.

Vagn Holmboe (1909-96) stands as one of the greatest 20th-century composers of string quartets, with a monumental series of 21 quartets demonstrating his distinctive metamorphosis method. Holmboe's vibrant and organic quartet works are profoundly rooted in a Buddhist inspired perspective on life, an outlook which, though he kept it private, led him to view all manifestations of life as part of a cosmic whole. Equally essential is the influence from folk music. This third volume of the acclaimed Nightingale String Quartet series captures Holmboe at the peak of his creativity, with his musical metamorphosis practice fully flourishing.

The subject of different cultures mingling and of the search for a common language is more relevant in today's globalised world than ever before. However, it has been present in various forms for centuries. An inspiring encounter of rather distant music worlds is the result of the collaboration of Cappella Mariana, focused particularly on Renaissance polyphony, and Constantinople, representing the music tradition of Islam. Their common project imaginarily copies the adventurous pilgrimage undertaken in 1598 by the nobleman and composer, Krystof Harant, who gave a gripping account of it in his book Journey from Bohemia to the Holy Land, by Way of Venice and the Sea. Harant's complete preserved oeuvre is combined with the music of the exotic lands of the Ottoman Empire, Syria, Palestine, Sinai and Persia, which completes the atmosphere of the places as Harant himself might have experienced it on his journey. The variety of the Middle East nationalities, contributed to by the presence of pilgrims, monks and wanderers, created a very rich mosaic of sounds. As a result, songs in seven languages can be heard on the recording. Harant's polyphony is overlapped here with songs by well-known as well as anonymous 16th-century Middle-East music masters, using, for instance, texts by the famous Persian poet, Hafez. Listening to the music of a remote culture can be a surprising experience indicating it's inner richness, level of education, emotionality, etc. With an open mind, we may discover in these hitherto unknown realms a source of beauty and deep inspiration for ourselves. Cappella Mariana and Constantinople - a musical bridge between distant worlds

Franz Schmidt 150 (1874-1939)

“In conversations about Franz Schmidt the recurring theme emerging for many is that listening to a performance of his music at a young age became the turning point in their lives the realization of how powerful music can be,” says Jonathan Berman, whose longtime love of Franz Schmidt’s work has its origins in a performance preparation for his Fourth Symphony.

Berman’s passion for Schmidt’s work and the composer’s upcoming 150th birthday in 2024 were key reasons for the conductor to approach the BBC National Orchestra of Wales to record all four symphonies together – a major project that also marks Jonathan Berman’s CD debut.

The recordings were realized between 2020 and 2022 at BBC Hoddinott Hall, the home of the BBC NOW in Cardiff. In November 2023, Accentus Music releases all four symphonies in a high-quality box set that will also be made available across all digital platforms. BBC Music Magazine wrote about the digital pre-release of the first symphony in March 2021: “Jonathan Berman and the BBC National Orchestra of Wales deliver a terrific performance which provides a fine alternative to the excellent version from Paavo Järvi. […] What really makes this new recording so enticing is the sheer energy and enthusiasm with which conductor and orchestra communicate the vigour and optimism of the opening movement.”

Produced in association with BBC Radio 3 and BBC National Orchestra of Wales.

REVIEW:

Following their highly acclaimed streamed recording of his First Symphony, Jonathan Berman and the BBC National Orchestra of Wales have now completed their Franz Schmidt symphony cycle. Packaged together in this sumptuously designed and luxuriantly recorded set, the performances of all four symphonies, released in celebration of the 150th anniversary of his birth, pay worthy tribute to an undeniably major late-Romantic Austrian composer who, despite the passage of time, continues to divide opinion.

With almost evangelical zeal, Berman staunchly defends Schmidt from his detractors by providing some insightful personal observations in the booklet notes and by investing sufficient energy and dedication in his interpretations to allow the music to speak directly and fervently to the listener.

A coproduction with Sudewestrundfunk

In her latest album, Tatjana Vorobjova focuses entirely on emotion. Expressed in richness of sound, dynamics and refined nuance, the highly acclaimed Latvian harpsichordist explores expanding the instrument's expressive possibilities and shows how well this can be achieved with the grand master of counterpoint in a touchingly personal selection of Bach's highly expressive works.

Today, Katerina Knezikova is a well-known name in the world of opera (Glyndebourne) and on concert stages (BBC SO, Bamberger Symphoniker, Czech Philharmonic, LPO, Mahler Chamber Orchestra, RLPO etc.). After her album Phidyle, which attracted considerable critical attention (Gramophone Editor's Choice, BBC Music Magazine Award), she let herself be carried away by the world of Richard Strauss's songs, full of micro-dramas, transparent emotions, and deep intimacy. Her partner and guide on this journey is Jakub Hrusa with the Bamberger Symphoniker in an enchanting live performance of the Four Last Songs, and- surprisingly for many-also in the supremely intimate world of songs with piano. The sensitive Lieder selection covers Strauss's entire career spanning nearly 70 years. The composer's songs bear the impressions of major events of his whole life and the atmosphere of his times, leading to the themes of parting and death heard in his Four Last Songs. Each of the songs is a perfectly polished gem, the beauty of which is enhanced by the extraordinarily harmonious interplay of the two artists. The Songs of Richard Strauss - perfectly polished gems

Within a mere few years, Petr Popelka has established himself as one of the world's most exciting young conductors. Serving as principal conductor of the Prague Radio Symphony Orchestra and the Wiener Symphoniker, he has also appeared as a guest with prominent European and American orchestras, as well as at opera houses worldwide. Popelka does not view Bedrich Smetana's legacy as an obligatory Czech national classic, but rather as an object of love and vital artistic quest. "His ultimate masterpiece, My Country, should be approached a bit like an opera, as a great story... As a cycle of tone poems based on the theme of the homeland, it is absolutely unique in the history of music. Most significantly, there is not a work written with greater love." Popelka's recording is not just yet another addition to the immense number of recordings of My Country. Bringing to bear his great musicality and acute sense of detail, the conductor and the orchestra have modelled a truly exceptional form. Popelka's album features other germs too. String Quartet No. 1 in E minor, "From My Life", hailing from Smetana's mature period, when the composer was completely deaf, in George Szell's brilliant orchestration. In contrast, Smetana's early music is represented by the Triumphal Symphony, dedicated to the wedding of the 24-year-old Emperor Franz Joseph I to Princess Elisabeth of Bavaria, and three "Swedish" Liszt-inspired symphonic poems, based on dramas as immense as Shakespeare's Richard III and Schiller's Wallenstein. The extraordinary album marks the 200th anniversary of Smetana's birth. Lovers of spatial sound will certainly relish streaming My Country in the Dolby Atmos format. Petr Popelka conducts Smetana - with love, deep feeling and sense for detail

Named one of the greatest string quartets of the last 100 years by BBC Music Magazine, the Grammy-nominated Dover Quartet’s critically acclaimed traversal of Beethoven’s Complete String Quartets is now available as a specially priced 8-disc boxed set (price of 3 CDs), releasing December 8.

“It’s hard to imagine a group better suited to recording these works than the Dover Quartet,” wrote New York’s WQXR of the Vol. 1 Op. 18 quartets, often cited as the epitome of the classical string quartet as developed by Haydn and Mozart, while foreshadowing Beethoven’s future innovation. “Beethoven would find it hard to believe that his quartets could be played with such perfection of execution, such beauty of tone, such nuance of expression, and such keen understanding of his music’s meaning and intent” (Fanfare).

Vol. 2, the Dover Quartet delivered “the most profoundly penetrating performances of Beethoven’s middle string quartets” (Fanfare), including the three Op. 59 “Razumovsky” Quartets, infused with Russian folk tunes; the graceful “Harp,” Op. 74, named for its plucked string figures; and the intense Op. 95 “Serioso,” a forward-looking experiment that Beethoven originally intended “for a small circle of connoisseurs.” Only Strings said, “The Dover performances sparkle and thrill. Their virtuosity is immediately apparent.”

Comprising Beethoven’s very last compositions — the five monumental, revolutionary Late Quartets and imposing Grosse Fuge — Vol. 3 “culminates their excellent recordings of all of Beethoven’s string quartets” (Third Coast Review). Remarkable and often daunting works that upended the concept of the string quartet, they are often considered the ultimate expression of Beethoven’s artistry. “This is a monumental achievement by one of the best string quartets playing today” (Classical CD Reviews).

The Dover Quartet has followed a “practically meteoric” (Strings) trajectory to become one of the most in-demand chamber ensembles in the world since sweeping all prizes at the 2013 Banff International String Quartet Competition. In addition to serving as the Penelope P. Watkins Ensemble in Residence at the Curtis Institute of Music, the Dover Quartet holds residencies with the Kennedy Center, Bienen School of Music at Northwestern University (it’s longest residency, dating back to 2015), Artosphere, and Amelia Island Chamber Music Festival.

The world premiere recording of Louis Francois Dauprat's "Grand Sextuor" for horn sextet, a precious early-Romantic treasure with an unprecedented wealth of harmonic sophistication, great virtuosity and exquisite cantabile qualities. Performed with exuberant musicality by the Detmold Horn Players and captured in all it's vibrancy and clarity by MDG's original recording technique, it retains it's unrivalled position as a benchmark achievement

Bruckner: Symphony No. 8

Less than a year after the release of his recording of Schubert's Impromptus (BIS-2614), Ronald Brautigam now presents two of Franz Schubert's late masterpieces, the Sonatas D 959 and D 960. They are played here on a fortepiano built by Paul McNulty after an instrument from around 1819 by the Viennese instrument maker Conrad Graf, and presumably similar to the instrument on which Schubert composed.

Although it is tempting to see Schubert's final works as the testament of a doomed artist who feels his end is nearing, the reality is quite different: the composer displayed vitality, optimism, and a prodigious capacity for work. His last two sonatas also show that he had reached a new level, having successfully emancipated himself from the Beethovenian model. These sonatas took a long time to establish themselves, not least because of their length, which was at first disconcerting for music-lovers and pianists alike. They are now considered to be among Schubert's finest works, alongside others dating from the last years of his life, such as the String Quintet in C major and the song cycle Winterreise. All these works seemed to herald considerable promise for future works; Schubert's untimely death buried a rich heritage, but even more beautiful hopes.

REVIEW:

Paul McNulty ‘s 2007 fortepiano based on a Conrad Graf model circa 1819 served Ronald Brautigam’s Haydn, Mozart and Beethoven solo recordings wonderfully well, and does so again in the fortepianist’s powerful, passionate and musically intelligent accounts of Schubert’s last two sonatas. Indeed, these are far and away the best Schubert period instrument piano recordings since those of Andreas Staier and Peter Serkin. Brautigam dives into the A Major Sonata’s opening Allegro with both assertion and flexibility, underlining Schubert’s astonishing harmonic tangents with stinging accents, subtle accelerations and full-bodied fortes that almostd detonate. To compensate for his instrument’s limited sustaining capabilities, Brautigam builds the momentum within the slow movement’s wild central climax by occasionally scaling back the long chromatic phrases so that their loudest peaks convey maximum impact. Having recently played on a similar McNulty Graf model, I can attest that the instrument’s light action makes it easier than usual to negotiate the Scherzo at a true Allegro vivace. However, Brautigam holds the tempo back and conveys more lilt and swing in the process. He also brings a patient, songful and lovingly nuanced spaciousness to the Finale that parallels Maurizio Pollini’s sublime modern instrument recording.

The instrument’s striking timbral distinctions between registers hit home in the B-flat Sonata’s Molto Moderato, especially when the low lying trills appear to emanate from an entirely different keyboard. Likewise, the frequent repeated notes in melodic phrases and ostinato-like accompaniments gain tension. One also should note Brautigam’s shifts of emphasis and timing as he observes the long first movement repeat. He imparts more urgency than what one often hears in the Andante sostenuto, mustering up genuine orchestral impact in the central climax. The Scherzo stands out for Brautigam’s mercurial pedal shifts and curvaceously inflected Trio section. I would have imagined a more headlong Finale in Brautigam’s hands, yet he takes Schubert’s “ma non troppo” caveat to heart by easing his way into the main theme, and allowing the dotted rhythms a welcome degree of grandeur and breathing room. The interpretation suggests an opera without words more than a piano showpiece, and that’s a compliment. Superb sonics, superb annotations, superb musicianship and superb pianism: what more could you want from this most recommendable Schubert release? Don’t miss it.

— ClassicsToday.com (10/10; Jed Distler)

I am the instrument of a higher power. With God's help and grace, I shall one day be a Liszt in technique and a Mozart as a composer. The ambitious plan in the 18-year-old composer's diary was eventually fulfilled. He was a very sought-after pianist. As a composer, he left his mark most clearly in the cycle of symphonic poems titled Ma vlast (My Country) and through chamber music in his Piano Trio and the String Quartet "From My Life"; those three works reflect tragic episodes in Smetana's life. The Trio in G minor, one of the gems of 19th-century chamber music, was written in under three months of 1855 as an outgrowth of the composer's immense sorrow over the death of his daughter. Smetana's emotionally gripping trio is heard on the album together with one of the most important chamber works of the romantic era, Schubert's monumental Piano Trio in E flat major (1827). This masterpiece was likewise written by a 30-year-old composer, but it is also one of Schubert's last completed works; at the time, Schubert had only a year of life remaining. The ensemble reaching the depths of the two composers' music on their debut album is the youthful Trio Bohemo, who have been appearing for several years with great success at prestigious competitions and on concert stages around the world (London's Wigmore Hall, Vienna's Musikverein), usually with programmes combining Czech and foreign repertoire. There is yet another important name behind the recording: the late Hatto Beyerle, a founding member of the Alban Berg Quartet, who coached the young ensemble in both works and set them on the path towards their own individual interpretation, seeking the meaning hidden behind the musical notation. Trio Bohemo, Smetana, Schubert. A debut with a capital "D".

... Storace gave a quartet party to his friends. The players were tolerable, not one of them excelled on the instrument he played; but there was a little science among them, which I dare say will be acknowledged when I name them: First violin Haydn, second violin Baron Dittersdorf, violoncello Vanhal, viola Mozart... The tenor Michael Kelly's recollection of that musical evening in 1784 in Vienna has been the source of much speculation by musicologists, and it is also one of the things that inspired this recording. The four composers, all highly acclaimed in their day, met in multiethnic Vienna, and they shared the bond of friendship. While Mozart behaved towards Haydn with respect like that of a pupil towards a master and dedicated a series of six string quartets to him (including the "Dissonant Quartet" in C major), Haydn told Mozart's father that his son was "the greatest composer known to me either in person or by name." Dittersdorf was likewise unsparing with superlatives in his autobiography: "He is undoubtedly one of the greatest original geniuses, and I have never before known any composer with such an amazing wealth of ideas." The names of Dittersdorf and Vanhal are familiar to some, but few have encountered their music. This recording offers an opportunity to discover those nearly forgotten masters' works superbly interpreted by the Bennewitz Quartet. The enthusiastic acclaim of international critics for their previous Haydn album is affirmation of their extraordinary quality in this repertoire. More remarkable discoveries from the hand of the Bennewitz Quartet

This release brings together ALL of Morton Feldman’s compositions for cello and piano, including unpublished works and a first recording.

Together, these works tell the story of Feldman’s music. They span 35 years — over half his lifetime — from when he was searching for his voice as a student to when he was opening new doors in the last years of his life.

The album is bookended by two realizations of the graphic score “Durations 2” (1960), giving an opportunity to hear what the flexibility of graphic notation can bring.

The “Sonatina” (1946) is the earliest work here, and a first recording. Displaying the influence of Béla Bartók, Feldman wrote for the cello sound he loved without fully understanding the realities of playing the instrument. The resulting solo part is naively virtuosic and often even impossible to play. For this recording, Stephen Marotto keeps as close as possible to the written score, aiming to fulfill what Feldman heard in his mind’s ear.

By 1948, Feldman had been studying privately with the composer Stefan Wolpe for several years. The unpublished “Two Pieces,” from that year is a fluctuating music held together not by logic, but through its carefully poised gestures — what Wolpe called “shape.” While the emotional drama of this and other early works would soon disappear from Feldman’s music, it was above all the idea of “shape” that remained with him for the rest of his life.

In 1950, Feldman met John Cage, who shepherded him into the world of the New York avant-garde. The unpublished, compact “Composition for cello and piano” (1951) is a sudden breakthrough, yet it already contains the DNA of his very last works in its minimal material and blurred memories of sounds.

“For Stockhausen, Cage, Stravinsky, and Mary Sprinson” (1972) is an ephemeral, unpublished piece, a shard of music broken off from the main body of work Feldman was producing at the time. It consists of just two musical moments separated by silence — the same chord expressed in two different ways.

At almost 1 hour and 29 minutes, “Patterns in a Chromatic Field” (1981) is one of Feldman’s late, long-duration works, and it is perhaps the best known of the works recorded here.

Liner notes by Samuel Clay Birmaher.

Born in Torino in 1967, Alfredo Franco was
involved in non-classical music in his youth
before taking up the classical guitar. He then
undertook advanced studies in the historical
and critical fields in the Department for Art,
Music and Theatre of the University of Turin.
He would later abandon concert activity as a
performer and focus instead on composition.
His now prolific classical guitar output has been
well received by important interpreters such as
Cristiano Porqueddu and increasingly
programmed on the stage and in the studio.
This triple-disc set constitutes a broad crosssection of Franco’s solo guitar music.
Porqueddu has offered brief comments on
some of the many, varied compositions that
will be new to many listeners. A Bleached
September Sky: multiple short episodes
evoking sudden premonitions. A Night’s Tale
features a rapid, edgy central section set
between a dreamlike beginning and end.
Alphabetical Portraits conceptually
depicts seven composers by associating
the letters in their surnames with notes
of the chromatic scale. Inezie deliziose is
a collection of miniature album leaves
heralding the frivolity of an imaginary
past. Fantasia No.7 contrapuntally pays
homage to Renaissance vihuelists. Il
flauto nel bosco – Omaggio a Grazia
Deledda: a sonatina based on the Nobel
Prize-winning Sardinian author’s
renowned collection of short stories. La
regina delle tenebre – Su un racconto di
Grazia Deledda is inspired by an
eponymous short story, again by the
Sardinian author. La guitarra callada –
Homage to Frederic Mompou seeks to
convey the Catalan composer’s
atmospheres. Quaderno di aprile is a
minimalist diary, composed almost
compulsively along a few days in April.
Mirando un cuadro de Goya is one
possible interpretation of the painter’s
Pavo muerto. Microsuite is designed to
provide an introduction to contemporary
musical languages. Petite Suite mécanique
honours three guitarists from different eras:
Robert de Visée, Miguel Llobet and Leo
Brouwer. Sette aforismi: short, sparse studies
on timbre and colour. Sonatina autunnale sits
somewhere between Manuel Ponce and
Alfredo Casella. Sonatina estiva pays tribute
to Carlo Carrà and his paintings of seaside
shacks. Tarreghiana: a theme and variations
based on Tárrega’s famous Prelude in A
minor. Wintergarten is a farewell stroll in a
Schumannesque winter garden, evoking
chorales and with variations.
Other Information
● Recorded January to June 2023 in Nuoro,
Italy
● Bilingual booklet in English and Italian
contains a short description written by the
artist for each piece

He took up the lute when he was young and became such a virtuoso that he was unrivalled in France or Italy. Music historian Gottfried Johann Dlabac�'s testimony describes the lutenist and composer, Count Jan Antonin Losy of Losinthal, whose family came from Lombardy. He was born in Bohemia, where he spent most of his life, but his fame spread throughout Europe. After he died, he was honoured by his younger colleague, Sylvius Leopold Weiss, who memorialised him with his famous Tombeau. Nowadays, the name of the Count and virtuoso musician (besides the lute, he played the harpsichord and violin superbly) is known especially to lute players. However, even they may be surprised to learn that this album contains compositions with harpsichord, flute and violin. In fact, Losy's oeuvre is far more varied. According to period sources, many of his compositions were played by chamber ensembles including instruments, such as the violin and a bowed bass instrument. The main performer, Jan Ci�mar, reconstructed some of them, using manuscripts scattered all over Europe, and invited his colleagues from the Polish ensemble, Orkiestra historyczna, to take part in the recording. The result is a revealing album that presents Losy's lute pieces in an unusual sound version for the first time. Count Losy - a Prince among lutenists

The story of the Prague Symphony Orchestra is closely related to the history of the Czech capital, which leaves an impression on their repertoire. After their successful recording of Karel Husa’s Music for Prague 1968 (Supraphon, 2021), the orchestra and its chief conductor are coming up with another album dedicated to Prague. This time, the program is focused on the late 19th century, i.e. the period when the Czech nation fought for its language, culture, and identity within the Austro-Hungarian Empire. The backbone of the record is Suk’s monumental symphonic poem Praga, based on the Hussite chorale, “Ktož jsú Boží bojovníci” (Ye Who Are Warriors of God); Vyšehrad from Smetana’s famous cycle Má vlast (My Country); and a rarity: Pohádka o Šemíku (A Tale of Šemík), which is a largely unknown symphonic poem based on an ancient Czech legend connected with Vyšehrad, by Otakar Ostrcil, composed when he was nineteen. And of course, there is Antonín Dvorák. In hardly any work of his is Dvorák as explicitly patriotic as in his overture My Home (which is not very well known either). It is based on the theme of the popular song “Kde domov muj,” which later became the Czech national anthem. Another rarity of this album is Dvorák’s fanfare for the opening of the National Jubilee Exhibition in Prague. After their acclaimed recording of the composer’s Slavonic Dances, the Prague Symphony Orchestra confirm that the Czech repertoire of late Romanticism is their native and most natural language. The romantic and legendary city of Prague on a record of the Prague Symphony Orchestra.