Les Folies Françoises have recreated Bernier’s masterpiece composed at the very end of the reign of Louis XIV. (Alpha)

Following her passion for seeking out rare musical gems, Angèle Dubeau presents Portrait: Alex Baranowski, the 6th opus in her series of albums dedicated to contemporary composers, which began in 2008 with Portrait: Philip Glass. A successful young composer based in London, multiple award winner and graduate of Paul McCartney's LIPA, Alex Baranowski offers beautiful and generous music, rich in sound atmospheres. Under the breathtaking interpretations of Angèle Dubeau and her remarkable ensemble, La Pietà, these works reveals wonderfully expressive and sensitive writing for the violin. The album includes several key works from Baranowski's repertoire as well as three previously unreleased pieces, including Wiosna, a commission that the composer describes as one of his most intimate works.

Valerie Milot, Stephane Tetrault and Antoine Bareil, three young and well established musicians, are collaborating for the first time to carry out a major recording project. Focused primarily on French music from the first half of the 20th century, this release reveals the subtle blend of sonorities formed by the harp, cello, and violin through the major works by Jacques Ibert and Henriette Renie. The trio also performs a dazzling, encore-worthy Passacaglia for violin and cello by Handel/Halvorsen and a sweet, introspective finale in the form of a transcription of a Schubert lied.

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REVIEWS:

Focused primarily on French music from the first half of the 20th century, this album reveals the subtle blend of sonorities formed by the harp, cello, and violin through the trios of Jacques Ibert and Henriette Renié. The exploration of this period continues with Danse des lutins, an acrobatic work for harp by Renié. Violinist Antoine Bareil and Cellist Stéphane Tétreault then perform the dazzling Passacaglia by Handel/Halvorsen, before harpist Valérie Milot re-joins the trio for a sweet, introspective finale in the form of a Schubert lied arranged for these forces.

– WFMT 98.7FM (Chicago, IL)

The Ibert trio, beautifully crafted, entertaining, light but not superficial, is an equally apt description of the ensemble itself. Written during wartime, it features an ethereal opening Allegro, a quite beautiful Andante and rather unusually, a Scherzo(ando) to finish, which is motoric and virtuosic.

The work for trio by the little-known Henriette Renié is a most pleasant surprise; it's well sustained in its invention, with considerable passion and drama considering the lack of presence of a piano. It is undeniably French, but it has an unexpected Germanic strength to it.

– MusicWeb International

BEETHOVEN / SCHUBERT: Overtures (Mengelberg) (1927-1942)

On the present disc, Mengelberg conducts the two orchestras with which he was closely associated during his distinguished career. (Naxos)

BEETHOVEN: Symphony No. 9 (Fried) (1929)

BEETHOVEN: Symphonies Nos. 3 and 8 (Pfitzner) (1929-1933)

BEETHOVEN: Symphonies Nos. 2 and 4 (Kleiber / Pfitzner) (192

If you trace the path of alto saxophonist Jim Snidero's varied output for Savant, you'll note transitions with regard to instrumentation and personnel: from organ combo to quartets with guitar or piano, to the animated quintet music of tributes to Miles (MD66) and Cannonball Adderley (Jubilation!). With Waves of Calm, the veteran altoist enters a period of zeroing in on the essentials. As the saxophonist himself says, "I find myself editing more and more. I've been playing saxophone for a long time, and could easily play a lot more notes...[but now] you're just looking for the right note at the right moment, searching for that one perfect thing." With trumpeter Jeremy Pelt on half the tracks, piano phenom Orrin Evans at the Steinway & the Rhodes and Nat Reeves and Jonathan Barber completing the rhythm section, it would Jim Snidero has indeed found that"perfect thing."

The deftly titled Hand Painted Dream is the culmination of guitarist / arranger / leader Peter Hand's work with some of the best musicians anywhere and whose collective efforts have produced an extraordinary testament to the best in modern big band music. With the supremely talented Camille Thurman contributing a track each on saxophone and vocals, the ensemble can easily be considered an "all-star" group, with trumpeters Eddie Allen & Valery Ponomarev, saxophonists, Don Braden, Bruce Williams, trombonist James Burton III and a dream rhythm section of James Weidman, Harvie S, Steve Johns and Hand himself. The resulting band is at once bold & beautiful, swinging & suave while consistently playing the imaginative arrangements with extraordinarily nuanced musicianship.

2018 release. The music of Joel Harrison stubbornly defies categorizing. You can try using all the post-this, proto-that gibberish you can think of but it is impossible. From the new-age of Paul Winter to the no-wave of Teenage Jesus and the Jerks; from the complex poly-everything of Charles Ives to the deceptively simple deconstruction of American folk ballads, Joel Harrison is perhaps the most imaginative, inventive and inclusive artist in contemporary jazz music. Angel Band is the third in his acclaimed Free Country series of projects and, like it's predecessors, features a unique mix of jazz interpretations of unlikely material drawn from various forms of Americana. Saxophonist David Binney obviously shares Harrison's musical vision as does pianist Uri Caine whose pianism here ranges from pointillistic to pugilistic. But for all the considerable talents of the side artists this is Harrison's show. As today's emaciated, blog-fed music scene staggers around looking for the newest trend (no matter how shallow) Harrison continues to cross and combine genres in order to communicate with his listener, challenge pre-conceived notions of "how it should go," and bring out new qualities in familiar music.

The German Romantic classics - Beethoven, Brahms, and Mahler - had been central to Bruno Walter's middle years, but his life-long devotion to Mozart grew in his “post-retirement” days, beginning in 1958.

From 1958 to 1961, he recorded 55 works in the reverberant acoustic of Hollywood's American Legion Auditorium. Only the chorale finale of Beethoven's Ninth proved unsatisfactory, so Walter made one more trip to New York, this time with an East Coast version of the Columbia Symphony and the Westminster Symphonic Choir.

This box set of stereo recordings - with remasterings previously released in Bruno Walter - The Complete Columbia Album Collection - brings together some of the most treasured symphonic works of Mozart and Haydn, including two of Mozart's violin concertos played by the great French virtuoso Zino Francescatti.

This album from the Baltimore Symphony Orchestra and conductor Sergiu Comissiona presents two works by Mendelssohn: the Symphony No. 4 “Italian,” and the Symphony No. 5 “Reformation.” The title Italian designates the symphony Mendelssohn began writing during a visit to Italy in 1930-31 and completed in Berlin on March 13, 1833, a few weeks after his 24th birthday. When he conducted the first performance two months later, at a Philharmonic concert in London, the work was very well received. Mendelssohn withheld the score from publication for several years in order to make revisions. The final version was not performed until the second anniversary of his death. The Reformation Symphony was begun in Wales in 1829, a few weeks after Mendelssohn made his first sketches for the Scotch Symphony during his very productive first visit to Britain. While the Scotch was set aside for more than 12 years, the Reformation was completed in 1830, for Mendelssohn intended it for presentation in the celebration of the tercentenary of the Augsburg Confession in June of that year. The event did not take place, however, and the Symphony was not performed until 1832 when it was introduced in Berlin. The score, however, remained unpublished until after his death.

Famed for his sonorous tone and imposing stage presence, ‘Rigoletto du jour’ Leo Nucci is considered among today’s foremost Verdi interpreters. + In this new solo recording the venerable baritone performs some of the greatest arias by the Italian maestro, reprising together with instrumental accompaniment many of the operatic roles on which he has built his illustrious career. + Presenting the major singers of today and the stars of tomorrow, the Rosenblatt Recitals are London's only world-class season of opera recitals. + In partnership with Opus Arte, this and other CD releases will be based predominantly on studio recordings with occasional bonus live tracks.

Includes work(s) by Robert Schumann, Edvard Grieg.