Classical Music

Gerard Schwarz starts Daphnis et Chloé in a very slow tempo that suggests a funeral procession, but then takes the following Danse religieuse surprisingly quickly. Such extremes of tempo—he runs the concluding Bacchanale at such a blazing pace that you can hardly imagine ballet dancers being able to keep up—tends to draw attention more to the conductor than to the music. Still, Schwarz manages to conjure the enchanted atmosphere of the piece (especially in the more exotic passages) with great help from the Seattle Symphony, which plays marvelously—particularly the strings with their beguilingly silken tone.

Schwarz emphasizes the score’s refined textures, making the piece sound more like the 20th-century work that it is, rather than a backward glance at Rimsky-Korsakov (as others, mostly notably Gergiev, do). The recorded sound is splendid, easily capturing fine details in the wide dynamic range (even if the wind machine is less than ideally audible).

Following Ravel’s Daphnis et Chloé with Hovhaness’ similarly Greek-themed Meditation on Orpheus is a clever bit of programming. It’s a beautiful and mesmerizing work that mixes the meditative and the rhapsodic in that quintessentially Hovhanessian manner. Schwarz and his orchestra offer a brilliantly realized and impeccably played performance. Not a disc to replace Munch or Boulez, but still a fine choice.

– Victor Carr Jr, ClassicsToday.com

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.



REVIEW:

Vanska's Sibelius is all about clarity - of rhythm, of texture, of intention. It is zealously unfussy and entirely without exaggeration. But it can stop you in your tracks. One just knows that the ear-pricking clarity throughout these performances is of Vanska's and not the balance engineer's making.

The suddenness of the hush Vanska manages as we enter the "no-man's-land a few pages into the Third changes the way the air moves in the Minnesota Hall. There really isn't much to say about this performance (of the Sixth), it just feels perfectly balanced - in music as in nature. And the work's evaporating final chord is startling. As for the eleventh-hour resolution into C Major in the Seventh, it is as emphatic as it is precipitous.

– Gramophone

As the hub of a fledgling British Empire, London around 1710 was burgeoning with new wealth and offered the perfect setting for operatic entrepreneurs eager to spread the latest Italian fashions. It was thus a city of opportunity for Handel, fresh from spending five years in Italy, but also for many other touring musicians including Arcangelo Corelli, Francesco Maria Veracini and Francesco Geminiani. This recording unveils a portrait of the chameleon Handel, emerging in the panache of his early Italian-styled Amadigi, reaching maturity in the 'English operatic' Hercules and arriving finally in the perennial melodic grace of Theodora, his penultimate oratorio. Extracts from these works, in which the young Norwegian mezzo-soprano Tuva Semmingsen displays both vocal agility and a wide-ranging emotional palette, are interspersed with instrumental works by Handel's Italian contemporaries. Corelli's Concerto grosso in D major, from the celebrated Opus 6, and Geminiani's 'La Follia' in D minor - incidentally a reworking of Corelli's famous violin sonata - both illustrate Italian instrumental music at its most sumptuous, in colourful and dynamic performances by the Norwegian period band Barokksolistene. For further variety, the leader and artistic director of the ensemble, Bjarte Eike, also performs a chamber work by Veracini, who visited London regularly during some three decades in the early 18th century. The Sonata in A major was published in England in 1744, and it would be quite tempting to interpret the use in it of a Scottish tune, Tweed's side, as merely a clever marketing device to charm a local audience, were it not that the tune, and the composition itself, was so attractive.

KREUTZER Violin Concertos: No. 17 in G; No. 18 in e; No. 19 in d • Axel Strauss (vn); Andrew Mogrelia, cond; San Francisco Conservatory O • NAXOS 8570380 (71: 52)


From a position of relative neglect (only his 40 studies for violin remained really active in the repertoire), Rodolphe Kreutzer has risen to greater prominence with recordings of his studies (by Elizabeth Wallfisch, cpo 999901, Fanfare 32:5) and concertos (No. 19 in D Minor, No. 18 in E Minor, and No. 15 in A Major, with violinist Laurent Albrecht Breuninger and Alun Francis conducting the SWR Radio Orchestra Kaiserlautern, on cpo 777188, Fanfare 33:6; and No. 9 in E Minor, No. 13 in D Major, the Variations on “Nel cor più non mi sento,” and Montanyas Regaladas , with violinist Saskia Lethiec and José Ferreira Lobo conducting the Orquestra do Norte, Porto, and the Versailles Conservatory Instrumental Ensemble, Talent 2911 126, Fanfare 33:1) now being frequently issued. In fact, Breuninger’s recording included Kreutzer’s last two concertos, the 18th and 19th, which Axel Strauss now offers along with the roughly contemporaneous 17th.


The slow movement of Kreutzer’s 17th concerto provides ample—and poignant—melodic relief from the bold thematic statements and technical passagework that mark much of its first movement. If Giovanni Battista Viotti, who’s often linked with Kreutzer (the French “Viotti-Rode-Kreutzer Concerto”) introduced Haydn’s symphonic orchestration into the violin concerto’s armamentarium, Kreutzer approached the sound of Beethoven’s orchestra, as Bruce R. Schueneman’s notes point out. But Kreutzer kept the violin at the forefront, a position that Axel Strauss and his 1845 J. F. Pressenda violin commandingly occupy. He’s snappy and alert in the passagework, as well, delivering impressive barrages of double-stops and sharply characterizing, both stylistically and rhythmically, the Rondo finale’s thematic material. And, as in the first movement’s second theme, he imparts an almost nostalgic sweetness to his reading of the second movement. Those who expect a clone of Viotti’s more familiar concertos (a greater number of them have remained in print) may be pleasantly surprised by Kreutzer’s inventiveness and keen ear for orchestral timbres.


The 18th and 19th concertos begin with Moderato movements, both almost double the length of the six-odd-minute affair that opens the 17th Concerto. As does the 17th, the 18th begins with a movement that explores the passagework, notably in double-stops, that must have stood near the avant garde of violinists’ technical capabilities at the time Kreutzer wrote it; although hardly a virtuoso vehicle in today’s terms, it exploits the instrument’s idiomatic possibilities with a canniness that the trailblazing composers of the era seemed to possess in abundance (else, how could the violin have achieved the prominence it did?), presenting them in the context of dramatic orchestral statements and barnstorming tuttis. Strauss hardly plays this work, or the 17th Concerto, for that matter, dismissively, as many might do (hear how seriously he takes the recitative passages in the middle of the first movement); perhaps the sense of history developed by period instrumentalists has opened the eyes even of world-weary and everything-but-masterpiece-disdaining conservatory students to the merits of compositions like this one. Strauss once again brings a plausible plaintiveness to the second movement with its melody flowing over a light accompaniment and an exuberant if dignified vitality to the final Rondo. Like the first movement of the 17th Concerto, that of the 19th (which Schueneman cites Boris Schwarz as considering, with Viotti’s celebrated 22nd, as one of the outstanding examples of the French Violin Concerto—Joachim admired these two concertos as well, placing Viotti’s just after Beethoven’s and ahead of Mendelssohn’s and Brahms’s) develops the contrast between the lyrical and the dramatic, which continues, in its way, into the second movement, while the finale provides the usual good-natured conclusion (often, as here, with the principal theme in dotted rhythms).


Those who consider Kreutzer’s studies mere drudgery that a violinist has to endure on the way to the Paganini caprices should discover in these concertos, as well as in the others that have been recorded, a composer of unsuspected talent, even one worthy of Beethoven’s dedication of the famous Ninth Sonata. The engineers have placed the violin in the forefront of the San Francisco Conservatory Orchestra, which plays with vibrant and sonorous enthusiasm. Strongly recommended.


FANFARE: Robert Maxham

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

The two works on this disc perfectly illustrate a particular type of secular cantata, the so-called ‘dramma per musica’. In such works the libretto is constructed dramatically, and the singers embody various roles, such as gods and other characters from antiquity, and allegorical figures. The parallel with opera is apparent, although the ‘drammi per musica’ do without any scenic element. Bach primarily used the form in works intended for princely tributes or academic festivities: educated audiences could be expected to recognize the characters and literary traditions involved. Both cantatas recorded here are ‘academic’ cantatas, composed in honour of eminent members of the faculty at the University of Leipzig. BWV 205 celebrates the name day of Dr August Friedrich Müller (3rd August 1725), and takes us to Aeolia, where Aeolus, the King of the Winds, holds the mighty autumn storms captive until it is time to let them loose on the world. To prevent any disruption of the celebrations for Dr Müller, the goddess Pallas, among others, entreats Aeolus to keep the storms in check for a while longer. Grudgingly he concedes to her wish, but only after singing an aria full of splendid bluster (Wie will ich lustig lachen…). One year later, Bach composed the cantata BWV 207 for the appointment of Dr Gottlieb Kortte as ‘professor extraordinarius’. The young jurist enjoyed particular popularity among the young academics, who probably were the commissioners of the cantata. In this work it is virtues such as Diligence and Honour which take musical shape, singing the praise of the eminent academic. The cantata closes with a chorus, Kortte lebe, Kortte blühe!, wishing the new professor a long and flourishing life – unfortunately to little avail, as Dr Kortte died only five years later, at the age of 33.

Renowned for its luminosity and searing expressiveness, the music of Lithuanian composer P?teris Vasks frequently explores the relationship between nature and humanity, not least in the Flute Concerto written for Michael Faust, which is among the most expansive of Vasks’ orchestral works. Abstract qualities in the Sonata contrast with the deftly defined lyrical and rhythmic elements of Aria e danza, while Landscape with Birds exploits the entirety of the flute’s timbral range. Patrick Gallois and “the brilliant Michael Faust” (MusicWeb International) have also recorded the music of Mauricio Kagel (Naxos 8.572635).

Classical Music

Classical Music

Mahler Karneus, Gothenburg Symphony Orchestra Kindertotenlieder

Committed recordings of works by a “golden age” American finally coming into his own on disc.



STILL Symphony No. 2, “Song of a New Race.” Symphony No. 3, “Sunday Symphony.” Wood Notes • John Jeter, cond; Fort Smith S • NAXOS 8.559676 (61:39)


With this disc, Naxos and the present performers conclude their three-CD series of William Grant Still’s symphonies, plus other orchestral works. I reviewed the second volume (Symphonies 4 and 5, and the Poem for Orchestra— Naxos 8.559603) for another publication, and was quite beguiled. I feel the same way this time around. This music is impossible not to like, and conductor John Jeter and his orchestra from Arkansas, the state in which the young composer spent part of his childhood, are effective advocates.


Wood Notes , a work from 1947 that is receiving its first recording here, is a suite of four movements: “Singing River,” “Autumn Night,” “Moon Dusk,” and “Whippoorwill’s Shoes.” The titles suggest that the music will be picturesque, and, in the best sense of the word, simple, and indeed it is. If there is such a thing as an American Pastoral school of composers, Still would be its dean. The Currier and Ives prints that have adorned the booklet covers in this series have been very appropriate, as they project an innocence that is also one of the strongest characteristics of Still’s music. Imagine Delius at his least Impressionistic, Dvo?ák at his least academic, and Jerome Kern at his most classical, and that might give you an idea of what Still’s music sounds like. (Nevertheless, Varèse was one of his teachers!)


The Second Symphony, premiered with great success by Stokowski and the Philadelphia Orchestra in 1937, is “a vision of an integrated society.” In terms of form, this is a bit more ambitious than Wood Notes , but Still’s writing is so unpretentious, tuneful, and relaxed that one can’t help asking what makes this work more symphonic than the other. The mood is sometimes wistful and often hopeful, and Still, when he is not embracing the listener outright, is at least holding his hand, or throwing his arm around his shoulder. Not surprisingly, African-American elements, both traditional and more popular (jazzy), are prominent in this work.


The “Sunday Symphony” dates from 1958. Again, naming its movements will give the reader an idea of what the music sounds like: “Awakening,” “Prayer,” “Relaxation,” and “Day’s End and a New Beginning.” Only 18 minutes long, this symphony is as suitelike as its predecessor, every bit as ingratiating, and even more uncomplicated. Appropriately, “Prayer” is the longest movement, and it builds to a soulful climax. “Awakening” and “Relaxation” both chatter away companionably, and the last movement brings the symphony to its resolute and affirmative conclusion.


I don’t get the feeling that this music makes exorbitant demands on an orchestra. The Fort Smith Symphony, a lean-sounding ensemble in the manner of Howard Hanson’s Eastman-Rochester group, puts Still’s music across capably and with sympathy. (I would have liked to have heard Stokowski and the Philadelphians play the Second Symphony, though!)


It is tempting to call this music naive, but I think to do so would say more about our lack of innocence as listeners, than about any lack of sophistication on the part of William Grant Still.


FANFARE: Raymond Tuttle


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For much of his life William Grant Still was invariably referred an army going into battle with a lovely central section describing t to as the “Dean of African-American Composers”. Though his music partakes of many African-American elements, it also demonstrates his varied training under Chadwick and Varese and the many years he spent writing music for jazz bands, radio, music and television. Today Still can be seen simply as one of that number of American nationalist composers who came to maturity between the wars.

In the late 1920s Still began a musical trilogy that would portray the African-American experience in the U.S.: Africa, a tone poem describing the original homeland; the Symphony No. 1 ( African-American) describing the years leading to the Emancipation Proclamation; and the Symphony No. 2 ( Song of a New Race) describing a future where African-Americans would take equal part in the destiny of their country.

The Symphony No. 2 is a major work, blending jazz, blues and gospel elements with a nationalist feeling akin to that of the Eastman School. All of the movements are relatively slow (cf. Vaughan Williams’ Symphony No. 3). The slow movement proper is the most beautiful and expressive, while the “moderately slow” finale shows Still’s great technical skill as he joins thematic elements of all four movements into an emotionally satisfying conclusion.

Wood Notes is a suite evocative of nature in the American South. Each of the four pieces begins with simple, almost trivial material, which Still then transforms into something far more poignant than one would have expected.

While numbered as the third, The Sunday Symphony was the last of Still’s five symphonies to be written. It describes the typical Sunday of a churchgoer (Still was quite devout) and while not as profound as the Symphony No. 2 it is equally sincere and more compact in expression. The opening movement is full of energy, somewhat reminiscent of Gershwin, but with modal elements and scoring reminiscent of the Big Bands. In the Prayer movement Still develops the main melody for English horn to a poetic coda in his best style. Relaxation is very simple, while the last movement alternates resolution worthy of wilight and the thoughts of the worshipper as he prepares for th e coming day.
 
The key to performing Still’s music is to concentrate on his obvious sincerity and technical ability, while not letting his tendency towards sentimentality to overwhelm all else. John Jeter realizes this and wisely brings out the positive elements, demonstrating complete control of his players (especially regarding rhythm) and deriving enthusiastic performances. The Fort Smith (Arkansas) Symphony has some troubles with ensemble, but the overall sound is lush, as much of the music requires. This disc completes the Naxos series of the Still symphonies. While there are other impressive recordings of the first two symphonies, Jeter faces no real competition with the last three, and the entire set can be recommended to all fans of American music.
 
-- William Kreindler , MusicWeb International

Mozart’s friend Franz Xaver Dussek (in whose summer villa he completed Don Giovanni) was a pianist, celebrated teacher and the leading composer of instrumental music in Prague. Like his compatriot Wanhal, Dussek completed his musical training in Vienna and, unsurprisingly, his works reflect the strong influence of composers such as Hofmann, Haydn and Dittersdorf. Dussek’s symphonies, most of which appear to have been composed in the 1760s and 1770s, are works of great charm and vivacity, cleverly orchestrated and full of striking melodic ideas as this recording amply demonstrates.

Opera Arias (Counter-Tenor): Kowalski, Jochen - GRAUN, C.H.

This is the seventh disc in the Bach Collegium Japan and Masaaki Suzuki’s series of secular cantatas by J. S. Bach. The best known of these cantatas is featured on this installment, the ever popular “Peasant Cantata.” The piece was written in broad dialect, and set to music which was based around folk songs, making it accessible to the greater population rather than the educated elite. The soprano cantata BWV 209 was composed as a musical farewell to one of Bach’s pupils upon his departure from Leipzig. Finally, Amore traitor for bass solo follows the story of a lover who accuses Amor of betrayal and deception. The closing aria is distinct, utilizing both the voice and the harpsichord in virtuosic passages.

The Missa Cellensis was Haydn' first Mass setting for his new employers at EszterhAza. In common with his Stabat Mater, Haydn draws upon the wealth of musical styles and traditions associated with the Viennese Mass. Scored for strings, oboes, bassoon.

Classical Music

Classical Music

Includes work(s) by Francis Poulenc, Jacques Ibert, Darius Milhaud, Jean Françaix. Ensemble: Danish National Radio Symphony Wind Quintet. Soloist: Ralf Gothóni.

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Five vividly contrasting works, four of them in world première recordings, make up this latest issue in the Naxos series of orchestral music by the Italian composer Gian Francesco Malipiero. Visions of heroism and death form the cornerstone of the release, in the Ditirambo tragico (Tragic Dithyramb) composed during the First World War, and in Malipiero’s two earliest surviving pieces, Dai sepolcri (From ‘Tombs’) and the Sinfonia degli eroi (Symphony of Heroes). They are heard alongside the deceptively relaxed charm of Armenia, based on traditional Armenian melodies, and the varied, pungently Stravinskian moods of the aptly titled Grottesco (Grotesque).

Following Ukraine’s independence in 1991, Ivan Karabits became the country’s leading musical figure. An inspirational composer, artistic director and teacher, he absorbed into his own music three particular traditions: Mahler, Shostakovich, and the folk-music of his native country. The colourful, virtuosic and at times theatrical Concertos for Orchestra reflect the influence of his friend and mentor, Rodion Shchedrin. Following Karabits’ untimely death, his compatriot Valentin Silvestrov composed two heartfelt memorials. The first of these, Elegie, makes use of Karabits’ own unfinished pencil sketches which sit side by side with Silvestrov’s own ideas as the piece progresses, almost as if it were a dialogue between the two friends about their work.

Recording information: Alsion Concert Hall, Sonderborg, Denmark (12/18/2007-12/21/2007).

Weill’s last completed work given a fine, dramatic reading.

Lost in the Stars is Weill’s last completed work. It was based on the novel, Cry the Beloved Country by the South African writer, Alan Paton (1903-1988) and represents a very speedy adaptation, since Paton’s book was only published in 1948. Yet by the following year Weill and his librettist, Maxwell Anderson (1888-1959), had written the musical, which opened on Broadway in October 1949, where the original production ran for 273 performances.
 
In brief, the story concerns Stephen Kumalo, an African pastor, serving in a South African country parish, whose son, Absalom, has gone off to find work and a better life in Johannesburg. There he meets Irina, who conceives their child, but he also falls in with some less suitable male company and with these men he takes part in a burglary, during the course of which a white man – ironically, a campaigner for racial equality in Paton’s novel - is killed. When Stephen, unaware of these events, arrives in Johannesburg to search for his son he eventually finds the pregnant Irina and then locates his son, who is in jail, awaiting trial.
 
Inevitably Absalom is found guilty and sentenced to death. Not only are father and son reconciled but Stephen realises Irina’s worth. He marries the couple in jail so that their child will have Absalom’s name, and then takes Irina back to the family home and his parish where she is taken into the family’s care before the death sentence on Absalom is carried out.
 
This is emphatically not a conventional subject for a Broadway musical – like the earlier groundbreaking Showboat, which addressed the issue of miscegenation, it tackles a tough subject but it’s much more gritty than Jerome Kern’s great show. As David Kilroy observes in his excellent note, Lost in the Stars created in 1949 “a musico-dramatic parable of a new social order for an American public floundering with its own racial prejudices in the immediate postwar era.” In fact, in many ways it takes us back to the world of Weill’s collaborations with Bertolt Brecht. For example, there are some similarities in the musical styles. The scoring is for a small ensemble of some sixteen players and quite often the instrumental writing is pungent in a way that recalls those Brecht shows.
 
Lost in the Stars was Weill’s last completed work and it’s a fine creation, its quality emphasised by this excellent performance. We only get the musical numbers together with some of the spoken dialogue but the story line is not compromised.
 
The musical invention is strong; there are several memorable numbers in the show. The best of them fall to the character of Stephen and, in a strong cast, Arthur Woodley is one of the best performers of all. He has a fine, firm voice. His tone is consistently strong and round and his diction is excellent – though the libretto is printed it’s almost superfluous since all the cast enunciate very clearly. Woodley brings dignity and intensity to the role and among the highlights of the entire performance are his renditions of ‘Little Gray House’ and the title song. He also gives an excellent account of the emotionally charged soliloquy, ‘O Tixo, Tixo, Help Me!’ in Act II.
 
The other principal character is Irina, Absalom’s girlfriend. Cynthia Clarey gives a strong account of Irina’s music, singing ‘Stay Well’ expressively and delivering the touching ‘Trouble Man’ with real feeling. My one reservation is that her voice is a big, mature instrument and it might be thought rather too heavy to suggest a young, frightened and vulnerable girl.
 
Also impressive is Gregory Hopkins as the Leader of the chorus. He has a ringing, pliant tenor voice, which serves the opening number ‘The Hills of Ixopo’ very well. Even better is the ardent song, ‘Cry the Beloved Country’. Incidentally, great trouble has evidently been taken to ensure authentic pronunciation by all the cast; an adviser from the South African embassy, Tuli Demikude, was retained specially for this purpose
 
The chorus and orchestra are very fine indeed, bringing out all the tension and bite in Weill’s score but providing the right emotional charge. Julius Rudel directs proceedings with evident commitment to the score. The rhythms are kept tight and the memorable tunes flow most convincingly.
 
The recorded sound is perhaps a little close but not in any troubling way. Indeed, there’s rather a feel of the performance being mounted in a small theatre. Perhaps, though, that feeling is more down to the dramatic flair of this performance. The work clearly matters a great deal to Rudel, who says in a brief introductory comment that he regards it as “a composition of great depth, deceptively couched in simple settings.” That belief in the score shines through in his fine, dramatic reading.
 
Originally made for the MusicMasters catalogue, it’s excellent news that the recording has now been reissued by Nimbus. All admirers of Kurt Weill will want to add it to their collections but it should be heard by anyone interested in the unique art-form that is the American Musical.
 
-- John Quinn, MusicWeb International

The Turkish pianist Idil Biret was one of the greatest child prodigies of the 20th century. Her recital at the Boston Conservatory demonstrated that she is no less prodigious today. She played a long and demanding program with the power, concentration. 747313127177 NXS8571271.2 14507984 .00 14.99 .21 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/30/2009 https://media.aent-m.com/graphics/items/sdimages/a/500/2/8/2/5/1525282.jpg 4 1 N HAYDN / BABANOV / SCHUSTER / DASKALAKIS TRUMPET CONCERTO / HORN CONCERTO NO. 1 Haydn' popular Trumpet Concerto is best known for it's thrilling first movement cadenza and brilliant and inventive Rondo finale. The Horn Concerto No. 1 is also notable for the technical demands made on the soloist, not least the large octave leaps. 747313048274 NXS8570482.2 13787165 .00 19.99 .20 NAXOS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 07/29/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/0/2/2/9/1379220.jpg 3 1 N IRELAND / LENEHAN PIANO WORKS 3 John Ireland' piano music, some of the most appealing British piano music of the twentieth century, reflects the composer' many interests: his love of literature, his interest in paganism and Celtic mysticism. 747313046171 NXS8570461.2 13786939 .00 19.99 .20 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 07/29/2008 https://media.aent-m.com/graphics/items/sdimages/b/500/4/2/2/9/1379224.jpg 105 1 N BELLINI / CORELLI / NERI / CALLAS / SANTINI NORMA: ACT 1 8014399501514 MYT151.2 13699697 .00 10.99 .21 MYTO RECORDS ITALY COMPACT DISCS CLASSICAL OPERA / OPERETTA / ORATORIO 06/24/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/9/3/4/9/1379439.jpg 4 1 N SMETANA / BEETHOVEN / ANCERL MA VLAST (MY COUNTRY) / VIOLIN CTO IN D MAJOR The recording of the opening concert of Prague Spring 1968 captures conductor Karel Ancerl's performance of Smetana's My Country with the Czech Philharmonic. 099925701598 SPP7015DVD 13688196 .00 33.99 .27 SUPRAPHON DIGITAL VIDEO DISC CLASSICAL CHAMBER MUSIC & RECITALS 06/24/2008 07/29/2024 https://media.aent-m.com/graphics/items/sdimages/c/500/9/1/7/4/1374719.jpg 1 1 N BELLOMY,DAN BACK TO BROOKLYN 021475011087 CMB1108.2 06410759 .00 18.99 .20 CAMBRIA RECORDS COMPACT DISCS POP JAZZ 06/29/1999 https://media.aent-m.com/graphics/items/sdimages/c/500/8/6/4/2/1552468.jpg 1 N KING'S SINGERS COLLECTION / VARIOUS KING'S SINGERS COLLECTION / VARIOUS 635212012024 SGUK120.2 13688608 .00 58.99 1.11 SIGNUM CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC V/A COMPILATIONS 06/24/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/2/3/7/4/1374732.jpg 12 5 Y EWAZEN / TELEMANN / DOPPLER / MULLER / BACH SOUVENIRS: CHAMBER MUSIC HORN FLUTE & PIANO Souvenirs: Chamber Music for Horn, Flute and Piano by Peter Green 044747294421 CAV2944.2 13696504 .00 18.99 .18 CENTAUR COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/24/2008 https://media.aent-m.com/graphics/items/sdimages/b/500/5/5/7/4/1374755.jpg 4 1 N WOLF-FERRARI / RODRIGUES / RLPO / PETRENKO SUSANNA'S SECRET 822252219326 AVIE2193.2 15133885 .00 19.99 .34 AVIE COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 08/10/2010 https://media.aent-m.com/graphics/items/sdimages/a/500/1/2/6/4/1674621.jpg 8 1 N MY FIRST MOZART ALBUM / VARIOUS MY FIRST MOZART ALBUM / VARIOUS If you listen carefully to this CD, you will get to know one of the best composers in the world. Wolfgang Amadeus Mozart lived 250 years ago but he carries on being famous-so he must have been special. He giggled a lot. 747313820474 NXS8578204.2 16182974 .00 19.99 .21 NAXOS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC V/A COMPILATIONS 11/15/2011 https://media.aent-m.com/graphics/items/sdimages/a/500/0/7/2/8/1908270.jpg 0 1 N HAAS / ENSEMBLE COSMEDIN ANIMA MEA: SACRED MUSIC OF THE MIDDLE AGES Anima mea explores the Christian concept of the soul through these masterpieces of medieval Sacred Music. Hildegard of Bingen' beautifully exalted harmonies represent God' order in the music of the spheres. 747313263271 NXS8572632.2 16182882 .00 19.99 .23 NAXOS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 11/15/2011 https://media.aent-m.com/graphics/items/sdimages/a/500/3/3/3/8/1908333.jpg 0 1 N WAGNER / YOUNG / PHILHARMONIKER HAMBURG / POLASKI GOTTERDAMMERUNG 4260034869288 OEHM928.2 16183056 .00 47.99 .77 OEHMS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 11/15/2011 https://media.aent-m.com/graphics/items/sdimages/a/500/0/5/3/8/1908350.jpg 5 4 Y WETZ / ZUMBUELT / DOMBERGCHOR ERFURT CHRISTMAS ORATORIO 53 761203763825 CPO777638.2 16136182 .00 18.99 .25 CPO RECORDS COMPACT DISCS CLASSICAL CHRISTMAS / CHANUKKAH 11/15/2011 https://media.aent-m.com/graphics/items/sdimages/a/500/0/6/3/8/1908360.jpg 18 1 N PORTSMOUTH CHAMBER CHOIR / BEAMISH / MOLDOVEANU SONG MORE SILENT 822252214727 AVIE2147.2 14159244 .00 19.99 .16 AVIE COMPACT DISCS CLASSICAL CHILDRENS 11/25/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/8/7/2/3/1443278.jpg 11 1 N PLACE / HICKEY / LINELL MUSIC FOR SHAKESPEARE'S THEATRE Music played an important role in the Renaissance theatre and Shakespeare brought new subtlety to it's use. In a theatre without lights and sets, it fell to music to underline mood, whether for magic, comedy, feasting or pathos. 747313070879 NXS8570708.2 20566654 .00 19.99 .21 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 04/29/2008 https://media.aent-m.com/graphics/items/sdimages/b/500/4/2/5/2/1482524.jpg 3 1 N HANDEL O PRAISE THE LORD 409350834219 CARU83421.2 14419799 .00 20.99 .17 CARUS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 05/12/2009 https://media.aent-m.com/graphics/items/sdimages/a/500/3/6/6/9/1509663.jpg 3 1 N GERSHWIN CELEBRATING GERSHWIN 714861000627 TNTA29807.2 27538401 .00 14.99 .25 TANTARA RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 09/15/1998 https://media.aent-m.com/graphics/items/sdimages/a/500/3/4/5/2/1442543.jpg 9 1 N BACH,J.S. / COLLUM,HERBERT FRENCH SUITES 1-3 782124020323 BLN20323.2 20899530 .00 8.99 .20 BERLIN CLASSICS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 07/08/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/9/4/8/0/1400849.jpg 3 1 N BERLIOZ / ORCHESTER DER KOMISCHEN OPERA SYMPHONY FANTASTIQUE 782124142520 BLN1425.2 14325793 .00 10.99 .11 BERLIN CLASSICS COMPACT DISCS CLASSICAL OPERA / OPERETTA / ORATORIO 07/08/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/0/4/9/0/1400940.jpg 5 1 N BIZET / ROTHENBERGER / SPIESS / LRC / PATANE CARMEN 782124203023 BLN2030.2 06649746 .00 18.99 .21 BERLIN CLASSICS COMPACT DISCS CLASSICAL CLASSICAL VOCALS 11/16/1999 https://media.aent-m.com/graphics/items/sdimages/a/500/3/4/9/0/1400943.jpg 4 1 N BRAHMS / BERLIN SO / HERBIG SYMPHONY NO.3 HUNGARIAN DANCES 782124142629 BLN1426.2 14325816 .00 10.99 .12 BERLIN CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 07/08/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/2/6/9/0/1400962.jpg 3 1 N BRAHMS / BEETHOVEN / VOGLER / KUPIEC TRIOS 782124174927 BLN17492.2 14217470 .00 21.99 .25 BERLIN CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 12/03/2008 https://media.aent-m.com/graphics/items/sdimages/b/500/5/6/9/0/1400965.jpg 4 1 N CHOPIN / GABRIEL / SCHMIDT EVENING MOODS 782124826925 BLN182692.2 14200724 .00 16.99 .24 BERLIN CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 11/24/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/8/8/9/0/1400988.jpg 10 2 N DEBUSSY / RAVEL / OUSSET PIANO WORKS 782124134525 BLN13452.2 14155376 .00 24.99 .30 BERLIN CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 10/27/2008 https://media.aent-m.com/graphics/items/sdimages/b/500/5/9/9/0/1400995.jpg 2 1 N GOLDMANN / DITTRICH / WOLFFRAM NEW MUSIC IN THE D.D.R. 6 782124130626 BLN1306.2 11428398 .00 18.99 .36 BERLIN CLASSICS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 02/28/2006 https://media.aent-m.com/graphics/items/sdimages/b/500/5/5/0/1/1401055.jpg 3 1 N HANDEL / SPRINGER / UIBEL / BCO / KNOTHE FRIEDENSODE 782124323820 BLN3238.2 11958482 .00 16.99 .15 BERLIN CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 10/01/2005 https://media.aent-m.com/graphics/items/sdimages/b/500/6/7/0/1/1401076.jpg 1 1 N MAUERSBERGER / DRESDNER KREUZCHOR / STIER CHRISTMAS EVE SERVICE 782124134624 BLN1346.2 14322303 .00 18.99 .28 BERLIN CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 07/08/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/7/9/1/1/1401197.jpg 5 1 N MONTEVERDI VESPRO DELLA BEATA VERGINE 782124920425 BLN9204.2 11961451 .00 24.99 .43 BERLIN CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 10/01/2005 https://media.aent-m.com/graphics/items/sdimages/a/500/1/2/2/1/1401221.jpg 1 2 N MOZART / OELZE / CHAMBER ORCHESTRA CONCERT ARIAS 782124132521 BLN1325.2 14321795 .00 18.99 .29 BERLIN CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 07/08/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/1/3/2/1/1401231.jpg 3 1 N MUSSORGSKY BORIS GODUNOV (HIGHLIGHTS) 782124326227 BLN3262.2 11953722 .00 16.99 .28 BERLIN CLASSICS COMPACT DISCS CLASSICAL OPERA / OPERETTA / ORATORIO 10/01/2005 https://media.aent-m.com/graphics/items/sdimages/c/500/8/7/2/1/1401278.jpg 2 2 N MOZART / RACHMANINOFF / WALACHOWSKI,ANNA & INES SONATA FOR 2 PIANOS / 6 MORCEAUX / POLKA ITALIENNE 782124173326 BLN1733.2 08544698 .00 21.99 .20 BERLIN CLASSICS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 05/21/2002 https://media.aent-m.com/graphics/items/sdimages/a/500/1/2/3/1/1401321.jpg 1 1 N ORGAN: GREATEST WORKS / VARIOUS ORGAN: GREATEST WORKS / VARIOUS 782124129125 BLN12912.2 14836466 .00 18.99 .28 BERLIN CLASSICS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 07/08/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/8/1/5/1/1401518.jpg 3 2 N VIVALDI / BACH / SCHREIER / THOMANERCHO MUSIC FOR NIGHTTIME 782124014629 BLN1462.2 14206979 .00 8.99 .24 BERLIN CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 12/01/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/0/5/5/1/1401550.jpg 2 1 N WAGNER / SUITNER / KONWITSCHNY OVERTURES 782124856922 BLN185692.2 15083937 .00 10.99 .12 BERLIN CLASSICS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 07/08/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/0/6/5/1/1401560.jpg 1 1 N STRAUSS,R. / RIAS SYMPHONIE ORCHESTER / FRICSAY EDITION FERENC FRICSAY 5 422143234119 AUDT23411.2 14282225 .00 20.99 .25 AUDITE COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 02/10/2009 https://media.aent-m.com/graphics/items/sdimages/b/500/4/8/0/3/1473084.jpg 4 1 N GINASTERA / LSO / BEN-DOR POPOL VUH: MAYAN CREATION / ESTANCIA / PANAMBI For the five works on this disc, Ginastera drew upon Argentine and other Meso and South American subjects. Evocative of native influences, the life of the gaucho on the pampas, and influenced by the music of his time. 747313099979 NXS8570999.2 15101600 .00 19.99 .24 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/29/2010 https://media.aent-m.com/graphics/items/sdimages/a/500/1/4/8/7/1657841.jpg 0 1 N LISZT / LAPLANTE ANNEES DE PELERINAGE 774204998028 ANL29980.2 14929014 .00 20.99 .22 ANALEKTA COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 04/20/2010 https://media.aent-m.com/graphics/items/sdimages/a/500/2/9/7/8/1628792.jpg 16 1 N MARTINU / PRAGUE CHAMBER ORCH / KUKAL JOLLA / TOCCATA / CONCERTO 099925395827 SPP3958.2 14155345 .00 25.99 .23 SUPRAPHON COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 11/25/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/9/5/1/2/1452159.jpg 0 1 N LISZT / SHERMAN 12 TRANSCENDENTAL STUDIES Directed by Chris Williamson. Starring Russell Sherman. 822252217490 AVIE2174DVD 14174124 .00 26.99 .26 AVIE DIGITAL VIDEO DISC CLASSICAL CHAMBER MUSIC & RECITALS 11/25/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/0/6/5/5/1445560.jpg 2 2 N KVANDAL / JOHANSEN / EGGEN / GIMSE / OPO / RUUD PIANO CONCERTOS / PAN 7033662012343 SMXC1234.2 15540133 .00 20.99 .21 SIMAX CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 09/22/2008 https://media.aent-m.com/graphics/items/sdimages/a/500/2/6/5/5/1445562.jpg 3 1 N AVISON / AVISON ENSEMBLE / BEZNOSIUK 12 CONCERTI GROSSI AFTER SCARLATTI Thought by many to be Avison's greatest masterpieces, these arrangements of Scarlatti's keyboard sonatas were for many decades the only Avison music known. Now thanks to Gordon Dixon and the Avison Ensemble, a complete edition of his quite large output is weill underway; this is the fifth in the series, following two sets on Naxos and two on Divine Art. This is sublime baroque music at it's best, performed on period instruments. 809730121326 DVRT21213.2 14374715 .00 27.99 .23 DIVINE ART COMPACT DISCS CLASSICAL OPERA / OPERETTA / ORATORIO 04/14/2009 https://media.aent-m.com/graphics/items/sdimages/c/500/8/8/1/5/1495188.jpg 3 2 N MANDINGO Y SU SON ABSOLUTE SALSA 5019396217522 ARM2175.2 14026324 .00 7.99 .20 ARC MUSIC COMPACT DISCS POP INT'L & WORLD MUSIC SALSA 10/14/2008 03/02/2026 https://mediacdn.aent-m.com/prod-img/500/07/1337007.jpg 1 1 N STRAUSS,J.S. / HONECK / SUITNER BLUE DANUBE 782124144425 BLN14442.2 14215957 .00 10.99 .12 BERLIN CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 12/03/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/8/5/4/1/1401458.jpg 1 1 N TCHAIKOVSKY / RSO BERLIN / ROGNER BALLET MUSIC 782124144227 BLN14422.2 15084347 .00 10.99 .12 BERLIN CLASSICS COMPACT DISCS CLASSICAL BALLET 07/08/2008 https://mediacdn.aent-m.com/prod-img/500/09/1323209.jpg 1 1 N WAGNER / ADAM / RITZMANN LOHENGRIN 782124133429 BLN1334.2 14322112 .00 18.99 .26 BERLIN CLASSICS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 07/08/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/7/5/5/1/1401557.jpg 3 1 N SHOSTAKOVICH / FALLA / WEILL / VOGLER / CANINO SONATAS FOR CELLO & PIANO 782124170622 BLN1706.2 07681981 .00 21.99 .16 BERLIN CLASSICS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 01/23/2001 https://media.aent-m.com/graphics/items/sdimages/a/500/2/7/5/1/1401572.jpg 6 1 N CASELLA / ORCHESTRA SINFONICA DI ROMA / LA VECCHIA SYMPHONY NO 1 / CONCERTO FOR STRINGS PIANO This first of four recordings of Alfredo Casella' orchestral music couples his first and last purely orchestral works. Completed the day before his 23rd birthday, the Symphony No. 1, which here receives it's world premiere recording. 747313241378 NXS8572413.2 15101662 .00 19.99 .21 NAXOS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 06/29/2010 https://mediacdn.aent-m.com/prod-img/500/85/1326685-2701028.jpg 12 1 N RACHMANINOFF / COPE,DAVID / HARRIS / MARSHALL WITH EXPERIMENTS IN MUSICAL INTELLIGENCE 044747288826 CAV2888.2 14156212 .00 18.99 .20 CENTAUR COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 11/25/2008 https://media.aent-m.com/graphics/items/sdimages/b/500/4/7/1/2/1452174.jpg 4 1 N ANTEGNATI / KENYON L'ANTEGNATA WORKS FOR ORGAN 8007194101737 TCS540101.2 13921712 .00 21.99 .22 TACTUS RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 09/09/2008 https://media.aent-m.com/graphics/items/sdimages/b/500/5/2/1/0/1410125.jpg 8 1 N KORNGOLD / CONNOLLY / DAZELEY / BURNSIDE SONGS OF ERICH KORNGOLD 635212016022 SGUK160.2 14503597 .00 19.99 .24 SIGNUM CLASSICS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 05/26/2009 https://media.aent-m.com/graphics/items/sdimages/b/500/4/0/5/8/1518504.jpg 3 1 N REFUGE TRIO REFUGE TRIO 025091014927 WNTR149.2 14349553 .00 20.99 .21 WINTER & WINTER COMPACT DISCS POP JAZZ 04/14/2009 https://media.aent-m.com/graphics/items/sdimages/b/500/6/4/8/5/1445846.jpg 4 1 N BASIE / STRAYHORN / HAMILSTON / YALE ALLEY CATS GHOST OF A CHANCE 090404928826 BRI9288.2 14370151 .00 18.99 .25 BRIDGE COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 04/14/2009 https://mediacdn.aent-m.com/prod-img/500/76/1336376-2552990.jpg 5 1 N KORNGOLD / STRAUSS / PRAGUE SYM ORCH / KOUT CONCERTO FOR VIOLIN & ORCHESTRA 099925396220 SPP3962.2 14737381 .00 14.99 .20 SUPRAPHON COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 10/27/2009 https://media.aent-m.com/graphics/items/sdimages/a/500/1/5/4/1/1571451.jpg 0 1 N KOVACS / DONATONI / BASSETT / KOMIVES / HARTIG CHALUMEAU 044747296524 CAV2965.2 14737640 .00 18.99 .20 CENTAUR COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 10/27/2009 https://media.aent-m.com/graphics/items/sdimages/a/500/2/6/4/1/1571462.jpg 12 1 N VIVALDI / MCMURTRY / HUHTANEN / MCLEOD / MALLON SACRED MUSIC -MAGNIFICAT 3 / NISI DOMINUS Vivaldi' sacred music occupies a place of honour in his vast output, dovetailing passages of great tenderness and sombre beauty, rich in cantabile expressiveness, with highly operatic movements of colourful and exciting virtuosity. 747313044573 NXS8570445.2 13956387 .00 19.99 .25 NAXOS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 09/30/2008 https://media.aent-m.com/graphics/items/sdimages/c/500/8/4/8/1/1411848.jpg 28 1 N HAYDN / OELZE / WEIR / LIKA / NORRINGTON / COE CREATION HOBXXI:2 881488707458 PROL7074.2 13959890 .00 24.99 .25 PROFIL - G HAENSSLER COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 09/30/2008 https://media.aent-m.com/graphics/items/sdimages/b/500/4/5/8/1/1411854.jpg 7 2 N CLASSICAL DREAMS / VARIOUS CLASSICAL DREAMS / VARIOUS 881488806557 PROL8065.2 13960827 .00 54.99 .25 PROFIL - G HAENSSLER COMPACT DISCS CLASSICAL V/A COMPILATIONS 09/30/2008 https://mediacdn.aent-m.com/prod-img/500/38/1308038.jpg 9 3 N RAVEL / SAINT-SAENS / FOURNET / BILKENT SO / BIRET IDIL BIRET RAVEL EDITION 3 - PIANO CONCERTOS The Turkish pianist Idil Biret was one of the greatest child prodigies of the 20th century. Her recital at the Boston Conservatory demonstrated that she is no less prodigious today. She played a long and demanding program with the power, concentration.

Includes work(s) by Boris Tchaikovsky. Ensembles: Volgograd Philharmonic Orchestra, Saratov Conservatory Symphony Orchestra. Conductors: Eduard Serov, Kirill Ershov.