A new production by Opera de Lille

Hilary Hahn/Andr�s Orozco-Estrada/Frankfurt Radio Symphony - "Eclipse" - Hilary Hahn's latest album, Eclipse, celebrates the power of authenticity. Recorded with the Frankfurt Radio Symphony and it's Music Director (2014-2021), Andr�s Orozco-Estrada, it sees the triple Grammy-winning violinist deliver interpretations of three works charged with universal emotions yet rooted in their composers' musical heritage: Dvor�k's Violin Concerto, Ginastera's Violin Concerto, a strikingly original 20th-century gem, and Sarasate's Carmen Fantasy.

Vinyl LP pressing. Celebrated violinist Anne-Sophie Mutter introduces a new concerto by her friend and frequent collaborator John Williams, with the legendary composer himself conducting the Boston Symphony Orchestra. Composed especially for Anne-Sophie Mutter, John Williams's Violin Concerto No. 2 is the culmination of several years of collaboration and friendship between two of the world's most celebrated musical artists.

3 LP clamshell. Mythologies is Thomas Bangalter's first composition for orchestra, conceived upon request of choreographer Angelin Preljocaj for the ballet of the same name. Performed by the Orchestre National Bordeaux Aquitaine under the direction of Romain Dumas, it is a large and lyrical work in which Bangalter, co-founder of Daft Punk, reinvents his relationship to composition.

Gautier Capu�on's new album Sensations is a mix of popular music, classical (Smetana's Moldau), film (John Williams's Schindler's List), and well-known French songs ("La Vie en Rose", Jacques Brel's "Quand on n'a que l'amour").

Another terrific installment in Hengelbrock's exploration of the choral music of Lotti, with splendid Bach and Zelenka performances as big bonuses.

This trilogy is based loosely on the Dresden connections between the Venetian Antonio Lotti, Bohemian Jan Dismas Zelenka and Thuringian Johann Sebastian Bach. Zelenka’s unconventional Miserere in C minor (Easter 1738) is a peculiar mixture of archaic music based on a ricercar by Frescobaldi and modern proto-classical movements. Hengelbrock leaps without reticence into the agitated music that opens and dramatically concludes the work (in comparison, Fiori Musicali’s performance seems coolly refined – Metronome, 3/08). The Balthasar-Neumann Ensemble and Choir perform with full-blooded tension; Hengelbrock makes the fullest possible use of the plangent oboes and pulsating string chords but also ensures that the music-making never loses its focused precision. The abrupt conclusion leads cleverly into the sinfonia of Bach’s Weinen, Klagen, Sorgen, Zagen. The famous chaconne chorus that conveys weeping is tenderly phrased; solo voices are used for the first entries only and are soon joined by the full complement of 18 singers. This is by no means unpleasant but the sudden change of gears from streamlined intimacy to a larger choral texture feels odd (curiously, Hengelbrock eschews the policy in an entirely “choral” recapitulation).

The crowning glory is Lotti’s Missa a tre cori. As Hengelbrock has proved before with his outstanding recordings of Lotti’s Requiem (9/99) and Missa Sapientiae (3/04), the Venetian master’s chiaroscuro writing is certainly not run-of-the-mill. The contrapuntal first phrases of the “Kyrie” possess extraordinary expressive quality and accomplishment, whereas the first section of the “Gloria” is an irresistible, dance-like celebration with jaunty rhythms and bold trumpet. Lotti’s controlled and sublime setting of “Et in terra pax” reveals the harmonically adventurous talent and flair for unexpected effects that evidently fascinated Bach and Handel, and some surprising choral harmonies in the ardent “Qui tollis” lifted me from my chair in astonishment and admiration for both the composer and his modern-day interpreters. This is nothing short of revelatory.

– David Vickers, Gramophone

-----

Unearthing unknown masterworks, such as the Lotti and the Zelenka, is something of a speciality for Thomas Hengelbrock, and it is hard to imagine a more intense interpretation of the Miserere.

Bach, Zelenka and Lotti on one disc - that seems a little odd. Bach and Zelenka knew each other as they lived and worked not that far away from each other, in Leipzig and Dresden respectively. But what about Lotti?
 
Antonio Lotti made his career in Venice, but was born in Hanover where his father was Kapellmeister. In Venice he became a pupil of Legrenzi. He started out as an alto singer and organist in San Marco. In 1693 he wrote his first opera, and his growing reputation as an opera composer brought him the invitation to write an opera for Dresden. Here he lived and worked from 1717 to 1719. He wasn't only an opera composer, though. When he came to Dresden he took with him some religious works he had written in Venice, and in Dresden he composed some more.
 
Zelenka, who for many years worked in the court orchestra in Dresden as double-bass player, copied a number of works by Lotti. Among them was the Missa Sapientiae; a copy of this mass has also been found in Bach's library. It is quite possible that it was through Zelenka that Bach became acquainted with Lotti's oeuvre. Thomas Hengelbrock recorded Lotti's Missa Sapientiae in 2002, and it was released together with Bach's Magnificat by deutsche harmonia mundi.
 
But there are not only historical reasons bringing together these composers on one disc. There are also some stylistic similarities between the three compositions which Thomas Hengelbrock has recorded. The main feature they have in common is that they contain both traditional and modern elements. They link with the traditional stile antico in that they include polyphonic sections. And in all three pieces dissonances and chromaticism are used for expressive reasons linking with the sung words. At the same time they contain elements which reflect contemporary fashion.
 
Zelenka's setting of the penitential Psalm 50 (51), 'Miserere mei Deus', is a perfect example of the mixture of old and new. It starts with an extended setting of the first verse of this psalm, which is dominated by chords in the strings in a very agitated rhythm, which are relentlessly repeated. The amount of dissonance in this section is quite unusual for the time. Next the text of the whole psalm is sung in a strict polyphonic style. It is based on an organ ricercar by Girolamo Frescobaldi, from his 'Fiori Musicali' of 1635. It is likely this was the main reason that this Miserere was received negatively. A diary of the time says: "Mr. Zelenka performed a Miserere of excessive length". It is probably not the actual time the performance took that caused this comment but rather its old-fashioned style. For a performance in the following year Zelenka added an aria for soprano which was written in modern galant style. This is the third movement, the first half of the doxology. This part is then set again for the tutti, and this is followed by the second half of the doxology. Then Zelenka returns to the opening verse. It is not a repetition of the first section, although elements from it are reused.
 
The Balthasar-Neumann-Choir and -Ensemble give good performances, in which the text expression comes off very well. It is disappointing, though, that the dense polyphonic texture of the second section results in the words being practically inaudible. More attention should have been given to a clear delivery of the text. Tanya Aspelmeier gives a good account of the solo part.
 
The cantata 'Weinen, Klagen, Sorgen, Zagen' is one of Bach's most famous cantatas. It inspired Franz Liszt to one of his best-known organ works. It seems Bach also liked it: he composed the cantata in 1714 in Weimar, and performed it again in 1724 in Leipzig. The mood of the work is best caught in the accompanied recitative, a quotation from the Bible (Acts of the Apostles): "We must pass through great sadness that we come into God's kingdom".
 
The cantata begins with an expressive sinfonia, marked 'adagio assai'. The opening chorus has a dacapo form, and the A section is a chaconne over a chromatic bass which is repeated twelve times. It is here that the tradition comes to the fore, as well as in the scoring with two independent viola parts. The B section doesn't contain independent instrumental parts: the instruments are supposed to play colla parte with the voices - another feature of the stile antico.
 
Much more in line with the fashion of the time is the inclusion of a dacapo aria, 'Kreuz und Kronen sind verbunden', scored for alto, with an obbligato part for the oboe. In the tenor aria 'Seid getrost', the slide trumpet plays the melody of the chorale 'Jesu, meine Freude'. The German Bach scholar Alfred Dürr suggests Bach could have had the last stanza in mind: "Begone, mournful spirits, for the master of my joys, Jesus, is now arriving".
 
The tutti parts receive good performances from the choir and the orchestra. None of Bach’s expressive devices passes unnoticed. The rhythm of the bass aria 'Ich folge Christo nach' is under-exposed, though. The contralto Marion Eckstein sings her part beautifully, and so does the tenor Julian Podger, although in his aria I would have liked stronger contrast between the A and B sections. The bass Marek Rzepka is a bit bland, and there is a slight tremolo in his voice which I have noticed in other recordings in which he participated. The obbligato parts are well executed by Emma Black (oboe) and Paolo Bacchin (slide trumpet).
 
Old and new elements are also present in Antonio Lotti's Missa a tre cori, written for three groups, as the title indicates. This mass belongs to the genre of the 'missa brevis', consisting of Kyrie and Gloria only. The stile antico is particularly present in the Kyrie and returns in some sections of the Gloria.
 
The first Kyrie is very reminiscent of the opening of Zelenka's Miserere, in particular harmonically. Even rhythmically there is some similarity, although Lotti's rhythms are less agitated. In the Christe eleison the name 'Christe' is singled out. The second Kyrie contrasts the descending line and an ascending figure on the words "eleison" in the upper voices.
 
The Gloria begins with a dancing movement in jubilant mood, in which the trumpet participates. The next section, 'Et in terra pax', takes more than five minutes and reverts to the same kind of chords in the strings and strong dissonances we heard in the first Kyrie. The 'Gratias agimus' also begins with great harmonic tension which is then released in the second half. In 'Qui tollis peccata mundi' Lotti again makes use of fiery chords and sharp dissonances.
 
The most modern sections are 'Domine Deus' and 'Qui sedes'. The former is a wonderful trio for soprano, violin and basso continuo. 'Qui sedes' is scored for alto and obbligato oboe, with the lower strings and basso continuo. In 'Quoniam tu solus sanctus' the trumpet returns. Through homophony and long notes the name 'Jesu Christe' is singled out. The mass ends with a fugal section on the text 'Cum Sancto Spiritu'.
 
This is probably the very first recording of this mass, and it is a beautiful and highly expressive work. It is easy to understand that Zelenka and Bach were interested in Lotti's music, and in particular Zelenka seems to have been influenced by Lotti. The qualities of Lotti's mass setting are fully explored by choir and orchestra, with excellent contributions of the vocal and instrumental soloists. Only Bernard Landauer is a little disappointing in 'Qui sedes'.
 
Unearthing unknown masterworks is something of a speciality for Thomas Hengelbrock. Both Lotti's Missa Sapientiae and the Missa a tre cori are masterpieces - evidence that Lotti's oeuvre is well worth further appraisal. Bach's cantata is available in a number of other recordings. The performance on this disc is good, but not the main reason to commend this CD.
 
It is both Lotti's mass and the Miserere by Zelenka which make this disc especially attractive. The Zelenka has been recorded before, and some time ago I reviewed a recording by Penelope Rapson. But Hengelbrock's interpretation is simply superior, and in fact it is hard to imagine a more intense interpretation of Zelenka's Miserere.

– Johan van Veen, MusicWeb International

Vinyl LP pressing. 2024 release.

Joe Hisaishi In Vienna presents two world premiere recordings from the world-famous composer and conductor: his Symphony No.2, captured live at the Musikverein with the Wiener Symphoniker, and Viola Saga, featuring soloist Antoine Tamestit.

New collaboration between Jakub J�zef Orlinski and Il Pomo d'Oro. Jakub's sixth project features music by early baroque composers, including Monteverdi, Caccini, Frescobaldi, Kapsberger, Saracini, Netti, and Jarzebski. Musicologist Yannis Fran�ois researched the program and uncovered some extraordinary repertoire, now recorded for the first time (10 world premiere recordings). "With that album and this very specifically selected program I want to focus on the general meaning of word "beyond". Mostly to show people that this music is beyond it's times. It is still relevant, it is still alive, vibrant, touching, engaging and entertaining." - Jakub J�zef Orlinski.

LES PECHEURS DE PERLES

Vinyl LP pressing. Alexandre Tharaud pays tribute to composers associated with the courts of the French kings Louis XIV, XV and XVI. Lully, Rameau, Charpentier and Franois Couperin stand beside lesser-known masters: d'Anglebert, Forqueray, Royer, Duphly and Balbastre.

Together with his joyful Johann Strauss Orchestra and numerous international soloists, Andr� Rieu celebrated a cheerful and emotional party, which ended night after night with a grand firework display. The numerous highlights on this DVD include world hits such as Ballade pour Adeline, Can't Help Falling in Love, Volare, Bolero, An der sch�nen blauen Donau and Highland Cathedral with around 300 bagpipers. The emotional highlight of the concert was the French ESC title "Voil�" sung by the extraordinary 15-year-old singer Emma Kok, who moved the audience to tears and went viral on the internet.

There's certainly no better motto than 'Happy Days are Here Again'! In July 2022, the "King of Waltz" and his beloved Johann Strauss Orchestra finally returned to the Vrijthof square in Maastricht to enchant an audience of 180.000 people from more than 100 countries for a record 15 concerts! No other artist can make an audience laugh, move them to tears and pull on their heartstrings quite like the King of Waltz.

Klaus M�kel� / Oslo Philharmonic - "Shostakovich: Symphonies 4, 5 & 6" - Verve Label Group; Decca; Classical - "Whatever they are giving to those string players in Oslo, they should try and make it more widely available, because orchestras all over the world would kill for a string sound like the Oslo Philharmonic managed in this performance of Shostakovich's Symphony No.5. It was both the foundation stone and the life blood of perhaps the finest performance of this piece I have heard." - Seen and Heard International

Conducted by Yannick Nezet-Seguin, Randall Goosby performs Max Bruch's Violin Concerto and both of Florence Price's Violin Concertos. Recorded by the Grammy-winning team behind Yannick's Florence Price Symphonies 1 & 3.

The Philharmonic Brass / Overture! / What happens when the illustrious brass sections of the Berlin and Vienna Philharmonic come together? The answer is The Philharmonic Brass. This debut album is conducted by Tugan Sokhiev and includes virtuoso arrangements of some of the best-known overtures including Verdi's La Forza del Destino and Gershwin's Cuban Overture.

Jeneba Kanneh-Mason/Chineke! Orchestra - "Florence Price"In the year of Florence Price's 70th anniversary, the Chineke! Orchestra and Jeneba Kanneh-Mason celebrate the composer's legacy with two of her landmark award-winning pieces which led to her major breakthroughs as a composer.

Riccardo Chailly -"Verdi Choruses" On February 20th 2023 Riccardo Chailly celebrates his 70th birthday shortly after his latest release, Verdi Choruses. Recorded in Dolby Atmos in the auditorium of Teatro all Scala, the album includes the classic 'Chorus of the Hebrew Slaves' ('Va, pensiero' from Nabucco) as well as the Triumphal Chorus, March and Ballet from Aida and highlights from another 7 Verdi operas.

Alim Beisembayev, winner of the 2021 Leeds International Piano Competition, makes his album debut on Warner Classics with solo works by Liszt, including seven of the ambitious �tudes d'ex�cution transcendante. Born in Kazakhstan and trained primarily in the UK, Beisembayev has been praised by leading critics for the spellbinding Polish and maturity of his playing. "The Transcendental �tudes of Liszt are amongst the most challenging piano works ever written by any composer," he says. "Frequently described as tone poems, these inspirational works take the �tude to a new level... Since early childhood, I had been inspired by performances of these works by legendary pianists such as Cziffra, Richter and Kissin, never dreaming that I would one day be performing them myself... However, like most young pianists, the challenge, for me, was the attraction, and I am thrilled to have had the opportunity to record these pieces." This debut album follows the digital release in Autumn 2021 of a programme marking Beisembayev's victory at Leeds and comprising works by Scarlatti, Ligeti and Ravel.

Zubin Mehta has long been a constant in Munich's musical life. Mehta has enjoyed an artistic relationship and deep friendship with the Munich Philharmonic in particular for decades. Since he conducted his first concert with the orchestra in 1987, he has been a regular guest and was appointed the orchestra's first and so far only "conductor emeritus" in 2004. Twenty years later, the orchestra celebrated this milestone anniversary with a Brahms cycle, including all four symphonies and both of the piano concertos performed by one of today's most acclaimed and admired pianists: Yefim Bronfman.

Zubin Mehta has long been a constant in Munich's musical life. Mehta has enjoyed an artistic relationship and deep friendship with the Munich Philharmonic in particular for decades. Since he conducted his first concert with the orchestra in 1987, he has been a regular guest and was appointed the orchestra's first and so far only "conductor emeritus" in 2004. Twenty years later, the orchestra celebrated this milestone anniversary with a Brahms cycle, including all four symphonies.

Who but Alexandre Tharaud would follow an album devoted to Beethovens formidable final three piano sonatas with a recital of compact pieces by Lully, Rameau, Franois Couperin and other composers associated with the French court in the 17th and 18th centuries I've always been attracted by French music of this period, explains Tharaud, whose wide-ranging Erato catalogue embraces Bach, Scarlatti, Haydn, Mozart, Chopin, Brahms, Rachmaninov, Satie, the music of Jazz Age Paris and the work of French singer-songwriter Barbara. I see this album as a bouquet of short pieces by different composers of that time. It is a tribute to the composers of Versailles. They were active during the reigns of Louis XIV, Louis XV and Louis XVI and the youngest of them, Claude Balbastre, died in 1799, 10 years after the outbreak of the French Revolution. A number of the pieces have not, to the best of Tharauds knowledge, previously been recorded on the modern piano he mentions the music of Balbastre, Jacques Duphly and Pancrace Royer. As he explains, Lully did not write for solo keyboard, but his orchestral Marche pour la crmonie des Turcs from Le bourgeois gentilhomme has been transcribed for piano a number of times. For this album Tharaud has made his own arrangement of the piece, aiming to capture the full richness of it's sonorities and to emphasise it's dancing nature. Some of the pieces Tharaud considered for inclusion felt immediately comfortable on the piano keyboard; others sounded cumbersome and thus unsuitable for the album. For instance, the highly ornamented writing of Jean-Henry dAnglebert (1629-1691) can be tricky on the modern instrument, which has a heavier action and sonority than a 17th century harpsichord

Leopold Stokowski was one of the pre-eminent conductors of the early to mid 20th century. For the first time ever his complete recordings for the Everest and Vanguard labels are in one box set.

David Oistrakh captured the hearts of listeners with his impeccable technique, rich tone and emotional power. Born in Odessa, he graduated from Conservatory aged 18 and a year later performed his debut with the Glazunov concerto under the composer's baton. Successful debuts in Leningrad and Moscow followed. His New York debut was 1955 and his entire career was full of searingly memorable performances with major worldwide orchestras and accompanists.

Review Examples: (5th):"However committed you are to any other interpretation, his demands to be heard."(Gramophone);(6th/14th): BBC Music Magazine Disc of the Month Nov.2014. (8th): Mravinsky's live recording of the Eighth of capital importance and demands to be heard: the Leningrad audience is struck dumb by it." (Gramophone). (10th): deeply moving.... Maxim Shostakovich should be compared with Haitink for noble sobriety" (Gramophone). (11th): "A superb performance with excellent sound makes this a benchmark recording and my top CD choice of the year. Shostakovich fans ignore this release at their peril !" (MusicWeb). (13th): So it's significant this is once again made available, especially in such a memorably intense performance." (Gramophone). (15th) "a superbly vivid Fifteenth, generally hard-driven � la Mravinsky but here far more convincingly poised" (Gramophone)