The central thread linking all the works featured in this recording is their assimilation of various elements of Jewish music, whether directly stemming from Chassidic folk traditions, or relating to material directly associated with religious worship. Each composer responds to this music in different ways, attempting in varying degrees to integrate it within the structural conventions of a Western European musical mainstream. By doing so, the music projects a multitude of emotions and feelings.

“There is not enough music which highlights and celebrates the diverse background of composers and the fact that this album focuses on Jewish musical traditions makes it a hugely important progression in how the classical music industry is moving into a more culturally representative industry.” -- Jocelyn Lightfoot, Managing Director of the LCO

Named ‘2022 Composer of the Year’ by Musical America, Missy Mazzoli inhabits an exquisite and mysterious sound-world in which indie-rock sensibilities meet American minimalism, European modernism and classical traditions. The first woman ever to receive a commission from the Metropolitan Opera, she has also composed for prominent soloists, ensembles and orchestras around the world. Through her music, she reaches to the roots of tradition, inhabits and renovates older forms while using every resource at her command. Mazzoli, who says that she likes “to tell stories”, always imagines actors, singers and dancers grappling with a situation, even when she composes instrumental works. The album is bookended by two versions of the same work: loosely based on baroque idioms the violin concerto Dark with Excessive Bright is first heard with string orchestra accompaniment and then in a chamber version. The soloist is in both cases Peter Herresthal, who also performs Vespers for Violin, a piece for amplified violin and electronics using sampled organs, voices and strings, drenched in delay and distortion. Three orchestral works complete the programme: Sinfonia (for Orbiting Spheres), These Worlds in Us and Orpheus Undone in performances by the Arctic Philharmonic under Tim Weiss.

REVIEWS:

When Missy Mazzoli was just 10 years old, growing up in rural Pennsylvania, she confidently declared she was a composer, although she hadn’t written a single note. Her family thought it was a phase she would get through. Now 42, Mazzoli is among today’s busiest and most respected composers. She’s best known for her operas, such as the career-boosting Breaking the Waves, but a new album, titled Dark with Excessive Bright, is the first to showcase the young composer’s purely symphonic music.

[The] titular Dark with Excessive Bright [is] a lyrical violin concerto inspired by a very old double bass which sat in an Italian monastery for centuries and whose cracks were patched with pages from the Good Friday liturgy.

The concerto riffs on baroque formulas while recycling motifs in fresh disguises. Like a photographer, Mazzoli captures moments rich in texture and charged with expression. They are hard to describe, but you can see them in your ear. For example, after the orchestra slides up to a cadence, low strings pluck the beat, high strings twinkle with glitter, and in the middle, a melody wanders a solitary path. (As a fascinating bonus, the album includes a reduced version of the piece for solo violin and string quintet.)

...while this album is purely symphonic, drama abounds in the music. Mazzoli dedicates the piece These Worlds in Us to her father, a Vietnam vet. Sometimes the music swirls downward on sliding string figures while other passages prove that Mazzoli knows how to make an orchestra roar like a jet engine.

Coming of age in a DIY environment, and encouraged by outfits like the Bang on a Can collective of composer-performers, Mazzoli is at home using rock instruments and electronics in her music. On Vespers for Violin, played with ardor and agility by Peter Herresthal, Mazzoli sampled old organs, strings and voices, and waterlogged them in distortion.

Mazzoli likes to think of herself as primarily an opera composer. But with instrumental music as expressive and rigorously built as this – not to mention the dynamic performances here by the Bergen and Arctic Philharmonic Orchestras – we kindly ask that she not forget the command she holds over a symphony orchestra.

-- NPR Music

Il trittico was premiered in New York on 14 December 1918, composed while the First World War was still raging in Europe. At first glance, the three one-act operas Gianni Schicchi, Il tabarro and Suor Angelica seem to have no connection with each other; their common denominator is solely the entanglement of man in a fateful destiny that only exceptionally, for a moment, seems to promise a happy outcome to the “adventure of life” - a set of themes that in its complexity seems to be in such good hands with few directors as with Christof Loy. The main female roles in the three opera acts are performed by the Lithuanian soprano Asmik Grigorian, a very rare and tremendous feat, but once again connects the works to each other.

From the virtuoso Essercizi (K.12 and 15) to the touching cantabile eloquence of the Sonata in G major, K.144, most of the repertoire on this album consists of lesser-known works incorporating elements of dance forms from Spain and Portugal, with the Sonata (Fuga) in D minor heard here in its world premiere recording.

Among the best-selling composers of our time, Ludovico Einaudi has won a following of millions through his distinctively calm, smoothly unfolding works, which spin unbroken songs from the simplest material and cast a spell of relaxed enchantment over their audience. Jeroen van Veen is the Dutch pianist who has likewise won an international following for his many albums of Minimalist piano music on Brilliant Classics, including a previous collection of Einaudi’s music, ‘Waves’ (9452). ‘Clouds’ is another 7CD collection, which ranges across 30 years of Einaudi’s oeuvre, from the Stanze (‘Verses’) of 1992 to the Underwater collection from 2022. In fact, as a relatively early work, Stanze contains intriguing and uncharacteristic elements: as the composer himself explained, ‘I had one goal: to remove, and leave space. The title refers to the poetic stanzas but also to invisible spaces to be inhabited with the mind.’

In 2012, Einaudi produced a project called Elements as a tribute to the memory of his mentor and teacher Luciano Berio. Each instrumental song of Elements evolves from a small gesture or motif, evoking a journey through fragmented thoughts and feelings. In a similar way, but on a much grander scale, the Seven Days Walking project of 2019 developed from a walking tour of the Alps, where Einaudi had the idea of observing and evoking the times of day and moods across the cycle of an entire week. This cycle finds the composer at his most bewitchingly minimalist, drawing in the listener to a space of private reflection. The Underwater collection thrives on the interplay of pure, sparkling and warm, melancholic sounds and invites you to forget the hustle and bustle of everyday life. The tempo is restful and the pulse flowing even in a seascape such as ‘Swordfish’.

Finally, Jeroen van Veen has selected an album’s worth of Einaudi’s prolific work in the world of film, in which his songs often present a mirror to troubled souls and an oasis of calm amid violence.

Emilio de’ Cavalieri’s Rappresentatione di Anima et di Corpo was premiered in 1600 in Rome. It was conceived to be performed in costume, bringing text and music together in a dramatic form, and is accepted as the first surviving opera, pre-dating works by Peri and Monteverdi. Its theme is the dialogue of Soul and Body, a pivotal concept of the Italian Counter-Reformation, presented in allegorical form. This production by the acclaimed director Robert Carsen was hailed as ‘an unmitigated, tremendous success’ and its ‘musical production was extraordinary’ (bachtrack.com).

Finnish opera star Camilla Nylund sings masterpieces from the Great American Songbook in this unique collaboration with the ORF Vienna Radio Symphony Orchestra under their music director Marin Alsop. The classic songs in this film were specially arranged to suit Nylund's performance style, vocals and personality, as if they had been written for her. This special edition includes a Blu-ray of the concert film-project by Andr� Heller in black and white, plus an audio only recording.

Born in 1946, Vladimir Martynov is one of several composers from the former USSR whose music taps into a vein of perpetual memory and farewell. Literally so in the case of Der Abschied, an eight-movement cycle for small ensemble which stands on the threshold like a guest at a gathering of friends, unable or unwilling to shut the door behind them and venture out alone. One of Martynov’s most distinguished contemporaries was the Ukrainian composer Valentin Silvestrov, who talked of a ‘genetic aural well’ for Russian music which, like Orthodox prayer, cannot be learnt as a text, but which exists beyond any text. Silvestrov explicitly recognized his own output as ‘meta-music’ or even ‘post-music’, and the same could be said of many pieces in Martynov’s output. Tiny motifs and gestures are layered and expanded across a meditative space in a distinctively Russian form of Minimalism that bears certain similarities with the better-known outputs of Pärt and Schnittke but pursues a consciously more austere path: both the Requiem and Stabat mater are imbued with the timeless qualities of chant and ancient melisma. Martynov’s music began to attract a certain cult following in the West during the 1990s with performances and recordings made principally by the violinist Gidon Kremer and his former partner, Tatiana Grindenko. As both a violinist and conductor, Grindenko has continued to keep Martynov’s flame burning, and she leads most of the performances here, which were made mostly in Moscow over the course of several years and in several cases receive here their first international release.

Peter Breiner is one of the world’s most recorded musicians with over 2 releases and more than two million albums sold, of which his Beatles Go Baroque alone reached sales of a quarter of a million copies. In addition to being a multifaceted composer, arranger and conductor, Breiner is also a pianist, and the third of his 'Calm Romantic Piano Music' series melds melodic substance with delicate musical expressiveness. (Naxos)

Since the death of Herbert von Karajan in 1989, the prestigious Vienna Philharmonic Orchestra’s concerts around Ascension Day (15 August) have firmly been in the hands of Riccardo Muti. Always sold out, they are among the highlights of every festival summer. For this year’s concert and on occasion of his 80th birthday, the maestro was acclaimed for his interpretation of Beethoven’s Missa solemnis, a piece he has never conducted before. “Muti is a master in conveying extremes: monumentality, where it is compositionally intended, and highest internalization alternate with each other in a dense interplay.” (FAZ) “Muti mastered the work and presented it as stringently as perhaps no one else can do it today.” (Die Presse)

Note the three striking elements on this album, from the minute you press play. The first is the quality of the performances. These are top-level musicians bringing their same superlative artistry to Christmas favorites that they do to a Schubert quartet or Taverner score. The second is the sterling quality of the recording. If there is a sonic equivalent to sipping a hot toddy while curled up before a roaring fire, it is Sono Luminus’s peerless mixes and captures. Third–and in every way as essential as the previous two–this is a kaleidoscopic collection of styles and interpretations of beloved songs and carols that keeps one eager for the next number. With such a fetching variety of artists and approaches, you will find yourself going top-to-tail on this one. Simplicity is an underrated avenue when it comes to holiday releases, so the entries by Irina Muresanu & Matei Varga, Bruce Levingston, Kathryn Bates, and Skylark Vocal Ensemble are a breath of proverbial fresh air. Muresanu’s seductive playing is a glimpse into the golden age of violin technique–lush vibrato and delicious sentimentality, which infuses “White Christmas” with every bit of nostalgia one could hope for.

CONTENTS:

• Steve Nelson, Jack Rollins: Frosty the Snowman
• Tchaikovsky: The Seasons, Op. 37b XII. December "Christmas"
• Berlin, I: White Christmas
• Marks, J: Holly Jolly Christmas
• Blake, H: Walking in the Air
• Cory Hills: 'Twas the Night Before Christmas
• Fred Coots, Haven Gillespie: Santa Claus Is Coming to Town
• Guaraldi: Christmas Time Is Here (From "A Charlie Brown Christmas")
• trad: Joy to the World
• trad: Good King Wenceslas
• Martin, Hugh: Have Yourself a Merry Little Christmas
• Gruber, F: Silent Night, H. 145

REVIEW:

This is a well-constructed program of solo piano music that valuably includes the premiere recording of Holst’s Brook Green Suite in Vally Lasker’s transcription and two pieces by Roderick Williams; one an original composition and the other his free transcription of John Ireland’s Sea Fever.

Britten’s Holiday Diary seems to be receiving more recordings and concert performances of late. I last movements from it in a highlights disc from the Husum Festival. The nippy flurries of Early Morning Bathe are finely projected by Maria Marchant, who ensures that the Sailing movement is by no means plain, though after the squalls one returns to its elysian introduction. The big contrast between the showy Fun-Fair aand the subdued Night could hardly be more potent. Ronald Stevenson tended to be more-than-somewhat dismissive of the solo piano writing of some senior British composers. His Peter Grimes Fantasy, which follows with inexorable programmatic logic, is a fugue on two subjects and Britten approved of it according to the paragraph in the booklet that preserves Stevenson’s own introduction to the piece. It’s driving, powerful music, idiomatically laid out, as one would expect of the prolific executant-composer. Maria Marchant’s metronome is set to ‘action’ when it comes to John Ireland’s Ballade of London Nights, which she takes at a real lick—the fastest recording of it yet to be set down, I think. If I happen to prefer the more insinuating tempi of, say, John Lenehan, Alan Rowlands and Eric Parkin, it’s certainly bracing to hear Marchant’s take, if only the once.

Roderick Williams’s Sea Fever transcription opens like Rachmaninov and is vividly accomplished, whilst his own Goodwood by the Sea fits the program delightfully: richly colored, rhythmically vivid, wholly delightful. Kenneth Leighton’s Six Studies are knottier by far, a sequence of so called ‘Study-Variations’, composed in 1969. The color and astringency of the writing is always exciting, the ‘e secco’ instruction fully realized here in the second study, and the way that economy of means develops gravity in the Adagio a particularly revealing example of Leighton’s skill. The garrulous quality of the capricious fourth movement and the dramatic energy of the finale study reinforce the rewarding merits of this brief but intense cycle. Holst’s solo piano music aspires to little more than charm, though the folklorically inflected Toccata is thoroughly engaging: the Brook Green Suite is similarly effortlessly charming and Lasker’s transcription—she was his assistant and ex-pupil—is fresh-faced and effective.

It ends a well selected work list that will reward close listening. Robert Matthew-Walker’s notes are very readable, though he has to strain to make connections between the works from time to time. Fine recording quality.

-- MusicWeb International (Bruce McCollum)

A delightfully colorful introduction to classical music, aimed to fire the imagination of young children aged 5-7 years! Readers are asked to think about the different places in which we might hear music, whether it is in a concert hall, or just on television. They are then introduced to a selection of famous composers including Mozart and Beethoven, and learn about each of the musical instrument families, from woodwind to percussion. Throughout the book children are referred to the accompanying CD so that they can hear examples as they read. Music on the CD includes The Magic Flute (Mozart), Harry Potter and the Sorcerer’s Stone (Williams), Carnival of the Animals (Saint-Saëns), The Planets (Holst), Petrushka (Stravinsky) and Peter and the Wolf (Prokofiev).

Between 1803 and 1968, the Grand Prix de Rome marked the zenith of composition studies at the Paris Conservatoire. In Maurice Ravel’s time the competition included an elimination round (a fugue and a choral piece) followed by a cantata in the form of an operatic scena. The entries were judged by a jury which generally favoured expertise and conformity more than originality and Ravel’s growing reputation as a member of the avant-garde was therefore hardly to his advantage, and may explain why he never won the coveted Premier Grand Prix, and the three-year stay at Rome’s Villa Medici that went with it.

The present set brings together all the vocal works that Ravel composed for the Prix de Rome – five shorter settings for choir and orchestra and three cantatas, each with three characters taking part in a plot which followed a more or less fixed sequence of introduction, recitative and aria, a duet, a trio and a brief conclusion. First published more than half a century after Ravel’s death, these test pieces for the Prix de Rome have never acquired the popularity of his other early works, such as Pavane pour une infante défunte, Jeux d’eau or the String Quartet. They are worth more than their reputation as academic exercises might suggest, however, and deserve to be better known, especially when performed by Orchestre National des Pays de la Loire and Pascal Rophé and a team of vocal soloists including Véronique Gens and Michael Spyres.

REVIEWS:

This two-disc set brings together all of these rare vocal pieces by the composer: five shorter settings for choir and orchestra, and three cantatas, each with three characters taking part in the plot, which followed a more or less fixed sequence of introduction, recitative and aria, a duet, a trio and a brief conclusion. First published more than half a century after Ravel's death in 1937, these test pieces for the Prix de Rome have never acquired the popularity of his later and more mature works, but they are no mean pieces and are worth more than their reputation as academic exercises might suggest. These are compositions that are deftly crafted, full of attractive melodies, harmonically refined, and very often deeply sensitive. Indeed, they encapsulate all of the future Ravel hallmarks that were to make him one of the twentieth century's leading French composers.

Pascal Rophé draws some convincing performances and, in his hands, the music has an immediacy that keeps it consistently fresh and vivid. More than a collector's item which should attract the interest of all music lovers - Ravel aficionados in particular. Sonics and booklet notes are first-rate.

-- Classical Music Daily



“The very moment intuition, knowledge and craftsmanship collide as one the chain reaction creates an energy in which a masterpiece is created. The audience senses the quality of the event instantly, without any explanation. On this beautiful album we hear four masters at work in total synergy. Carnet Imaginaire grabs a hold on you, pulls you in and doesn’t let you go until the very end. Once again there’s no explanation needed. Effortlessly the music itself shows the direction. The listener follows the lead of each carefully crafted composition and improvisation, by these wonderful musicians. Clearly a natural choice, the trio’s decision to have pianist Wolfert Brederode as a featured guest turns out to be perfect. Guillermo Celano, Marcos Baggiani and Joachim Badenhorst are true storytellers, creating their landscapes with a wide variety of shapes and colors. I hope you enjoy this album as much as I do.” - Jasper Somsen

REVIEWS:

The extraordinary atmosphere is set in a cozy and enigmatic ambiance, with a beautiful cover of the Edith Piaf's" Hymn a l’amour.

Le Soir (Belgium)

Elegant melodies peel out of stumbled sequences of beats, great melancholic themes grow out of quiet banter, enigmatic voices murmur and lament, tribal beats seek their way in the diffuse sonics of saxophone and guitars.

-- NDR Kultur (Germany)

The Lights Are Always On is pianist/composer Lynne Arriale’s 16th album as leader, and her third recording on Challenge Records International. Lynne’s original music is a suite of compositions that reflect the world-wide, life-changing events of the past two years. On this session Lynne is joined by bassist/co-producer Jasper Somsen and drummer E.J. Strickland, both outstanding, in-demand musicians on the international jazz scene.

Lynne’s ten original, highly evocative compositions begin with the persistent Afro-Cuban influenced “March On,” a tribute to activists worldwide. “The Lights Are Always On” features a lyrical melody in perpetual motion; the foundation of a thematic arc that soars over the entire piece. It is followed by the jubilant, gospel-influenced “Sisters.” Lynne’s dedication to Lt. Colonel Alexander Vindman, “Honor,” is the melding of two engaging melodic ideas; each reinforcing the other. Together they convey the heroic character and unwavering strength of this American patriot. “Loved Ones” expresses joyful appreciation for those who are precious to us. The set continues with “Sounds Like America,” where Lynne creates an optimistic melody and solo, culminating in a celebratory chordal finish.

“The Notorious RBG,” is an exuberant dedication to Ruth Bader Ginsburg, assertively propelled by drummer E.J. Strickland. Following that, Lynne and Jasper deftly navigate the angular harmonic construction of “Into the Breach,” Lynne’s ominous remembrance of the January 6th Insurrection and the heroes that saved democracy on that day. “Walk in My Shoes,” a dedication to civil rights icon John Lewis, reflects the tenacity and strength of this remarkable leader. Lynne begins her solo with two motivic statements, which she skillfully integrates into a cohesive, powerful performance. The album concludes with “Heroes”, a heartfelt ballad composed in recognition of those who enlightened a very dark period in our history, and who embody the greatest humanistic virtues of mankind.

REVIEWS:

This is an album that is drawing on a lot of important messages of solidarity, of resistance, of hope, of joy, and it’s absolutely exquisite… a gorgeous sense of space and melody... This album emotionally, feels very necessary right now… outstanding!

-- A Closer Listen, Jazz at Lincoln Center (Seton Hawkins)

Her last two albums especially reveal how her vision, insight and passion cohere with her sense of being a fellow human and citizen in America, and of the world in very troubled times. Emotional and musical eloquence radiate from her playing with heartfelt ardor and honesty, and focused intensity. We are hearing a sort of heroism at work, her generous spirit and commitment, her exquisitely pointed and expansive testimonies.

-- Culture Currents (Kevin Lynch)

Arriale has great emotional pull, and there are whirlpools and whirlwinds in her playing. There is this pattern in Arriale where she begins with darkness, then everything is bathed in light. This is a strong recording, about strength. She has succeeded in putting us in the hero’s shoes, the light of the powerful mind pushing on through protests, and making change. And she has succeeded in putting us back in our shoes, with this invested strength to go on and change.

-- The Flash Boston (Sofia Marshall)