*** This title is a reissue of a Japanese release with liner notes in Japanese. ***

*** This title is a reissue of a Japanese release with liner notes in Japanese. ***

Recorded 1956-1966.

*** This title is a reissue of a Japanese release with liner notes in Japanese. ***

PENDERECKI Utrenia. 1 PERSICHETTI Sinfonia: janiculum (Symphony No. 9) • Eugene Ormandy; Philadelphia O; Stefania Woytowicz (sop); 1 Kerstin Meyer (mez); 1 Seth McCoy (ten); 1 Bernard Ladysz (bs); 1 Peter Lagger (bs); 1 Temple University Ch 1 • RCA-ArkivMusic 38303 (63:34)


This, recorded in 1970, is to my knowledge the only recording of the Penderecki; it is certainly a departure from what is generally regarded as Ormandy’s distinctively conservative repertoire. It is indeed probably as avant-garde as anything Ormandy recorded, but the truth of the matter is that he programmed contemporary music throughout his career, beginning with his tenure as conductor of the Minneapolis Symphony in the early 1930s. Among his world premieres were Bartók’s Third Piano Concerto, Hindemith’s Clarinet Concerto, and Martin?’s Fourth Symphony, as well as numerous works by American composers.


The real stars of the Penderecki recording are the Temple University Choir members, directed by Robert Page. The work calls for large orchestra, but there are long stretches for voices alone or with minimal accompaniment. Sounds of the Orthodox liturgy echo throughout the piece, but only for one startling passage in the fourth movement do the men’s voices suddenly sing in purely triadic harmony. You probably know whether you enjoy Penderecki’s music.


The Persichetti Symphony is one of the American compositions that Ormandy premiered; it was originally coupled on a 1971 LP with William Schuman’s Ninth Symphony, another Ormandy world premiere. Philadelphians think of the Philadelphia Orchestra as “their” orchestra, much more an integral part of the community than those of many other American cities. This was especially true when Ormandy was music director, since he did relatively little guest conducting, preferring to conduct most of each season in Philadelphia, where, of course, he was well known after decades on the podium. One manifestation of this “small town” mentality was Ormandy’s attention to the music of Philadelphia composers, beginning with Samuel Barber and including Persichetti, Richard Yardumian, and Louis Gesenway, a second violinist with the orchestra. Persichetti’s music can be described as mid-century academic-eclectic; the Ninth Symphony in one movement, more advanced in its language than many of his works, is still vaguely triadic and features the winds and percussion prominently. This disc is for the more musically adventurous.

FANFARE: Richard A. Kaplan

*** This title is a reissue of a Japanese release with liner notes in Japanese. ***

*** This title is a reissue of a Japanese release with liner notes in Japanese. ***

The label of "Wiener Symphoniker" releases another memorable recording as a double CD with Gustav Mahler's Symphony No. 6 in a minor. Recorded under the direction of Chief conductor Fabio Luisi, this suspense filled live recording from 2011 focuses on the movement order authorized by Mahler himself first the Andante and then the scherzo.

CDCM Computer Music Series, Vol. 1

*** This title is a reissue of a Japanese release with liner notes in Japanese. ***

Finding the names of Haydn, Mozart and Beethoven on the track list of a CD or on the title page of a concert program provokes a sense of familiarity and natural affiliation in the minds of most music lovers and experts, who not only associate the three composers with each other but also, inevitably, with the concept of Viennese Classicism. On this recording, Ola Rudner and the Wu?rttembergische Philharmonie Reutlingen, flanked by soloists Ramo?n Ortega Quero (oboe), Sebastian Manz (clarinet), Marc Gruber (horn) and Theo Plath (bassoon), explore the symphonic world of Viennese Classicism.

Mahler: Symphony No. 6

V5: KAKHIDZE LEGACY

V2: KAKHIDZE LEGACY

SYMPHONY NO. 13

The pieces on this album are world premieres, commissioned for the Utah Symphony’s 75th anniversary. The works on this album are from composers Augusta Read Thomas, Nico Muhly, and Andrew Norman. The Utah Symphony became widely recognized as a leading ensemble after its inception in 1940. The symphony is under the direction of Thierry Fischer.

Reviews:

This excellent release presents three inviting, evocative new works commissioned and recorded to celebrate the 75th anniversary of the Utah Symphony. Each piece is a unique, virtuosic essay for the ensemble, and Thierry Fischer leads his players with confidence through a daunting program, captured in stunning sound.

This is essential listening for fans of new American orchestral music. The triptych gives a fascinating cross-section of current trends, and Reference Recordings’ “Fresh!” moniker is an incredibly accurate description of the results. The notes on the pieces are by the composers themselves, and it is interesting to see how the prose and musical writing mirror each other. Full personnel listing of the wonderful Utah Symphony is included. Recorded sound is demonstration quality. Highly recommended!

– Concerto.net (Marcus Karl Maroney)

Dawn to Dust' is the apt title of this new release on the Reference Recordings Fresh! label of works commissioned from three leading American contemporary composers by the Utah Symphony as part of the orchestra's 75th anniversary celebrations during the 2015/2016 season. All three works here receive their world premier recordings in scrupulously prepared performances conducted by Thierry Fischer, the orchestra's Music Director.

As is to be expected from this audiophile label, the sound quality is awesome. The wide dynamic range of the recording allows both the subtlest string pianissimos and the loudest percussive climaxes to be reproduced with equal fidelity – every instrument clearly identified within a soundstage that possesses convincing width and depth. Though recorded live, audience noise is inaudible and applause has also been excised.

Exemplary notes on these compositions written by their respective composers complete this stimulating release.

– HRAudio.net (Graham Williams)

John Ireland’s Downland Suite, influenced by his beloved Sussex countryside, must surely be one of the most appealing string works in all English music. Hickox lovingly shapes the sublime second subject of the Prelude, the meltingly beautiful Elegy and the charming Minuet, without allowing the Romanticism to become cloying. The Concertino pastorale is a strong contrast. Written shortly before the Second World War in 1939, it reflects its times with dark clouds hanging over Downs that are now wrapped in more sombre hues.

The Orchestral Poem is an early work strongly influenced by Brahms and Stanford. It is dramatic enough and colourfully orchestrated but it shows little of the mature Ireland and is therefore more of academic interest. Hickox gives a stirring performance, and he realises all the excitement of the huge cattle drive across the vast expanse of Australia, the subject of the Two Symphonic Studies from the film music for The Overlanders. The work demonstrates Ireland’s skill in evoking scene and atmosphere and flair for the dramatic; you can see the animals stirring in the immense, hot and dusty landscape that is the great Australian outback. An interesting and valuable collection.

-- Ian Lace, BBC Music Magazine

*** This title is a reissue of a Japanese release with liner notes in Japanese. ***

This set contains 2 DVDs, 1 Blu-ray Video Disc, and a 7-day Digital Concert Hall pass.

Sir Simon Rattle was in no doubt: the performance of the St. Matthew Passion which he realized together with the Berlin Philharmonic and the Rundfunkchor Berlin in 2010 was for him “the single most important thing we ever did here.” Critics around the world agreed. They praised the semi-staged “ritualization” by American star-director Peter Sellars, as well as the outstanding musical performances by the soloists, including Magdalena Kozená, Christian Gerhaher, Thomas Quasthoff, and Mark Padmore as the Evangelist. Now the performance is published as a hardcover linen edition with a comprehensive booklet and a voucher for the Berlin Philharmonic's Digital Concert Hall.

"Sellars' surprisingly simple ideas draw us deeply into the drama and prove enormously moving." – NPR

"The female singers are very good – the soprano Camilla Tilling ethereal and the mezzo-soprano Magdalena Kozena impassioned – but the men are tremendous, including the pure-toned tenor Topi Lehtipuu. The bass-baritone Christian Gerhaher, singing from far above the other performers, is a resonant, otherworldly Jesus. Mr. Padmore is one of the major Evangelists of our time, and he is heartbreakingly eloquent here, less a biblical narrator than a guide through a dark night of the soul. And if it’s possible for this deeply moving recording to take on any more poignancy, it is probably the final major video release featuring Mr. Quasthoff." – The New York Times

2 DVDs [NTSC 16:9 / PCM Stereo • DTS 5.1]

Blu-ray Disc in high definition video [1080i Full HD 16:9 / 2.0 PCM Stereo • DTS-HD Master Audio 5.1]

Playing time - Concert: 195 mins • Bonus: 51 mins

Subtitles: English, German, French, Spanish, Japanese, Korean

Region: 0 (All region)

7- day pass to the BPO's Digital Concert Hall video streaming service

Import Hybrid-SACD pressing.

"[M]ightily attractive for the overall quality of the performances…. [The Berlin Philharmonic] play with altogether more heft, a quality born of longstanding tradition and communal spirit. … [T]he playing is always brilliant, with blazing tremolos from the strings, distinctive colorings from the woodwinds and golden orations from the brasses." – James R. Oestreich, The New York Times

With such fresh and invigorating performances this new set conducted by Rattle breathes new life into these Schumann symphonies and is certainly the one to own. [...]

The sound engineers at the Philharmonie are to be congratulated for providing appealing, transparent, well balanced sound with all the instrumental detail wonderfully audible. These are live recordings containing virtually no extraneous noise and I notice that the applause has been removed. As one might expect there has been a lot of time and care lavished on this inaugural release of the Berliner Philharmoniker’s own label. Typical of the work this orchestra undertakes, everything is done with integrity, precision and total empathy for the music. The set is performed with impressive solidity, feeling natural and unmannered with Rattle choosing judicious pacing throughout communicating a spring-like freshness to Schumann’s romantic vision. I can see these Rattle recordings of the Schumann symphonies becoming the benchmark for many years to come such is the excellence of the Berliner Philharmoniker’s performances.

– Michael Cookson, MusicWeb International

I enjoyed these performances greatly. Rattle displays a fine affinity with these scores and though the orchestra members must have played these symphonies many times there’s never the slightest suspicion of routine here: everything sounds fresh and newly discovered – though I hasten to add that there’s never a suspicion of disruptive point-making. In the Behind the Scenes feature one of the orchestra’s first konzertmeisters, Daniel Stabrawa, describes Rattle as one of the few conductors who know what Schumann really means and you sense that the orchestra has relished discovering these scores in performance with him.

This lavish production launches the orchestra’s own label in splendid style and I’m thrilled that I’ve had the chance to experience these fine performances.

– John Quinn, MusicWeb International

-----

For Simon Rattle, Robert Schumann is "the echt Romantic." And in fact, the exuberance of the period, its passion, and its melancholy can be heard with unique intensity in Schumann's music to this day. For the Berliner Philharmoniker, Schumann's symphonies have always been part of their core repertoire. The 1953 Wilhelm Furtwängler recording in particular has attained cult status. And so it only stands to reason that the Berliner Philharmoniker should launch their Berliner Philharmoniker Recordings label with a cycle of the four Schumann symphonies.

The Schumann symphonies have accompanied the orchestra throughout 2013 – in Berlin and on tour in Europe and Asia. The Berlin Tagesspiegel wrote of a "defining moment," while the Frankfurter Allgemeine Zeitung praised the "truly sensational quality." Another special feature of this recording from the Philharmonie is the decision to use the early version of the Fourth Symphony from 1841, whose appeal for Simon Rattle lies in its extra "lightness, grace, and beauty" compared to the established later version. The presentation of the product, its packaging, and the special features, go far beyond what standard CDs offer.

The linen-bound CD/Blu-ray edition includes the Schumann cycle in different formats. In addition to the traditional audio CDs, there is also a Blu-ray Disc which enables music lovers to listen to the recording in audiophile studio quality of 96kHz/24bit or as HD video. If you are looking for the recording in even higher resolution, there is an accompanying code which allows you to download a version online in up to 192kHz/24bit. An additional code grants 7 days' access to the Berliner Philharmoniker's video platform, the Digital Concert Hall. The release also includes bonus material such as behind-the-scenes videos and a comprehensive booklet with articles about the composer, his symphonies, and the Schumann tradition of the Berliner Philharmoniker.

Bach: Weihnachtsoratorium, BWV 248

With two orchestral collections already out from Chandos and a third on the bench Cyril Scott’s music is at last making its way.

He died nine years short of his centenary. Had he lived to experience that iconic event he would have seen a couple of articles and very little else. In the 1980s things moved on a little as it did for his copains Granville Bantock and Josef Holbrooke. For Scott this took the form of a rather lacklustre orchestral collection from Marco Polo. Since then there has been a Chris Howell anthology of piano solos on Tremula and three double CD sets of the solo piano music played by Wilfred De’Ath on Dutton. The BBC broadcast the one act opera The Alchemist as well as the choral piece La Belle Dame Sans Merci and most recently the Violin Concerto, itself rumoured to be included on the next Chandos Scott volume. Latterly the real impact on the musical public’s consciousness has come from those two Chandos collections which in repertoire terms substantially overlap the present disc; the only completely new works there being the symphonies 3 and 4 and Neptune.

There’s no direct competition between this disc and the Chandos pair. Lyrita have here gathered the contents of two LPs issued in 1975 and 1977 giving us Scott’s principal output for piano and orchestra. The recordings were the result of a volatile collaboration between Richard Itter, John Ogdon and the irascible Anglophile conductor and composer Bernard Herrmann.

Do not expect from these three works frank heroics in the Tchaikovsky, Rachmaninov or Brahms mode. This is not solo pianist in adversarial contest with orchestra, pugilistic and then subdued. The First Piano Concerto was written just before the Great War. Beecham conducted at the premiere and the composer was the soloist. Latterly it was taken up by Kendall Taylor, Moura Lympany and Esther Fisher. The work is subtly perfumed with solo textures abounding and an overpowering atmosphere of mystery and idyllic lambency. After the Chinese hieratics of the first movement the second shares the enigmatic ritualism of John Ireland’s Legend and Forgotten Rite. The arcane beauties of the piece can be sampled in the dialogue of gong and celesta. Liquid Debussian touches create a meditative art nouveau kaleidoscope – a Klimt canvas in motion. The mood changes for the finale with its Handel-out-of-Grainger jocularity.

The beguilingly glittering waywardness of the First Concerto can also be heard - though with none of the oriental edge - in Early One Morning. The folksong itself is for the most part deeply subsumed, rising in enchanting Copland-like mist at 4:18. It is most clearly limned by the piano at 5:03 onwards. This is by no means the sort of conventional variations on a theme that Stanford produced for Down Among the Dead Men. The recording sessions were the first performance of the revision for single piano and orchestra. The original was for two pianos and orchestra.

The Second Concerto cannot be precisely dated but it is known that the composer was working on it in 1956. It is quite short and is in three movements. A tougher nut than the First Concerto, its themes are more subtle. Its haunted swaying harmonic world recalls an overgrown, lichen-festooned castle. Herrmann’s Xanadu was perhaps an influence; I wonder if Scott saw Citizen Kane? More plausibly we might hazard that the concerto was influenced by Debussy’s Pelléas et Mélisande. There is a positively Baxian war-dance trope at 00:32 in I. Otherwise the stylistic links are as with the other works: with the last two piano concertos by Nicolai Medtner, the Symphonic Variations of Arnold Bax (contemporary with Scott’s First Piano Concerto) and with John Foulds’ Dynamic Triptych and Essays in the Modes.

The cover of the CD booklet is a detail from the cover of the LP SRCS81: a portrait of Scott at age 52 painted by George Hall Neale. The notes are by Christopher Palmer and Roger Wimbush and are taken from the original LPs which are:

SRCS-81 Piano Concerto No. 1 in C / Ogdon (piano) Herrmann LPO
SRCS-82 Piano Concerto No. 2; Early One Morning (Poem for Piano and Orchestra) / Ogdon (piano) Herrmann LPO

This is a generously timed disc presenting Scott’s subtly beguiling piano concertos. The first is the more instantly captivating of the two but the second has much to commend it. Superbly done.

-- Rob Barnett, MusicWeb International

Classical Music

Classical Music

Includes work(s) by various composers.

Recorded in: Chapel of New Broadcasting House, Manchester 15,16 September 1993 Producer(s) Ralph Couzens Sound Engineer(s) Don Hartridge