Jazz, Etc.

This album has already been released on compact disc in 2015. It was subsequently garnered a GRAMMY nomination for Best Classical Engineering. Now listeners can enjoy this brilliant recording in SACD Surround Sound. These great works are interpreted by Michael Stern. Stern is in his second decade of working with the Kansas City Symphony, and during his tenure the ensemble has been hailed for its artistic ascent, organizational stability, audience growth, and original programming. The centerpiece of this album, Saint Saens’ Symphony No. 3 “Organ,” was completed at the height of the composer’s career in 1886. Of the work, the composer wrote, “I gave everything to it I was able to give. What I have here accomplished, I will never achieve again.”

Recordings like this restore one’s faith in the possibility of true musical greatness. Manfred Honeck conducts this music as do few others today. He’s not afraid to have a good time, nor is he a strict literalist. In his notes he speaks almost apologetically of a couple of liberties he takes–in the judgment scene of Till Eulenspiegel (with the dynamics of the solo clarinet), and at the moment of death just before the coda of transfiguration, where he lets the tam-tam reverberate for a few extra bars – surely what Strauss intended in both cases, even if it’s not exactly what he wrote.

What Honeck doesn’t mention is the added bass drum part in Don Juan, or the extra thud for the same instrument in Till Eulenspiegel. All of this is done quite sensibly, to be honest, but the point is that these and other distinctive touches never sound mannered or gratuitous. Rather, they offer evidence of Honeck’s remarkable engagement with the music, his belief in it, and his willingness to do whatever he deems necessary to realize Strauss’ programmatic vision as vividly as possible. For all of their larger-than-life qualities, Honeck remains sensitive to every dynamic nuance, intricacy of balance, and rhythmic quirk. Every one of these versions ranks with the best available.

The Pittsburgh Symphony plays the living daylights out of this music. Really, is there another group out there today that can play with this kind of bravura? For example, listen to the way that Honeck slows down for the big horn tune in Don Juan (sound clip), and my goodness, how these players make a meal of it! The live sonics are, typically for Reference Recordings, of demonstration quality whether in stereo or 5.1 surround sound, and the audience is almost perfectly silent. This disc is the first in a new partnership between Reference Recordings, Pittsburgh, and Honeck–a rebirth for the label, and a huge victory for serious classical music lovers everywhere.

– David Hurwitz, ClassicsToday.com

Professin' the Blues proclaims Fiona Boyes passion for the Blues as she celebrates the unique contribution of recording and mastering engineer 'Professor' Keith O. Johnson, Reference Recording's Technical Director and audio legend. In her self-penned and illustrated liner notes Fiona makes the declaration, "'rofessor' Keith's amazing approach to capturing sounds, mostly with his own hand built equipment, is nothing short of sonic alchemy".

Australian Blues guitarist, vocalist, and songwriter Fiona Boyes has been recording and performing for more than 25 years, building a career that has taken her to major festivals and stages around the world. A veteran recording artist with 13 releases, she has received 5 Blues Music Award nominations in 4 different categories from the Blues Foundation in Memphis, won more than 30 Australian music awards, worldwide accolades and legions of supporters. Fiona's immersion in the rich musical and historical traditions that make up the Blues lend conviction and authenticity to both her guitar work and songwriting. Her abundant talent, artistic sincerity and musical integrity are a beacon.

In solo, duo and trio settings, Fiona presents 16 tunes (14 originals and 2 covers), employing a traditional acoustic guitar, two different metal body resonators and a unique 4-string cigar box guitar. Joining her are two highly respected instrumentalist; drummer Jimi Bott and bassist Denny Croy.

Recorded at Skywalker Sound in Marin County, California, Professin' The Blues, like all of 'Prof.' Johnson sessions, was recorded live, in real-time, with no separate tracks, overdubs, or effects. Co-produced by Fiona Boyes and Janice Mancuso.

"...our heroine perpetuates the blues legacy with a brave attitude and amazing conviction." Vicente Zumel, La Hora Del Blues

The Russian composer Sergei Prokofiev was one of the giants of 20th century music. Reference Recordings is proud to present the Utah Symphony conducted by Thierry Fischer, in grand new performances of "Alexander Nevsky" and the "Lieutenant Kijé Suite", two of his most brilliant and dramatic musical works. The music of Lieutenant Kijé was originally written as the score to the film of the same name, released in March 1934. Prokofiev soon adapted it into the five-movement Lieutenant Kijé Suite, first performed in December 1934, and which quickly became a favorite in the international concert repertoire. Then, in 1938, Prokofiev collaborated with film director Eisenstein to create the score for the film Alexander Nevsky. He later adapted much of his score into the large-scale cantata for mezzo-soprano, orchestra and chorus featured on this recording.

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REVIEW:

The Lieutenant Kijé Suite's piquant opening movement, ‘Kijé’s Birth’, is notable for some nimble playing, especially from the Utah Symphony’s woodwinds. ‘Romance’ is nicely shaped and I liked the contributions of the tenor saxophonist. The cheeky music of ‘Kijé’s Wedding’ is nicely pointed and the tuba ‘oompahs’ add a suitably amusing touch. In the concluding ‘Kijé’s Funeral’ Prokofiev offers a kind of musical obituary by weaving in snippets from the four preceding movements. This is a very nicely done performance and I enjoyed it.

The Alexander Nevsky cantata is a vivid, theatrical score and in the right hands it certainly packs a punch. This new version from Thierry Fischer has a lot going for it, not least the vivid recorded sound.

The quality of the sound is immediately evident in ‘Russia under Mongolian Tyranny’ where the brooding atmosphere established by Fischer and his orchestra is emphasised by the wide-ranging recording. The sound has impact and genuine presence, offering a vivid aural picture of the orchestra. The Utah choirs make a strong showing in the delivery of their long phrases in ‘Song of Alexander Nevsky’. Things really get cracking in ‘The Crusade in Pskov’ where the oppressive dissonance of Prokofiev’s music is strongly projected by the orchestra, reinforced eventually by the choir. The recording has power and clarity, maximising the impact of the performance.

– MusicWeb International

Reference Recordings proudly presents a unique album of one movement symphonies composed by Barber, Sibelius and Scriabin, in an outstanding interpretation from Michael Stern and the Kansas City Symphony. The album was produced by David Frost, seven-time winner of the Classical Producer of the Year GRAMMY® award. It was recorded by RR’s engineering team, comprised of GRAMMY®-winning engineer and Technical Director Keith O. Johnson, and multi-GRAMMY® nominated engineer Sean Martin. Music Director Michael Stern is in his second decade with the Kansas City Symphony, hailed for its remarkable artistic ascent, original programming, organizational development and stability, as well as the extraordinary growth of its varied audiences since his tenure began. The Kansas City Symphony has a vision to transform hearts, minds and its community through the power of symphonic music.

REVIEW:

With superb engineering, even listeners quite familiar with the Sibelius Symphony No. 7 and Scriabin's Le poème de l'extase, are going to hear marvelous little details like the small motives that kick Sibelius' organic evolution, or the organ that underlies Scriabin's shimmering evocations of ecstasy. The Barber First Symphony is an early work not often played, and Stern and Johnson unpack its busy brass writing effectively. None of the pieces is a true symphony, but each bids a different kind of farewell to the grand era of the symphony, and the works speak to each other in unexpected ways. The Kansas City Symphony musicians play for all they are worth, and lovers of early 20th century orchestral music will find this a stimulating item. For audiophiles, it's a must.

– AllMusicGuide.com (James Manheim)

GRAMMY®-winning conductor and composer José Serebrier is one of the most-recorded classical artists in history. Reference Recordings is proud to present nine works of José Serebrier, including four World Premières and the first digital recording of his dramatic Symphony for Percussion, performed by the Gnessin Percussion Ensemble of Moscow. The album features a variety of musical ensembles ranging from solo piano and a percussion ensemble, to full orchestra, tangos, flute concerti and a harp concerto, written throughout the span of Maestro Serebrier's long career.

This selection is HDCD (High Definition Compatible Digital) recording.

There is no shortage of recordings dedicated to Percy Grainger's music for wind band, and this one stands with the finest of them. It's also better recorded than most--much better. The sheer sonority of the winds and brass that Reference Recordings has captured is stunning. Trombones and tuba in particular have an unforgettable physical impact, making the big moments in Lincolnshire Posy, The Duke of Marlborough Fanfare, or The Gum-Suckers March all but overwhelming. Under Jerry Junkin's leadership, the Dallas Wind Symphony plays with its usual ebullience and expertise. I particularly enjoyed Molly on the Shore and Spoon River, while adding the choral parts to Children's March and After-Word provides a welcome touch of contrast and variety. No doubt about it, this is a terrific disc that Grainger fans and band music collectors should snap up without delay.

--David Hurwitz, ClassicsToday.com

If you are a lover of Christmas music—carols, popular songs, and all manner of medleys and clever arrangements of such—and you miss this extraordinary recording by the first-rate Dallas Wind Symphony, then your holiday listening stands to be just a bit more dull, less festive, and more ordinary than it could have been. This is a terrific program, in exemplary sound, that not only celebrates the Christmas music tradition but exemplifies the best of the wind ensemble genre, with its unique sonorities and long tradition of both originality and sense of playfulness and humor on the part of composers and arrangers.

The program opens with the obligatory fanfare—suitably titled Festival Fanfare—a nifty arrangement by John Wasson commissioned by the Dallas Wind Symphony, not surprisingly a showpiece for horns, full of familiar Christmas tunes. A decent but kinda square Sleigh Ride follows, along with a straightforward arrangement of Jesu, Joy of Man’s Desiring that beautifully exhibits the colors and rich textures of a first-rate wind band.

Among the highlights: my favorite, a celebration of the much-maligned minor mode—DWS saxophonist David Lovrien’s Minor Alterations: Christmas Through the Looking Glass, a “recasting” of favorite Christmas songs and carols (and even snippets of Tchaikovsky’s Nutcracker combined with Deck the Hall!) into a wonderful medley of minor-key madness (along with some melodic and rhythmic twists) that definitely calls for repeated listening. Another standout is The Christmas Song, with its fine alto sax solo by Donald Fabian, swingingly accompanied by the ensemble.

The big “classical” work is an arrangement simply called Russian Christmas Music, which apparently draws its sources from “Russian folk and Eastern Orthodox church music”. At almost 14 minutes, it’s by far the program’s most substantial entry, and it does show a wider range of technical virtuosity and different aspect of interpretive awareness than required in most of the other works, even if Alfred Reed’s arrangement begins to seem a bit long for the material after about 10 minutes. Never mind; any drift of attention is quickly recalled front and center with the concluding Christmas And Sousa Forever—the title giving away the concept. Wait until you hear how arranger Julie Giroux juxtaposes excerpts from such Christmas favorites as Leroy Anderson’s Sleigh Ride and Tchaikovsky’s Nutcracker with The Stars and Stripes Forever (and a couple of other marches)—not to mention the way she accompanies Rudolph the Red-Nosed Reindeer with that famous piccolo solo! It’s tempting to use that well-worn line, “if you buy only one Christmas CD this season, this one should be it”—but I won’t; I’ll just say that if by chance it is the only one, you won’t be disappointed.

-- David Vernier, ClassicsToday.com

HDCD SAMPLER VOL l Highlights from the first four HDCD releases. Includes: NELHYBEL: Trittico (from RR-52); NELSON: Behold Man (RR-49); ALBÉNIZ: Feast Day in Seville (RR-52); THOMPSON: The Testament of Freedom (RR-49); MIKE GARSON: All Blues (M. Davis) (RR-53); DICK HYMAN: The Gal From Joe's (D. Ellington) (RR-50). (TT: 33:37)

Hybrid SACD: This SACD will play on standard CD players as well as SACD players.

The Utah Symphony is one of America’s major symphony orchestras and a leading cultural organization in the Intermountain West. It is recognized internationally for its distinctive performances, commitment to music education programs, history and recording legacy. Here they join with the internationally-renowned Mormon Tabernacle Choir to present a thrilling and authoritative interpretation of the immense Mahler Symphony No. 8 “Symphony of a Thousand.” This new release was recorded live in February 2016, from concerts in the Salt Lake Tabernacle in Salt Lake City, Utah, sponsored by the O.C. Tanner Gift of Music. This organization was founded over 30 years ago through the combined vision of Obert C. Tanner and Gordon B. Hinckley, to share performances of the Mormon Tabernacle Choir and Utah Symphony, as a gift to the community.

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REVIEW:

Thierry Fischer’s Utah recording will take some doing to be beaten. The overall sensitivity to the composer’s intentions is perhaps the performance's most remarkable asset (every nuance and facet is found, from the more restrained coloristic passages to the great swells of orchestral excitement).

– Classical CD Choice

From the Age of Swing

* Twelve top tracks from the best Reference Recordings jazz titles! * Jazz covers a lot of musical territory, and many of its varied styles are represented here. Stride piano from the 1920s rubs shoulders with swing from the 1940s, classic combo sounds from the 1950s, salsa-flavored dance music, and recently created pieces that stretch the very boundaries of jazz. * All were recorded by "Prof." Keith O. Johnson--some live, some in studios, some in concert halls--always with his own microphones, cables, and electronics. The earliest was done with his first hand-built analog tape recorder sporting three channels; the most recent with cutting-edge high-resolution digital technology.

A 2020 GRAMMY Nominee for Best Contemporary Classical Composition!

World Premiere Recording! The Florentine Opera brings Carlisle Floyd's daring new opera, "Prince of Players", to life! Floyd is one of the foremost composers and librettists of opera in the world today, and is considered the "Father of American Opera." During his long career, Floyd has composed 13 operas. His most recent, "Prince of Players", which premiered in March 2016 at the Houston Grand Opera, is based on the true story of the Restoration-era actor Edward Kynaston (1640–1706). The plot centers on the crisis faced by Kynaston when, by royal decree, he is prohibited from plying the craft that made him famous—playing female roles. With this Milwaukee production, the Florentine Opera gives Prince of Players its world-premiere live recording.

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REVIEW:

The full-orchestral version of Carlisle Floyd’s Prince of Players does full justice to the sexual tensions of the historical period it adores, if less provocatively so without the visuals. Floyd and his collaborative team also gnaw at the relationship between words and music or, as in this case, between music and words. The structure is signposted by three fragments from a truncated version of the death scene from Othello during which Edward Kynaston (Keith Phares) segues from being strangled as Desdemona to strangling as Othello. The dramatic impact is heightened by Phares’s unswerving classical line and intense underlying emotion set against Kate Royal’s stunning portrayal of the era’s first female superstar, moving from the music hall to starring with her lover. The Florentine Opera production features Alexander Dobson’s powerful, compassionate Thomas Betterton, tenors Chad Shelton, Frank Kelley and Vale Rideout as the King and his courtiers, and Rena Harms as Nell Gwyn, each of whom give full reign to their key roles. The participation of the Milwaukee Symphony further justifies the decision to record the full-orchestral version, to which Reference does its usual audiophile justice.

– Gramophone