PENTATONE
396 products
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Wagner: Die Walküre / Konieczny, Vermillion, Janowski, RSO Berlin
PENTATONE · Jul 20134 discsSACD$59.99 -
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Brahms: Piano Quartet Op 25, Orchestrated by Schoenberg / Albrecht
PENTATONE · Aug 20151 discSACD$21.99 -
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Schubert: Arpeggione Sonata & String Quintet / Haimovitz, Golan, Miro Quartet
PENTATONE · Jun 20161 discSACD$21.99 -
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Strauss: Ein Heldenleben & Macbeth / Orozco-Estrada, Frankfurt Radio Symphony
PENTATONE · Nov 20161 discSACD$21.99
HYSTERAE
Shostakovich: Symphonies Nos. 5 & 7
Ravel: Daphnis et Chloe; Stravinsky: Le sacre du printemps
The Four Elements
Missy Mazzoli: The Listeners
Mozart Horn Concertos
Addio Amore
Brahms: Piano Concerto No. 1 & Six Piano Pieces, Op. 118
the earth trembled
Metanoia
Bamboo Grove
Sur
Mark Adamo: Lysistrata
Wagner: Die Walküre / Konieczny, Vermillion, Janowski, RSO Berlin
The Leipzig Collegium Musicum, Vol. 1 - Music before Bach
John Williams: Flute Concerto – Bernard Herrmann Souvenirs d
Over My Head
Giants in the Earth
Heimweh: Schubert Lieder
Hidden Gems / Calefax Reed Quintet
Calefax is an internationally acclaimed ensemble of reed players renowned for performing their own arrangements and newly commissioned compositions for the unique combination of oboe, clarinet, saxophone, bass clarinet and bassoon. Switching genres and periods with consummate ease, this adventurous new release for Pentatone from the reed quintet Calefax is a superb collection of well-honed arrangements of less familiar works, all played with the ensemble’s customary verve, passion, and mellow sound. From the frothy virtuosity of Corelli and Locatelli to the haunting beauty of Gesualdo, Satie, and the heartfelt introspection of Nina Simone, it’s an astonishingly varied and intriguing programme. As well as pieces by Franck and Janácek, it includes one commission, Look for Me by Nico Muhly, based on an American folk song, and an arrangement of the Chinese popular song Er Quan Ying Yue. All these pieces have regularly featured in Calefax’s concerts and they fully showcase the ensemble’s versatility and mastery.
Brahms: Piano Quartet Op 25, Orchestrated by Schoenberg / Albrecht
Composer Arnold Schönberg considered it vitally important to study the techniques of other composers in order to thus penetrate more deeply into the true content of their music - and he believed the best way to do this was by arranging the original compositions. And thus between May and September 1937, Schönberg penned an orchestral version of the Piano Quartet in G minor by Johannes Brahms. His first reason was personal: “I like the piece.” But the other two were more of a practical nature. “It is seldom played. It is always very badly played, because the better the pianist, the louder he plays, and you hear nothing from the strings. I wanted for once to hear everything, and this I have achieved.”
In this regard, conductor Marc Albrecht and Netherlands Philharmonic Orchestra prevail, with individual instruments and sections coming forward in carefully drawn sections. It is a fun Quartet, and one that is brilliantly played by Albrecht and the orchestra. Furthermore, Albrecht’s style suits the composition, with its grand, impressive gestures and vivid colour to the music.When asked why he is so enthusiastic about the composition Marc Albrecht replies, “Schönberg’s contributions made it a true orchestral work: American with a Schönberg-like sound. It is a fantastic trip through an insanely good piece.”
Recorded at the orchestra’s impressive residence - the NedPhO-Koepel, formerly the Majella church - this album also features Schönberg’s own work, Begleitmusik zu einer Lichtspielscene (which translates as ‘Accompaniment to a cinematic scene’). Although the work reflected the customs of silent movies, Schönberg’s original score could not be used for film as it was not possible to adapt the music to the length of the scenes. The première was held in Frankfurt in 1930, without an accompanying film, and led by conductor Hans Rosbaud. Schönberg’s idea was not fulfilled until 1973, when three films by Jean-Marie Straub, Jan W. Morthenson and Luc Ferrari respectively were made to accompany the score.
Schubert: Aus der Ferne / Signum Quartet
Hailed as one of the most adventurous and outstanding string quartets of today, both in the performance of modern pieces and the iron repertory, Signum Quartett now releases its first PENTATONE recording with an all-Schubert program. Aus der Ferne illuminates the Romanticism and lyricism of this great master. By combining string quartets with lieder arranged for string quartet, the members of the Signum Quartett aim to show how Schubert’s instrumental and vocal music cross-pollinate each other. The fact that Schubert quotes openly from his own songs in his chamber music underlines the strong connection between the two, and this album takes this connection a step further. The concept for the album grew out of the Schubertiad, where chamber music and vocal works would be heard side by side in an intimate setting. A further idea was to complement one of the late quartets with an earlier one - perhaps lesser-known but not a lesser piece. The B-flat major quartet and the Rosamunde Quartet, both featured on this album, share a delicacy and fragility of spirit; convey a longing from afar. These instrumental works gain significance by being accompanied by the lieder arrangements, created by quartet member Xandi van Dijk. These arrangements present quintessential Schubert lieder such as Du bist die Ruh, Wandrers Nachtlied and Lachen und Weinen in a new, fascinating light.
Schubert: Arpeggione Sonata & String Quintet / Haimovitz, Golan, Miro Quartet
This new release is the fifth album in the Pentatone Oxingale series. Two of Franz Schubert's great masterpieces are combined here: his Sonata for Arpeggione and Piano in A Minor, D. 821, and the String Quintet in C Major, D. 956. Grammy-nominated cellist Matt Haimovitz performs the arpeggione part, alongside pianist Itamar Golan.
Music of the Americas / Orozco-Estrada, Houston Symphony
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REVIEW:
What a nice disc from Pentatone. All the works here are well played by the Houstonians, under the baton of the orchetra's music director. The recording is a fine one. Microphones are well placed giving an in-the-hall listener perspective. Surrounds are used for ambiance, and they successfully recreate the sound of a live orchestra.
– Audiophile Audition
CREATING TIMELESS CLASSICS
Strauss: Ein Heldenleben & Macbeth / Orozco-Estrada, Frankfurt Radio Symphony
The celebrated young Colombian maestro Andres Orozco-Estrada continues his critically acclaimed series of recordings for Pentatone with this release of the evocative tone poems Macbeth and Ein Heldenleben by Richard Strauss, performed here with the Frankfurt Radio Symphony. These gripping works, with their intricate scoring and compelling narratives, are orchestral tours de force, demonstrating Strauss's gift for filling a huge orchestral canvas with vivd and exquisite details while maintaining a sense of drama. And they are stunningly brought to life in this recording with Pentatone's state of the art multi-channel surround sound. Strauss's brooding tone poem Macbeth is a psychological portait of the main protagonists in the play, the insecure and vacillating Macbeth and his wife, the ambitious but deranged Lady Macbeth. Strauss's often highly charged score suggests the mounting horror and dread of the ill-fated couple and their domestic unease, the work ending on a sombre ntoe following their deaths and the triumphal march of Macduff. In Strauss's striking and florid masterpiece Ein Heldenleben, there's little doubt who the real hero is but Strauss himself. While he was roundly mocked at the time for his audacity, there's also little doubt that this bold and dramatic tone poem is no mere cornucopia of orchestral effects - it's a life-affirming work which ends not in a triumphal blaze, but in a mood of quiet resignation.
Strauss: Symphonica Domestica & The Times of Day / Janowski
The moments of hustle and bustle are wonderfully easy-going, while the Berlin RSO's corporate virtuosity is often breathtaking - I can't remember when I last heard the finale's final couple of minutes, from the outrageous whooping horns to the finish line, rattled through with such apparently nonchalant ease.
– Gramophone
Those who don't know the least often heard of the symphonic poems should be amazed by Marek Janowski's sympathetic, detailed interpretation; but even Straussians don't often get to hear Die Tageszeiten. I fell in love with the work, contrary to all previously held common wisdom on its not being very good, and have played it over and over. This would be worth the cost of the disc alone, but Janowski's Domestica is also up there among the best, as you get to hear more inner detail than on any other recording.
– BBC Music Magazine
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