A look at the great talent of Dvorak's pupils in an original selection of famous and less famous works The present compilation - a sequel to the 3CD set The Many Loves of Antonin Dvorak - is intended as a timely reminder of the wealth and sheer diversity of talented Czech composers who emerged from Dvorak's masterclass at the Prague Conservatoire during the 1890s and early 1900s. Dvorak, approaching fifty and at the height of his fame, had been persuaded to devote some of his time to teaching at the Conservatoire, thereby creating a lasting legacy, an influential "Dvorak School" of composers, several of whom went on to teach at the Conservatoire themselves, passing on the tradition to future generations. Naturally, the most room is given to Josef Suk, the pupil of Dvorak who left the most original legacy of compositions. A separate CD is devoted to Dvorak's lesser-known pupils: the talented melodist Oskar Nedbal won fame for his operettas, and Julius Fucik is celebrated for his witty marches, while the legendary violinist Jaroslav Kocian wrote music for his own instrument, and the Czechoslovak Legionnaire Rudolf Karel was an exemplary patriot. Also of interest are composers who are entirely forgotten apart from a single work of greater significance, like Adolf Piskacek, Vojtech Kuchynka, and Arnost Praus. A third CD belongs to the underappreciated master Vitezslav Novak, whose distinctive modernism builds upon Dvorak in an interesting manner. Once again, there is an excellent selection of music from the Supraphon catalogue with all of the most important names such as the violinist Josef Suk, the pianist Ivan Moravec, and the conductors Vaclav Talich, Karel sejna, and Libor Pesek. Other outstanding performers on this compilation include Igor Ardashev, Jan Panenka, Emil Leichner, Josef Vlach, Josef Veselka, Karla sroubek, Vaclav Snitil, Richard Novak, Beno Blachut, Ivan Kusnjer, and many others. The English music journalist Patrick Lambert, an important expert on Czech music with deep knowledge of the Supraphon catalogue, selected the music and wrote the insightful text in the booklet.

SONG OF THE NIGHT / SZYMANOWSKI: VIOLIN CTO NO 1

ARPEGGIONE SONATA / FUNF STUCKE IM VOLKSTON

SCHUBERT & SCHOENBERG

VIRTUOSO: DEBUSSY: LA MER / NOCTURNES

VIRTUOSO: HAYDN - NELSON MASS / VARIOUS

SYMPHONY NO 9

More Mozart for Your Mind, with it's fast-moving music full of surprising twists and turns, is meant to sharpen listening skills and, as proven in University studies, raise audiences' I.Q.s! The original Mozart for Your Mind (part of the best selling Set Your Life to Music series) has been on Billboard's Classical Midline chart for more than 122 weeks and is consistently in the Top 5 - this follow-up (targeted to casual classical consumers and new age and mainstream audiences) is destined to be a huge success.

Standard Version - The internationally renowned and beloved Italian tenor Andrea Bocelli releases his breathtaking new album, Believe, celebrating the power of music to soothe the soul. It follows his record-breaking 'Music for Hope' performance at Easter from the historic Duomo cathedral in Milan which was watched live by millions around the globe. It features a previously unreleased track from the late, great Italian composer Ennio Morricone, as well as 'Gratia Plena' - from the critically acclaimed new movie, Fatima -, two duets with award-winning mezzo-soprano Cecilia Bartoli, and for the first time ever Andrea Bocelli has recorded his own interpretations of 'Ave Maria' and 'Padre Nostro' along with familiar favourites such as 'Hallelujah', 'You'll Never Walk Alone' and 'Amazing Grace'. Believe, co-produced by Steven Mercurio and Haydn Bendall, is a collection of uplifting songs that have inspired and sustained Bocelli over the years

DREAM OF GERONTIUS OP 38

Deutsche Grammophon's 120th Anniversary Concert - Filmed and recorded live to the highest industry standards in front of the magnificent scenery of Beijing's Forbidden City, this unique gala concert celebrates the 120th anniversary of Deutsche Grammophon. The concert features conductor Long Yu and the Shanghai Symphony Orchestra, both freshly signed as exclusive recording artists to Deutsche Grammophon, and performances from Aida Garifullina, Daniil Trifonov, Mari Samuelsen, and more.

A collection of the very best of Bartoli's treasured recordings of musical delights and discoveries of the 17th and 18th century. Featuring two previously unreleased world premiere recordings of forgotten jewels by Leonardo Vinci and Agostino Steffani. With guest appearances from Philippe Jaroussky, June Anderson, Franco Fagioli and Sol Gabetta.

2019 release. The Vienna Philharmonic, led by Franz Welser-M�st and supported by an all-star line-up, among them pianist Yuja Wang, performed a concert of pieces highlighting war and peace in commemoration of the end of WWI. 100 years after the first of the devastating human catastrophes of the 20th century officially ended at Versailles, a group of inspired musicians gathered at the historic site for a concert that is now available on film and CD.

SYMPHONIES NOS 1 & 2

SYMPHONIES NOS 3 & 6 OVERTURE TO THE FALL BABYLON

ROMANTIC VIOLIN CONCERTO 20

Three years after suffering a devastating hand injury, Milos returns with a new album, Sound of Silence. The album features meditative solo guitar works alongside a selection of pop and jazz hits curated by Milos himself. Songs by artists ranging from Simon & Garfunkel and Leonard Cohen to Nora Jones have been reimagined in stunning new settings for guitar and other instruments. Guest artists include saxophonist Jess Gillam as well as Hang player Manu Delago (regular collaborator of Björk).

A MusicWeb International Recording of the Month!

This is a marvellous new B Minor Mass and it is, without a doubt, the most French-sounding version of the piece to have yet come my way.

That might sound like a lazy stereotype. After all, it’s performed by that most renowned Francophile among musicians, William Christie, who has dedicated his life to rehabilitating the French Baroque and whose efforts have meant that names such as Lully, Rameau, Charpentier and Marais have been not only rescued from their specialist niche but have been given an uncontested place among the concert programmes of the Anglo-Saxons. With his ensemble Les Arts Florissants he has become one of the greatest champions of that music, so it’s hardly surprising that some of the interpretative dust of the French Baroque should rub off onto his Bach.

It’s not just a trope to describe his Bach as Gallic, however. It’s there right from the start. The opening Kyrie is the most mellifluous and honeyed I have heard since the advent of historical performance practice. The two great fugues proceed with cultured smoothness that sounds as though they have one eyebrow perpetually raised. It’s a sound of which, I suspect, Lutheran Bach would have profoundly disapproved. I rather liked it, however, and as a change from what has become the norm of period practice I found it very effective.

That’s only one example of one of the performance’s wider traits. Throughout, it has an elegance, an élan, a nonchalance, almost, that would make them seem entirely at home if performed in the court of ancien regime Versailles. The solos with their instrumental obligatti, for example, sound refined and polished in a manner that is a hundred miles away from the church and more from the realm of the theatre. There’s nothing wrong with that, though, and it’s in keeping with Christie’s vision. My favourites included Katherine Watson in the Laudamus te, with a wonderfully dusky violin, and André Morsch’s playful combat with the horn in the Quoniam. Tim Mead’s lovely countertenor is a repeated highlight, be it slotting into Watson’s soprano in the Christe or sustaining a blisterinly poignant Agnus Dei at the end.

Not only are the orchestral and instrumental playing super throughout, but the choral singing is top notch, too. That, however, will come as no surprise to those how know and love the work of Les Arts Florissants, and it’s great to hear them tackling one of the central works of the German repertoire. It’s a Teutonic world that they can’t be too practised in, but they bring something remarkably distinctive to it.

The main reason for the performance’s success, however, is Christie himself. Bringing his lifetime’s experience to the B Minor Mass must, surely, have been a labour of love rather than an expectation, and the results are wonderful. There is majesty aplenty in the Gloria, whose opening casts off the mellifluousness of the preceding Kyrie as though emerging into a new light, producing rumbustious, gloriously winning tone that brought a broad grin to my face, as did the outer bookends of the Credo. The Sanctus is taken at a rapid pace, with brilliantly detailed violin inflections to enliven the texture, and the final Dona nobis pacem is brilliantly paced.

Perhaps the highlight of the work is the Easter sequence, however, and, in particular, the Crucifixus. Here you get the unmistakeable whiff of the Opéra, because Christie slows down the pace and stresses the beat with what comes close to string (and voice) sforzandi in a way that surely mimics the nails being repeatedly battered into Christ’s suffering body. It’s this movement that will tell you whether this performance is for you. Some might find it vulgar or too overtly theatrical. I thought it wonderful, an example of the conductor using his experience in the theatre to enlighten and deepen his vision of Bach.

Choose for yourself, but I thought this the most memorable B Minor Mass to have come my way since the (entirely different) performance from John Butt and the Dunedin Consort. Explore it and be surprised.

– MusicWeb International (Simon Thompson)

Only now have I learnt how to write quartets properly." So wrote Beethoven in 1801, having just finished his first set of string quartets at the surprisingly advanced age of 30. The competition of Haydn and Mozart must have been intimidating for the young composer. Performed here by the Jerusalem Quartet, these six String Quartets Op.18 already display much boldness and originality, from the dramatic echoes of Romeo & Juliet in No.1, to the astonishing programmatic finale of No.6, "La Malinconia.

2020 release. One of the most listened-to and performed hybrid artists straddling the contemporary classical and media worlds, Christopher Tin is a 2X Grammy-winning composer of concert music, film, and video game scores. Told through the words of great visionaries, To Shiver the Sky reflects the power of human spirit; illustrates a relentless need to explore the universe and defy earthly bonds, ultimately claiming a place among the stars. Scored for tenor, soprano, early music trio, chorus and orchestra.

2019 release. Happy Days celebrates Andr� Rieu's amazing career on the occasion of his 70th birthday on October 1. A selection of 20 world famous tunes includes "Second Waltz," "I Could Have Danced All Night" (from My Fair Lady), "Love Unspoken" (from The Merry Widow) and "Happy Days are Here Again." This deluxe album will be accompanied by a Best of DVD from Vienna with Andr� explaining the songs he picked for this album.

The rousing Russian folk ballads on this disc are filled with lusty romance. This recording beautifully captures the brash power of the Red Star Red Army Chorus. - Tim Sheridan

BEETHOVEN: VLN CTO / SONATA PRIMAVERS

Classical Music

A wonderful collection of 15 of the favorite and most popular carols for the Christmas season, performed by the world-famous Choir of King's College, Cambridge.