Thomas Pitfield: His Friends & Contemporaries pays homage to the multifaceted talent of Thomas Baron Pitfield (1903-1999). Pitfield was not just a composer; he embodied the essence of a Renaissance man, excelling in various fields including teaching, visual arts, poetry, writing, furniture making, and ornithology. Despite his immense talents, Pitfield remained modest and unassuming, dedicating himself to nurturing the gifts of his students at the Royal Manchester College of Music, where he taught composition from 1947 onwards. This album sheds light on Pitfield's contributions to the classical music landscape, showcasing his compositions alongside those of his contemporaries including John Joubert, E. J. Moeran, Ernst Hermann Meyer, John McCabe, and many more. While Pitfield's name may not be as widely recognized as some of his peers from the "Manchester School," such as Richard Hall, his music exudes charm, wit, and inventiveness that captivate listeners. In an era marked by the emergence of modernist compositions, Pitfield chose to traverse the middle ground, creating music that resonates with it's timeless appeal. Throughout his tenure as a composition teacher, Pitfield played a pivotal role in shaping the careers of notable composers like John McCabe, David Ellis, and John Golland, the latter of whom also shared a close personal friendship with Pitfield. Despite being somewhat overshadowed by the achievements of his contemporaries, Pitfield's legacy lives on through a revival of interest in his music. The album offers a glimpse into Pitfield's musical world, featuring a selection of chamber and instrumental works that highlight his artistic vision and craftsmanship. Pitfield's compositions are filled with elegance, lyricism, and emotional depth. His music not only showcases his technical skill but also reflects his genuine love for the art form and his dedication to inspiring future generations of musicians. Moreover, the album serves as a tribute to Pitfield's enduring influence on his peers and students. His selfless encouragement and mentorship left an indelible mark on those he taught, fostering a sense of camaraderie among composers and musicians. Pitfield's generosity of spirit and unwavering commitment to excellence resonate throughout the album, underscoring his legacy as both an artist and an educator. This double album celebrates the life and work of a remarkable individual whose contributions to the world of classical music extend far beyond his compositions. Through this album, listeners will rediscover the brilliance of Thomas Baron Pitfield and the rich music woven by his friends and contemporaries.

The solo violin concerto spread rapidly throughout Europe from it's cradle in Venice where Vivaldi established the genre's formal aesthetic. Giuseppe Tartini, however, in nearby Padua, remained fully independent of Vivaldi's model and established a school of pupils who reflected his own virtuosity and lyricism. The works of the three Italian and one German pupils in this programme contain noble and expressive slow movements in concertos that had absorbed the galant style and the influence of the Lombardy symphonists such as Sammartini. Three are heard in world premiere recordings.

At the beginning of 1763, a conflict ended that could be described as a "world war" in terms of the common perception at the time, since it raged not only in all of Europe but also in parts of the New World. After seven years, the front lines were settled and the people who were subjected to it all were able to catch their breath for a while. The Luneburg church musician Johann Christoph Schmugel wrote a comprehensive Friedens-Cantata (Peace Cantata) for the thanksgiving festivities of the Electorate of Brunswick-Luneburg, recorded here for the first time after it's premiere on 6 January 1763. According to Georg Philipp Telemann, Schmugel was one of his best composition students. Telemann is also represented here with several musical commentaries on the military events - war and peace being two sides of the same coin.

Acclaimed Signum artist Alexandra Dariescu brings a new combination of concertos: Clara Schumann's Concerto in A minor Op. 7 coupled with Grieg's A minor concerto Op. 16. Alexandra Dariescu is a trailblazing pianist who demonstrates fearless curiosity and ground-breaking innovation. As part of her artistic journey, Dariescu has achieved gender equality in her concerto programming for three consecutive seasons, reviving and premiering important works by both male and female composers, championing inclusion and diversity. "I got to know Clara Schumann's Concerto and fell in love with this youthful piece, full of dreams, fiendish virtuosity and a testament to what an innovative performer and composer Clara was, even as a teenager. [Recording these works] It made me realise once again what a responsibility we all have to show both sides of history, to mirror our society in concert programmes and to shine a light on the often-overlooked brilliance of women composers" - Alexandra Dariescu.

A diverse survey of Mozart's 'occasional' music, including his grandest serenade as well as one of his earliest and strangest works, alongside two late and powerful masterpieces. The 'Posthorn' Serenade of Mozart has been recorded on many occasions, but perhaps never with such stimulating and contrasted couplings as this new recording from the Czech Chamber Philharmonic Orchestra Pardubice under their Armenian music director, Vahan Mardirossian. These forces recently made an attractive album of Mozart's 'Lodron' divertimenti (97307); now they turn to the grandest of the serenades which Mozart composed while still in the service of the Prince Archbishop of Salzburg. The 'Posthorn' Serenade dates from 1779, and the harmony of it's grand introduction immediately belongs to the richly ambivalent world of mature Mozart. Everything here is calculated to entertain, such as the graceful pairs of minuets, and the extensive 'concertante' movement featuring a cadenza for solo winds, but beyond that there is a uniquely Mozartian pathos which emerges most strongly in the D minor Andantino. Little within Mozart's output could present a stronger contrast than the patchwork of dances and tunes compiled by the 10-year-old composer while convalescing after a serious illness in The Hague. Commissioned for a piece to celebrate the accession of William V as Prince of Orange, he produced this 17-movement 'Gallimathias Musicum'. By turn, the album then makes a characteristically Mozartian shift to the grave tread of the Masonic Funeral Music composed in memory of the composer's Masonic brothers in 1785. No less imposing in it's way is the Fugue in C minor which Mozart originally wrote for two pianos in December 1783. Rescoring it for strings in June 1788, he added a stern and prefatory Adagio. Known as the Adagio and Fugue K546, this has been recorded by forces ranging from string quartet to full symphony orchestra; the Czech Chamber Philharmonic Orchestra presents a compelling middle way. - A substantial part of Mozart's oeuvre consists of works that may be called 'entertainment music'. Most of these pieces were composed for festive occasions in Salzburg, such as name days, birthdays and other festivities. There are indications that a number of them were meant to be played out-of-doors, in a rustic garden setting with party guests enjoying a drink or a meal. Many of the easy-going works were labelled 'Divertimento', others 'Serenade', 'Cassation' or 'Notturno'. - Mozart's Posthorn Serenade, composed in 1779, is one of his best known and most successful Serenades. The serenade's name is derived from the prominent solo for posthorn, a valveless brass instrument used in postal services during Mozart's time. It's five movements blend elegance with lively rhythms. From the graceful Andante to the spirited Menuetto, it abounds in melodic richness, charm, infectious brilliance and wit. - Also included in this recording are the lighthearted Gallimatthias musicumKV32, the moving Maurerische Trauermusik KV477 and the Adagio & Fuga KV546. - Played in Historically Informed Performance Practice on modern instruments by the Czech Chamber Philharmonic Orchestra Pardubice, conducted by Vahan Mardirossian.

This album of Gurney's songs, Volume 24 in the English Song series, presents a wide selection of his works. Featuring several masterpieces - among them Sleep and Severn Meadows - this collection also includes twelve world premiere recordings. Snow is performed here in it's corrected edition. Prize-winning baritone Marcus Farnsworth is accompanied by Eric McElroy.

A rather unique piano trio The repertoire for piano trios is plentiful and varied. Composers such as Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven preferred to write for piano, violin, and cello. The repertoire for the combination of piano and two saxophones is rather limited in comparison. This is mainly to do with the fact that the instrument was first developed around 1840 by Antoine Joseph Sax, who opened a workshop in Paris in 1842 and built saxophones in seven different sizes. His patron, Hector Berlioz, was one of the first to incorporate the instrument into his orchestral compositions, and Jules Massenet used it prominently in his opera Werther in 1892, but the saxophone became more popular in French military music and, of course, in jazz, where it has been used as a solo instrument since around 1920.

Reveries is the highly anticipated new album from acclaimed composer Jonathan ostlund. Renowned for his evocative and cinematic compositions, ostlund weaves together classical elegance with contemporary innovation. Reveries showcases ostlund's ability to craft immersive soundscapes and ignite the imagination. Each track on the album is a masterful blend of intricate orchestration and emotive melodies, reflecting ostlund's deep understanding of both the power and subtlety of music. From the sweeping, majestic passages to the intimate, delicate moments, the album captures a spectrum of emotions. Collaborating with world-class musicians, ostlund has created an album that is not just heard, but felt. "It was a moving moment for me to record Jonathan ostlund's poetic, highly musical, and flutistic work" - Myriam Hidber-Dickinson, flute "Jonathan ostlund's music has this rare emotional freshness, which I really appreciate in music. His style gives us, performers, a lot of ways for searching colors, timbres, images, all that we call 'interpretation'." - Evgheny Brakhman, piano Jonathan ostlund, a Swedish composer with a BA and MA in Composition from LTU, has completed nearly 200 works, including orchestral pieces and violin concertos. His music, performed by renowned musicians like Einar Steen-Nokleberg and Yuri Revich, is released under Divine Art Records, with acclaimed albums such as "Lunaris," "Voyages," "Mistral," "Imago," and 2023's "Elysian". ostlund's achievements include premieres and CD releases with the London Schubert Players, awards like the Public Choice Award for his Cello Sonata and the Leicester Symphony Orchestra's 1st Prize for "Celebration Fanfare." His works have been performed across Europe, the UK, and the USA.

A singular composer, Marie Jaell (1846-1925) made the piano the perfect confidant of her inspiration. In her short pieces for piano four hands, she succeeded in capturing both the changing essence of Nature, with it's storms, perfumes and infinity, and the tremors and anxieties of the human heart in the face of love or the fragility of life. Her two teachers, admirers and faithful friends Franz Liszt and Camille Saint-Saens are of course present on this recording, as they were in life, alongside their spirited colleague. On their first album at Cypres, the Duo Orloff & Spinnler unveil a figure still too little known today. Marie Jaell's impact on piano teaching has been considerable. Her research into "awareness of movement and the development of sensitivity" led her to publish several groundbreaking books for the time.

Winner of the 2016 Abbiati Prize, baritone Nicola Alaimo is one of the leading singers of his generation, with a supreme versatility that is explored in full in this Donizetti recital. Honorable, heroic and romantic characters are all vividly brought to life in Alaimo's interpretations, such as the tragic figure of Enrico, Duke of Chevreuse from Maria di Rohan, whose discovery that his wife is in love with his friend brings out the most intense feelings of any solo passage in European opera of the day.

As for this new album, neither Glinka nor Dvorak are strangers to Haiou Zhang, since he is considered to be one of the most passionate pianists of his generation as far as piano chamber music is concerned. The Dvorak Piano Quintet and Glinka�s Gran Sestetto have always been at the heart of his chamber music repertoire. Haiou Zhang has performed these masterpieces in numerous concerts with ensembles. "It took me quite some time to feel really ready for a recording. Both pieces are delicate and need careful attention to obtain the perfect balance of sound and harmony".

Our arrangements are always totally Anna & Oli! We really enjoyed recording these CDs, we had a lot of fun, and it was something that we were really looking forward to doing; being able to recreate our music and capture everything and present it on a silver disc. But if the truth be told, we both prefer to play live because it gives us the opportunity to convey something more personal to the audience. If we can touch even just one person in the audience emotionally with our music, then that's the be-all and end-all of what we do - the Alpha and Omega, or perhaps, just simply, the 'Anna and Oli', so to speak (both laugh). But although this may sound a bit strange, on a couple of occasions we've actually been able to directly affect the lives of people who've heard us play. Just recently, we performed a short concert in a small church when a few people from the audience came up to us and said, Wow, you're doing something that I've always wanted to do. The experience of listening to you has energised me into finally realising that what you're doing is exactly what I want to do myself. Listening to you play has changed my life!" These were young people who had been too apprehensive about following their own desires, because sometimes it's really difficult to strike out on your own and follow your own beliefs. And, to be honest, what more could one ask for? If only one could reach more people in the world, the world would be a very different place indeed.

SOMM Recordings marks the 150th anniversary of Samuel Coleridge-Taylor (1875�- 1912) with a diverse selection of his orchestral works, reflecting both his Afro-British parentage and a musical milieu that included Holst and Vaughan Williams. Of particular note is that five of the seven works presented here are first recordings. This commemorative release features the Ulster Orchestra conducted by Charles Peebles, whose first recordings of Piano Concertos�by Dora Bright and Ruth Gipps for SOMM�were widely praised. It was�quickly�apparent that Coleridge-Taylor possessed an unusual talent, and he produced a remarkable body of work before his untimely death at 37 though much of his music has been hidden from public view by the absence of surviving performance material. He composed his first work for voice and orchestra, Zara's Earrings, when he was just 19. Rebecca Murphy, hailed by Opera Journal for her "stunning delivery," is the featured soprano. The�Ballade, also written when Coleridge-Taylor was 19,�was premiered by Isabella Donkersley, the future wife of Augustus Jaeger (soon to be immortalised by Elgar as 'Nimrod' in his Enigma Variations). The Ballade's great drama and charismatic melodic material�play to the strengths of Coleridge-Taylor having been a violinist. �Ioana Petcu-Colan, heard here,�is leader of the Ulster Orchestra�and a soloist of considerable reputation. When Coleridge-Taylor heard Brahms's Clarinet Quintet while a student at the Royal College of Music, he was encouraged to write his own. The Romance for string orchestra is an arrangement of the quintet's introspective Larghetto affettuoso movement. Solemn Prelude, written for the Worcester Three Choirs Festival of 1899, is a work of elegiac pathos exuding the confidence of a young composer reaching the height of his powers. Since it's modern revival in 2021, it's been performed by some of the world's most distinguished orchestras. Coleridge-Taylor's Idyll, a commission for the Gloucester Three Choirs Festival in 1901, was a reworking of the Lament from his Symphony in A minor. When he conducted it's first performance, the Times critic wrote, "it was a single, very beautiful movement in C major. Giving ample room for the composer's love of original rhythm and rich and individual orchestral colouring. " Ethiopia Saluting the Colours from 1902 is an exuberant�work for orchestra and organ. It was inspired by Walt Whitman's moving poem paying tribute to an elderly Ethiopian woman encountered during the American Civil War. Beerbohm Tree commissioned the�incidental music for Stephen Phillip's play�Nero�in 1906, and the chance for Coleridge-Taylor to hear his music nightly rather than as one performance in the concert hall was a particular joy. This anniversary collection includes the first�Entr'acte,�which also featured at the 1907 Proms under Henry Wood.

The fifteenth volume of the Haydn2032 cycle is entitled ‘La Reine’. One might think that this nickname refers to Empress Maria Theresa of Austria, queen of numerous territories, but in fact the monarch honoured by the popular title of Symphony no.85 is her daughter, Marie Antoinette. It was said to be the favourite of ‘La Reine de France’, which is the full nickname of the work. The new volume also includes Symphony no.50, which delighted the Empress’s ears when she visited Prince Nicolaus Esterházy at his ‘Hungarian Versailles’ in 1773. Symphony no.62, which dates from 1780, the fortieth anniversary of Maria Theresa’s accession to the throne and also the last year of a life as eventful as it was glorious, rounds off this latest instalment of the complete recording of the symphonies conducted by Giovanni Antonini, here at the helm of the Basel Chamber Orchestra.

The missing final Four... with all the contrasts!!!�all complete now!!! "Volume I with sonatas 2, 4, and 9 was reviewed by Mr Magil (S/O 2023), who called them some of the very finest readings of these works; and we can extend these same words to Volume II" (American Record Guide March/April 2024). Antje Weithaas embarked on her journey through several creative periods of Beethoven's output in the company of one of the most versatile, sensitive pianists of our time: the Hungarian Denes Varjon.

Emmanuel Despax's eighth release for Signum Classics delves into the dramatic and visionary world of Franz Liszt, from the great Sonata in B minor to the celestail Benediction de Deur dans la solitude. Despax offers a unique perspective on Liszt's work through a very personal connection to the composer. His musical upbringing is rooted in a lineage of mentors which traces back to Liszt, creating a deep connection to the composer's legacy. Despax comments "This lineage has deeply influenced my musical upbringing, instilling a unique perspective on interpretation, fostering an insatiable curiosity... emphasising engaging with the score with utmost integrity, without shortcuts or compromise. Above all, this tradition signifies a performance ethos... to serve as a conduit between the music and the audience".

Their second duo album on Signum Classics, Viktoria Mullova and Alasdair Beatson perform Beethoven’s Sonatas 6, 1, and 8. Just as in previous recordings, they use a copy of an 1805 Walter (a Viennese fortepiano) by Paul McNulty; together with violin strung with gut, these instruments are what Beethoven’s music craves, giving a rich texture and distinct colors between the registers.

"Highways and Byways: A Double Album of Rarities for Recorder"

A seminal contribution to the canon of recorder music, this recording assumes a pivotal role, enriching the repertoire and captivating audiences with its distinct allure and technical prowess. Serving as a valuable resource for connoisseurs of recorder music and an inviting introduction for novices, Highways and Byways features a diverse array of compositions. Through its discerning curation and expert execution, this recording not only commemorates the recorder's storied legacy but also fosters an appreciation for its enduring elegance and adaptability.

John Turner presents recorder pieces by renowned composers such as Lennox Berkeley, John McCabe, and Thomas Pitfield. Discover rare gems by Igor Stravinsky and Alexander Gretchaninov, alongside a remarkable composition for recorder and two violas by the distinguished American composer William Bergsma.

As a special treat, the album includes two previously unknown pieces by the late Christopher Ball, along with two compositions by John Turner himself, including a homage to Ukraine. It's a veritable feast of rare and captivating music!

Renowned as one of today's leading recorder players, John Turner's illustrious career spans performances with esteemed ensembles like David Munrow’s Early Music Consort of London and recordings with prestigious orchestras worldwide. With over 600 premieres to his credit, including works by Leonard Bernstein and Peter Sculthorpe, Turner's artistry has left an indelible mark on the contemporary recorder repertoire.

Featuring performances by John Turner (recorder), Stephen Bettaney (piano), Laura Robinson (recorder), Catherine Yates (viola), and Alex Mitchell (viola), "Highways and Byways" is a testament to the dedication of these exceptional musicians.

London-based composer Matt Dibble completed his 24 Preludes and Fugues for solo piano in 2021, just weeks before his untimely and tragic death due to complications following the Astra Zeneca Covid-19 vaccination. A much loved and admired musician working in many genres, Matt continues to be sorely missed by many on the classical, jazz and pop scenes. The Preludes and Fugues show his extraordinary flair for invention in many different styles, from neo-Baroque to jazz and pop, via modernism. The set represents a deeply personal undertaking, written over six years, and known only to his family and a handful of close friends and colleagues. Matt's dream performer for such a wide-ranging work was the internationally renowned pianist Freddy Kempf, and he would have been thrilled to know that Kempf gladly took the project on. With Paul Baily producing, Kempf recorded the project in the summer of 2022 at the Sir Jack Lyons Concert Hall, York. Although he never met the composer, Kempf said, "It really feels like some of the values that Matt paid most attention to match my own". And his interpretation does indeed display a profound and moving understanding of the work. Later this year, one of the pieces will be included on the repertoire list for Trinity College London piano exams, bringing this deeply personal music to pianists all over the world. Divine Art Records are honoured to present this fine work which sadly also is issued in remembrance of this multitalented musician. Freddy Kempf Freddy Kempf is one of today's most successful pianists, performing to sell-out audiences all over the world. Exceptionally gifted with an unusually broad repertoire, Freddy has built a unique reputation as an explosive and physical performer who is not afraid to take risks as well as being a serious, sensitive and profoundly musical artist. Freddy has collaborated with conductors such as J�rvi, Dutoit, Chailly, Ashkenazy, Petrenko, Oramo, Davis and Belohl�vek, working with some of the world's most prestigious musical institutions including the Royal Philharmonic Orchestra, London Philharmonic, Gothenburg Symphony Orchestra, Bergen Philharmonic, San Francisco Symphony, Philadelphia Orchestra, St. Petersburg Philharmonic, Moscow State Symphony Orchestra, and the Dresden Philharmonic. A prolific recording artist, his Tchaikovsky recital CD released in 2015 received great acclaim. In 2013, his Schumann recital disc was warmly received by the critics and, in 2010, his recording of Prokofiev's Piano Concertos Nos. 2 & 3 with the Bergen Philharmonic Orchestra and Andrew Litton was nominated for the prestigious Gramophone Concerto Award, that magazine describing the collaborative duo as "a masterful Prokofievian pair". This was followed by a recording of Gershwin's works for piano and orchestra, released in 2012 and described in the press as "beautiful, stylish, light, and elegant... magnificent".

Selected sacred works under the direction of Gunter Wand Wand's music-making moved those who heard it with it's impeccable balance of perfection coupled with faithfulness to the original, emotional fulfilment, intellectual control, utmost sensitivity and spiritual penetration. He described his mission as "serving music", a cause to which this totally unpretentious man remained committed for seventy years. He rose to be one of the true "greats" of the twentieth century, a figure standing head and shoulders above our restless times, his name synonymous with the highest musical quality

Mozart wrote the Divertimento K247 in June 1776 for the name-day of Countess Maria Antonia Lodron, a family friend whose two daughters were pupils of the composer. He went on to write the Concerto for Three Pianos with the countess and her daughters as the intended soloists. Meanwhile K247 displays the 19-year-old composer's lyrical gifts but also his structural sophistication and his unerring feel for instrumental sonorities. K287 followed in 1777 as a direct sequel, composed for the same occasion and the same forces, and cast in comparably expansive terms across six movements. The intervening year seems to bring a refinement of both craft and humour, for K287 is one of the miracles of Mozart's lighter music, touched with high contrasts, memorable themes and sturdy developments. The second movement is a genial Andante and Variations which instantly transcends it's 'occasional' context. The heart of the work is the Adagio, placed fourth, where the solo violin outlines a melody cast from the same mould as the slow movement of the G major Violin Concerto K216 from two years earlier. But then Mozart comes up with a genuinely funny musical joke at the start of the finale, where the strings paint a recitative without words, like a virtual soprano on an empty stage. Testifying to their adaptability, these divertimenti have attracted performances and recordings by forces ranging from the one-per-part Vienna Octet to Karajan's Berlin Philharmonic. This new recording presents an attractive middle way, infused with vigour and charm by the Czech Chamber Philharmonic Orchestra of Pardubice under the baton of the Armenian conductor Vahan Mardirossian. Mardirossian and his Czech colleagues have made several successful albums together, including the serenades by Dvor�k on Brilliant Classics (97030). Their recording of these perennially appealing early-Mozart works is accompanied by a new essay from Mark Viner.

Released as part of a double launch, 'Music for Wind' is an album of world premiere recordings by composer Brian Elias, winner of two British Composer Awards. He has had previous compositions performed and recorded extensively by leading orchestras and soloists including the BBC Symphony Orchestra, the Britten Sinfonia among many others. The album artwork is by world-renowned artist Anish Kapoor. "Every inflection tells, the balance of sound is exact, and the sound seductive in the best traditions of glamorous 20th century orchestral writing." - Paul Driver, The Sunday Times

Castelnuovo-Tedesco's Romancero gitano for mixed choir and guitar sets some of Federico Garcia Lorca's most evocative and intimate Andalusian poetry. Marked by dramatic contrasts the music fuses colouristic ideas with rich polyphonic writing - performed here in an accurate critical edition. Corrado Margutti's Rivers, designed to accompany Romancero gitano, is a kaleidoscope of forms, styles and images that pays homage to Castelnuovo-Tedesco as well as encoding hidden references to other musical luminaries, forming a musical journey through time and space.

There was a remarkable outpouring of Italian instrumental music from the 17th century onwards yet many composers who contributed to this flourishing body of work remain relatively unknown. One such composer is Pietro Marchitelli who was born around 1643 and was active in Naples as an outstanding violinist. Some 30 sonatas survive in a small number of collections. The seven lively and tuneful sonatas on this album conform to the precedent established by Corelli and are played by Labirinto Armonico, an ensemble that has collaborated with some of the very best early music performers.

When Georg Friedrich Handel's Messiah first premiered on the European continent, 24 years had passed since it's debut. On August 6, 1768, Il Messia brought "il caro Sassone" (the dear Saxon) back posthumously to the land of his early triumphs. Before the memorable performance in Florence's Palazzo Pitti could take place, the content had to be adapted to Catholic doctrines and the expansive form to national customs. Abate Antonio Pillori achieved this in collaboration with tenor and composer Salvatore Pazzaglia. The result was incredible: their Messia is so well-abridged and singable in Italian that the compact form, recorded two years ago at the Innsbruck Festival, could be considered an authentic version that Handel himself might have produced if needed.