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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

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Anton Schwartz (tenor sax) Peter Bernstein (guitar) Taylor Eigsti (piano) John Shifflett (acoustic bass) Tim Bulkley (drums) Produced by Bud Spangler and Anton Schwartz. Recording and Mixing Engineer: Dan Feiszli. Mastering engineer: Paul Stubblebine. 'Radiant Blue' had a long run on the US jazz radio charts, peaking at number four and earning a JazzWeek cover story. 'Much like Chris Potter, Anton Schwartz is a nice and unassuming guy to talk to, yet both turn into modern day tenor titans as soon as they put the mouthpiece between their lips... There's a lot to like here with sharp arrangements and crisp straight ahead playing that seems to hit all the right notes.' - Tad Hendrickson, JazzWeek Magazine '... this is a first-class audiophile product.' - John Henry, Audiophile Audition 'Anton Schwartz and his sidemen are deadly serious about their fun... they are all adept at staying in the pocket while stretching it. As for Schwartz, he has a classic clear-throated tenor sound and kicks like a mule. His zeal to communicate is fervent yet sophisticated... Radiant Blue could make an excellent introduction to jazz for someone on the outside looking for a way in.' - Thomas Conrad, Jazz Times Magazine 'This is grade 'A' 'all-killer-no-filler'... The five musicians are virtuosos, endowed with temperance, eschewing gratuity for the greater good of the music... Schwartz' compositions are engaging and sophisticated... these are truly unique musicians of the highest order.' - Jan-Mikael Erakare, Abstract Logix 'Schwartz blows with a warm, fluid tone, and great economy... his decisions all sound right... This ensemble shines.... The music bins are full of bluesy jazz albums; this one brims with optimism and intelligence.' - Ed Kopp, JAZZIZ Magazine The liner notes from the CD: THE BLUES IS A FEELING THE BLUES IS A FORM The blues is a feeling. The blues is a form. Two statements about music. You've likely heard the first one at some point, but perhaps not the second. So I'd like to explain a bit. Music is nothing without feeling, and nowhere is this more true than in blues music. Blues greats such as Robert Johnson, Muddy Waters and B.B. King have been masters at conveying emotion, and they passed down as their legacy an emotional vocabulary of musical riffs, stylings, phrases and techniques that form the vernacular of blues music. But no less a part of their legacy is a contribution of a different nature: the blues *form*. In poetry, a sonnet is distinguished by it's form - a particular fourteen-line structure. So, too, much of blues music conforms to a particular structure - a distinct sequence of chords twelve measures in length. That structure has come to permeate popular music far beyond the genre of blues. 'Rock Around the Clock' is, structurally, a perfect blues. So is the theme from *Batman*. And Charlie Parker's 'Now's The Time.' But none of these would be called blues music. So when jazz musicians say, 'let's play a blues,' what they are proposing is not a song with a certain feeling, but a song with a certain structure. Radiant Blue is a collection of ten blueses - which is to say, ten songs based on the blues form. To be sure, there are stylistic elements of the blues in many of the songs (check out 'Sneaking Suspicion' and 'Blues for Now'). But most of the music is not particularly bluesy. The grooves run a wide gamut, from fast straight ahead jazz to New Orleans to Afro-Samba to feel-good South African to angular funk. _Radiant Blue_ is a CD of blueses, but it is not a blues CD any more than The Who's rock opera, *Tommy*, is an opera CD. If you're familiar with music theory, you'll know that I've taken many liberties with the blues form throughout the CD. But my hope is that, regardless of your musical knowledge, with a few listenings of the CD you will be able to 'squint your ears' and make out the shape of a blues, in the same way you might recognize an old friend at a distance by just their silhouette and their walk. For jazz musicians, the blues form is such a friend. - Anton Schwartz, June, 2006, Oakland.

Saxophonist Anton Schwartz brings music for the serious jazz lover, but is also fun and accessible to all. With classic holiday songs and compelling arrangements, this is a perfect stocking stuffer for any music lover!. Anton Jazz.2004.

When Music Calls

Flash Mob

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Great Performances, Great Sound and World-Renowned Artists! Reference Recordings is proud to present The Complete Beethoven Piano Concertos played by Grammy-winning Garrick Ohlsson, performing with the Grand Teton Music Festival Orchestra, conducted by Sir Donald Runnicles. A student of the late Claudio Arrau, Mr. Ohlsson is especially noted for his masterly performances of the works of Mozart, Beethoven and Schubert, as well as the Romantic repertoire. He is the only American to win first prize in the International Chopin Piano Competition.

This new recording represents a pinnacle in his career. The Grand Teton Music Festival Orchestra consists of top talent from across the country, including more than 220 musicians from 90 orchestras and 65 institutions of higher learning, many performing together each summer for over 25 years. The Festival, founded in 1962, also welcomes yearly some of the most sought-after soloists and visiting artists in classical music today. Under the baton of world-renowned conductor Sir Donald Runnicles, these musicians come together to gather inspiration from the mountain setting and to provide spectacular music for Festival audiences. This album was recorded during live performances in July 2022, produced by Victor Muenzer, and engineered by Kevin Harbison.

REVIEWS:

Garrick Ohlsson and Donald Runnicles accomplished the ambitious feat of recording all five Beethoven piano concertos over five consecutive days in July 2022. You wouldn’t know that from these unpressured and poised performances, at least for the most part. The Grand Teton Music Festival Orchestra may be a pick-up aggregation, yet Runnicles obtains world-class results by way of clear-cut balances between orchestral strands, and virtually immaculate unanimity of ensemble attacks and releases.

Ohlsson’s 74-year-old fingers operate at unambiguous full capacity. Runs and trills are as accurate, assured, and directional as ever; themes are thoughtfully characterized and articulated with variety. Unlike many pianists who rattle off the “Emperor” concerto’s introductory cadenza like a day at the races, Ohlsson’s shapely phrasing draws attention to the composer rather than to himself. I’m especially taken with Ohlsson’s vocally informed legato and rapt sustaining power in all five slow movements, where he strikes a happy medium between his one-time mentor Claudio Arrau’s rhetorical inflections and Wilhelm Kempff’s luminous intimacy (the pianist’s hauntingly calibrated left-hand tremolos in No. 3’s Largo seem to emerge from afar). The assiduously dovetailed rapid exchanges between soloist and orchestra in No. 4’s Rondo either result from painstaking rehearsal or profound mental telepathy.

To be sure, all is not perfect: Tempos bog down in No. 1’s Allegro con brio from the development section on, while No. 2’s underplayed Rondo Finale lacks the bracing angularity that Schnabel, Kapell, Gould, and Fleisher brought to this music. The Creatures of Prometheus Overture that follows the “Emperor” on Disc 3 begins with a crisp, hard-hitting introduction, then settles into auto-pilot for the main section. If the Ohlsson/Runnicles Beethoven cycle falls short of the freshness and individuality distinguishing recent contenders like Zhang/Stutzmann, Barnatan/Gilbert, and Hough/Lintu, these superbly engineered recordings still offer much to savor.

 

-- ClassicsToday.com (Jed Distler)

Of all pianists before the public today, Ohlsson’s technique is among the most honest. Every note is present and accounted for, nothing ever fudged, all within an exquisitely calculated proportionality. His approach is, above all, lyrical. This is a bouquet of Beethoven concertos like no other.

-- Gramophone

I have several Reference Recordings in my collection and I’m always bowled over by their impeccability, where everything is recorded and mastered to perfection. For me, they’re the crème de la crème when it comes to recorded sound. This new release is no exception. The engineers have done a sterling job in placing the solo piano ideally in the sound picture. The three discs (Hybrid SACDS with Stereo SACD, 5.0 Surround SACD and Stereo CD layers) come nicely presented in the traditional fatbox format, and are well-annotated. There’s no doubting that this will be one of my Recordings of the Year.

-- MusicWeb International

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The followup to Schwartz's acclaimed debut album, 'When Music Calls'. 'The Slow Lane' is 70 minutes of dynamic, acoustic jazz! 'Schwartz savors the implications of each note, allowing the listener to delight in the endless melodies created by his stirri.Independient.2005.

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The fourth and final volume in this important series! This new album showcases guitarist Roberto Moronn Perez performing works that are fundamental milestones of the guitar repertoire of the 20th century. Included are works by Alexandre Tansman, Mario Castelnuovo-Tedesco, Hans Haug, Joan Manen and Federico Mompou. These works were also performed by Segovia himself during his lifetime. The genesis for this unique series is a collection of pieces recovered in May 2001 at Segovia's archive in Spain. All pieces in the archive were dedicated to Segovia or commissioned by him, involving composers from eight countries. This new album was recorded in the lovely acoustics of Holy Trinity Church, Weston, Hertfordshire, U.K. It was produced, recorded, edited and mastered by the outstanding U.K. engineer John Taylor.

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Ukrainian and American Music for Piano Duo, performed by Ukrainian artists Anastasiia Larchikova and Mykhailo Diordiiev. These two young pianists perform a splendid program of half Ukrainian/half American compositions, all contemporary and all very accessible. On the American side the album has John Corigliano's "Gazebo Dances", Ricky Ian Gordon's "Ring-A-Ding-Ding", and a world premiere recording of Lowell Liebermann's "Romance, Etude and Chorale, Op. 134". This is the centerpiece of the album, and it is a stunning work that was commissioned by Steinway as a wedding present to Lang Lang. The Ukrainian music features "Carpathian Song" by Zoltan Almashi, composer, cellist and winner of the Lev Revultsky Prize in 2003; "Three Extravagant Dances" by the late Myroslav Skoryk, who was awarded the titles "The People's Artist" and "Hero of Ukraine", and whose music contains stylistic traits from Ukrainian folk music; and lastly "Ru-um-bambar" by Bohdan Sehin, who studied with M. Skoryk and whose music is highly textured, with Eastern European expressiveness. Proceeds from this album will be donated to Ukraine humanitarian aid organizations.

Reference Recordings is proud to present True Concord's newest album, A Dream So Bright, featuring two world premiere recordings of works by Jake Runestad. His EMMY-winning choral/orchestral work, Earth Symphony, with poetry of Todd Boss, was commissioned and premiered by True Concord in 2022. Dreams of the Fallen, Runestad's prize-winning work for solo piano, chorus & orchestra, features pianist Jeffrey Biegel and includes texts of the poet Brian Turner, a veteran of the Iraq and Afghanistan war. Turner states: "When the music lifts to it's peak, when the choir sings into the high cathedral of the human experience-the hairs on the back of my neck take notice, my own heart takes notice, and I am moved once again by the fusion of sound and story. "Dreams of the Fallen" is a compassionate, emotionally-layered, elegant, and poignant work of art that I am proud to be a part of. " A Dream So Bright was recorded in outstanding fidelity by engineer John Polito, and produced by GRAMMY®-award winner Peter Rutenberg of Los Angeles. Recorded May 24-26, 2023 at Camelback Bible Church, Paradise Valley, Arizona

The six suites for solo cello are frequently considered to be Bach’s greatest masterpieces and are a pinnacle of the Baroque cello repertory. This new album of Bach’s complete Cello Suites has the unique feature of being performed using two different historic cellos, one of them being a rare five-string instrument from the 17th century, which is used on Suite 6.

Cellist William Skeen is one of the world’s premiere Baroque cellists. He serves as Principal Cellist with Philharmonia Baroque Orchestra, Voices of Music, and was Principal Cellist of the American Bach Soloists for nearly two decades. Mr. Skeen taught Baroque cello and viola da gamba at the University of Southern California for two decades. Mr. Skeen has received two GRAMMY® nominations for previous albums. He continues to perform regularly with major orchestras and Baroque groups around the world.

This new release of the Six Cello Suites was beautifully recorded by famed multi-GRAMMY®-winning engineer Leslie Ann Jones at Skywalker Sound in Marin County, California. It was mastered by RR's own multi-GRAMMY®-nominated engineer, Sean Royce Martin. The album was produced by the outstanding San Francisco-based Lolly Lewis, who in recent years has been particularly focused on period instrument performance and has produced six albums with the New Esterházy Quartet.

Pianist, composer, and producer Sergei Kvitko’s new album, Schubert by Candlelight - Live in Madrid is a stunning collection of Schubert’s piano works. The album features thirteen piano works that showcase the beauty and depth of Schubert’s music, as well as the artistry and versatility of Kvitko, who is not only an award-winning, critically acclaimed pianist, but also a composer, arranger, producer and sound engineer. The album was recorded at Hinves Pianos, Madrid, Spain on April 7, 2022. (Reference)

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The great baroque composer George Frideric Handel’s final masterpiece!

Recorded live in September 2022 by multi-GRAMMY®-award winning engineer Christopher Willis, JEPHTHA is performed by Music of the Baroque - Chorus & Orchestra, conducted by acclaimed British conductor Dame Jane Glover, who has been its music director since 2002.

Now in its fifth decade, Music of the Baroque is one of the leading professional ensembles in America devoted to 17th and 18th-century works. The Chicago Sun-Times writes, “Lyric Opera of Chicago and the Chicago Symphony Orchestra may be the big guys on the local classical music scene, but in terms of sheer quality of performance… Music of the Baroque inhabits the same stratosphere.” Andrew Megill directs the Chorus and six outstanding vocal soloists in this definitive performance of Handel's sublime oratorio JEPHTHA."

REVIEW:

The recording is present and vibrant. The balance of the harpsichord seems particularly right here. The solo voices are placed forward, but not excessively so. All told, this exciting release presents as compelling and dramatic a performance of Handel’s Jephtha as one could want. Urgently recommended.

— Fanfare

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REFERENCE RECORDINGS is proud to announce "Reencuentros," Cecilia Duarte’s first solo album, produced by multiple-time Producer of the Year GRAMMY® winner, Blanton Alspaugh. Cecilia is best known as a classical and opera singer. This album is a departure, containing 12 romantic boleros from multiple countries. Sung in Spanish, these Latin popular standards are truly art songs from the mid-20th century. Cecilia is accompanied by Trio Chapultepec: Vincent A. Pequeño, Israel Alcala, and William Carlton Galvez, joined by Jesús Pacheco on percussion.

REVIEW:

Mezzo-soprano Cecilia Duarte, born in Chihuahua, Mexico, now makes her home in the United States. Reencuentros is her debut solo album for Reference Recordings. The album, dedicated to Duarte’s mother, and conceived during the pandemic, offers a collection of boleros.

The featured repertoire is by composers from Peru, Ecuador, Brazil, Argentina, Mexico, Puerto Rico, Cuba, and Chile. It’s clear that her chosen repertoire is close to the singer’s heart. She sings the various boleros with a lovely and rich tone, aligned with phrasing that is both elegant and seductive. Duarte allows these songs to make their impression without vocal or interpretive overreaching. And because of her keen, subtle artistry, the result is mesmerizing. The musicians collaborating with Duarte, offering both instrumental and vocal support, complement the mezzo’s refined approach.

The recording, typical of RR, is superb, featuring an ideal natural balance of presence, color, and detail. The booklet includes Duarte’s comments on the songs, as well as full Spanish texts and English translations. This recital is a winner in every respect.

-- Fanfare