This 2014 recording saw Robin Ticciati and the Scottish Chamber Orchestra embark upon their first symphonic cycle together in a performance which earnt widespread praise. Sir Simon Rattle commented, ‘Robin makes a clear case for how the revised version can retain the radical edge of the 1841 version. Still it sounds like a fireball and I take my hat off to him.’ Schumann: The Symphonies also won a prestigious Edison Award, received several five star reviews and featured in multiple critics’ ‘Best of 2014’ lists worldwide, including The Sunday Times Top 10. When Ticciati and the SCO performed the Third Symphony at the 2017 BBC Proms, the critics were equally effusive. The symphonies are very close to Robin Ticciati’s heart; Schumann is one of his favourite composers and has often spoken about how important poetry, colour and story are in Schumann’s music. The SCO’s smaller forces bring a lightness of touch and a clarity to the counterpoint; under Ticciati they achieve a sense of movement that no previous recording has.

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Ticciati clearly knows how he wants this music to go and his strong partnership with the Edinburgh players enables him to shape readings notable for their energy and individuality. Throughout the performances are characterised by a woodwind sweetness that is becoming a trademark of this orchestra.

– Gramophone

Sony Classical is pleased to announce the first release of Alexander Brailowsky’s complete RCA Victor recordings, many of them never before available in the digital medium.

Born in 1896 in Kiev, Brailowsky studied at the conservatory in his native city, then part of the Russian empire. In 1911, he went to Vienna to become a pupil of the legendary Theodor Leschetizky, who taught many of the 20th century’s outstanding pianists. During World War I Brailowsky also studied with Busoni in Switzerland, and in 1919 made his debut in Paris. Five years later came his first appearance in New York where he settled, then making regular coast-to-coast tours of North America while continuing to visit Europe.

There was one composer with whom Alexander Brailowsky was associated throughout his career – and has remained associated through recordings since his death in 1976: Frederic Chopin. Brailowsky was the first pianist to present Chopin’s entire 169 solo works as a cycle, performing this feat before capacity audiences in New York, Brussels, Zurich, Mexico City, Buenos Aires, Montevideo, and Paris. At the end of his 1938 Chopin series in New York, one reviewer noted that “there are few enough pianists who have the prodigious memory, the physical strength, the comprehensive technique required for such an undertaking; there are far fewer who have – plus all these – the requisite musicianship. Mr. Brailowsky is one of these latter few.”

Not surprisingly, Sony Classical’s new comprehensive reissue of Brailowsky’s RCA albums largely comprises music by Chopin. Both piano concertos are included – No. 1 with William Steinberg conducting the RCA Victor Symphony Orchestra in 1949 and No. 2 with Charles Munch and the Boston Symphony Orchestra from 1954. High Fidelity later wrote of these two performances: “Brailowsky’s energetically contoured, sharply etched clarity represents an emerging modernity of outlook that points to present-day Chopin players.” The set also features Brailowsky’s two traversals of the Waltzes, as well as his complete recordings of the Etudes, Preludes, and Nocturnes, plus Sonatas Nos. 2 and 3, the Ecossaises, and Berceuse. Of Brailowsky’s Nocturnes recording, Gramophone’s reviewer wrote: “He could sing beautifully at the keyboard. His nocturnes as a whole have a touching humanity and simplicity … The mono RCA sound is quite velvety.”

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.

This new collection of pieces for Lyrical Clarinet follows Michael Collins’ first volume which included sonatas by Poulenc and Saint-Saens. This varied repertoire ranges from short, cheerful numbers to romantic and enchanting, and brilliantly displays the incredible technical and dynamic range of the instrument. Clarinetist Michael Collins has won multiple awards for his performance, namely the Royal Philharmonic Society’s Instrumentalist of the Year Award in 2007. He has also become increasingly regarded as a conductor, and currently serves as Principal Conductor of the City of London Sinfonia.

He is already being compared to Daniil Trifonov: The young Siberian pianist Sergey Tanin (*1995) is one of the up-and-coming and most promising pianists of his generation. Now he presents his debut album on PROSPERO. With works by Brahms, Schubert/Liszt and Prokofieff, he can impressively demonstrate both a mature interpretational depth as well as musicality and virtuosity. Born in 1995 in Siberia/Yakutia, Sergey Tanin started to play the piano at the age of 5. At 11, he already performed with the Moscow Symphony Orchestra in the Great Hall of the Tchaikovsky Conservatory in Moscow. After his graduation in 2019 from Moscow Conservatory (class of prof. Irina Plotnikova), Sergey continued to study at Basel Musik Academie with Claudio Martinez-Mehner. He is holder of the Swiss Government Excellence Scholarship and in 2020, the Swiss Television (SRF) released a documentary about Sergey - "The Pianist Who Came In From the Cold".

Renowned for his interpretation of the French repertoire, Seattle Symphony Music Director Ludovic Morlot and the orchestra are joined by acclaimed tenor Kenneth Tarver, a "voice of considerable beauty and freedom" (Washington Post) in a masterful performance of Hector Berlioz's momentous Requiem. The first performance of Hector Berlioz's Grande messe des morts, or Requiem, took place in Paris in 1837. It was one of the high points of it's author's career, but this triumph did not come easily. Still in his early 30s, Berlioz was widely considered the untamed radical among French composers, and the conservative bureaucrats who controlled the Paris Opera, the Conservatoire and other musical institutions saw fit to place obstacles in his path whenever they could. Kenneth Tarver is considered one of the outstanding Bel Canto tenors of his generation, acknowledged for his beauty of tone, virtuosic technique, extensive and even vocal range, coupled with an attractive and elegant stage presence.

Sviatoslav Richter's discography is one of the most disorderly and complex. Organizing an "organic" collection of studio recordings, was the task of this 2-album box. In this way it is possible to access the teaching of this eclectic pianist, caught in his golden years, in the most complex repertoire of the Polish composer. Sviatoslav Teofilovich Richter was a Soviet pianist of German extraction (German father). He was widely recognized as one of the greatest pianists of the 20th century and is sometimes proposed as the greatest of all. He was well known for his vast repertoire, effortless technique and poetic phrasing. Despite his huge discography, Sviatoslav Richter hated the process of recording. Glenn Gould called him one of the most powerful musical communicators of our time, and it was in concert that Richter's musical genius found it's full expression.

Glenn Gould maintained a very peculiar relationship, a sort of love and hate, with Beethoven's music, which he performed out of any traditional scheme or system. This CD presents two live Gould rarities, the first one being the Piano Concerto No.5 in E-flat, op. 73 "Emperor", recorded live in Buffalo, NY on 6 November 1960 with the conductor Josef Krips. The second live recording on this CD, taking place only two weeks earlier, concerns Beethoven's Piano Concerto No.2 in B-flat, op. 19, conducted by Paul Paray, in an original and personal performance by both these artists. This very significant addition to the discography of Glenn Gould furthers the image of this eclectic, fascinating and singular artist.

The Skride Piano Quartet is made up of four likeminded musicians who have each achieved success as a soloist at the highest levels. The 2016-17 season included performances at the Schubertiade Schwarzenberg, Musikverein Wien, Laeiszhalle Hamburg, Malmo Chamber Music Festival, and BASF Ludwigshafen. Upcoming performances include the Concertgebouw, Philharmonie Essen, Great Guild Hall Riga, and the Louisiana Museum of Modern Art. Making their North American debut in the 2018-19 season, the Quartet offers programs featuring highlights from the piano quartet repertoire. The quartet is violinist Baiba Skride, violist Lise Berthaud, cellist Harriet Krijgh, and pianist Lauma Skride. This debut album includes the most famous Piano Quartets of Classical literature, by Mozart and Brahms as well then the unique Quartet movement by Gustav Mahler.

Ramón Vargas is one of the leading tenors of our time and one of the most sought-after worldwide. His breakthrough came in 1983 with the Mexican conductor Eduardo Mata. (Capriccio)

The PROSPERO label presents here Nikolaus Harnoncourt's legendary Zurich farewell concert of November 2011. After 36 years of opera and concert activities at Lake Zurich, the maestro bid farewell to his orchestra and his audience with Mozart's Wind Serenade K. 361 and Beethoven's Fifth Symphony. The conductor originally intended to work on the Gran Partita at the performance venue, the Zurich Tonhalle. However, as he was already in poor health, the meticulous rehearsals typical of the maestro were moved to his home in St. Georgen in Upper Austria. The musicians of the Philharmonia Zurich (formerly the Zurich Opera House Orchestra), who were able to experience how the interpretation was fine-tuned there, still talk today with shining eyes about this intensive and immensely enriching collaboration. So it is not surprising that the orchestra gave literally 'everything' at the farewell concert for one of the most important of his guild, in order to give it's conductor a worthy musical farewell. Swiss radio raved at the time about a "breathtaking moment of the concert year 2011". One critic even spoke of the "craziest performance of Beethoven's Fifth ever heard in the Tonhalle Zurich". This concert event is now available in a sonically carefully restored 'splendid edition'. As a hardcover book with 44-page booklet, including many illustrations and never-before-published visual material. As a special musical bonus, the edition contains a rehearsal recording of Beethoven's Fateful Symphony.

Classical Music

A few weeks before Schubert's death in November 1828, the last two piano sonatas, A major D 959 and B flat major D 960, were written, which together with the C minor Sonata D 958 belong to the "Sonata Triad" - which can probably be called the crowning achievement of his piano work. Schubert's first draft shows how the thirty-one-year-old worked on these works simultaneously; also, the counting of B flat major as Sonata No. 3 is by Schubert's hand. The sonatas are thus cyclically arranged by the composer and have many compositional similarities. Schubert dedicated this triad to his famous contemporary, the virtuoso pianist and Mozart student Johann Nepomuk Hummel. However, it was not published until 1839 - 11 years after Schubert's death, by which time Hummel had already passed away, and so the dedication was transferred to Robert Schumann by the publisher Diabelli & Co. While the Impromptus or Moments musicaux were always very popular, the sonatas led a shadowy existence for a long time. In both sonatas we experience a wealth of different characters and contrasting emotions. The arc of tension leads from the greatest brightness to the deepest darkness, from powerful verve and chromatic turmoil in the Allegro of the A major Sonata to cantabile immersion and tenderness in the Molto moderato of B flat major. In the slow movements - the F minor Andantino in A major as well as the Andante sostenuto in C sharp minor in B flat major - a shattering sadness seizes us - indeed we experience deepest resignation and mental abyss. The wanderer Schubert is drawn to the abysmal.

Two very rare operas in one act. Pigmalione was Gaetano Donizetti's first opera, written to a libretto by Simeone Antonio Sografi in just two weeks at the age of nineteen. The "lyrical scene" Pigmalione, as Donizetti himself defined it, is the composer's only approach to a mythological subject and tells the story of a sculptor whose statue becomes alive. The main role is sung by Antonino Siragusa, who gives a masterful interpretation, especially in the long and significant recitatives, and displays a polished and colourful voice. Excellent also is the Japanese soprano Aya Wakizono, Galatea, whose enticing voice well suits the requirements of her short part. Che originali! Is a little-known farce in a single act on a libretto by Gaetano Rossi, and was, from the very beginning, one of Giovanni Simone Mayr's most successful operas. The opera tells the story of a music fanatic, Don Febeo: in his house everybody must know and love music. Emanuele Sinisi's beautiful sets are almost surreal but well suited to Febeo's bizarre affair. The direction is humorous, often verging on the grotesque, in line with the style of the farce but always elegant and well-structured from a dramaturgical point of view. The protagonist, Febeo, is entrusted to Bruno de Simone, an excellent actor endowed with a clear and precise voice, and a master in the fast spelled-out passages.

Pianist Min-Jung Kym makes her recording debut on Signum Records, leading the Philharmonia Orchestra under conductor Clemens Schuldt in performances of Beethoven's Piano Concerto No. 4, and joined by Zsolt-Tihamer Visontay for Mendelssohn's Double Concerto for Violin, Piano and String Orchestra in D Minor. Steinway Artist Min-Jung Kym has acquired an internationally recognized reputation performing with some of the world's leading orchestras and musicians, and has enjoyed collaborations including with (amongst others) Barry Wordsworth, Alison Balsom, the Haffner Ensemble, Pierre Amoyal, Leon Bosch, Joy Farrall, Andrew Haveron, Sergey Levitin, Adrian Brendel, Thomas Carroll, Mats Lidstrom and the soprano Susan Bickley. Min-Jung was the 'pianist of choice' for the masterclasses of the legendary violinist Ruggiero Ricci. "Min-Jung is an exceptionally talented pianist, with a wonderfully controlled and even technique, combined with a highly sensitive approach to the music." (Ruggiero Ricci)

Katharina Wagner, the great-granddaughter of Richard Wagner, is currently director of the Bayreuth Festival, making this recording even more special.. Tristan und Isolde was first performed in 1865 and provided inspiration to many composers including Mahler, Strauss, Szymanowski and Berg. It is widely acknowledged as one of the peaks of the operatic repertoire, and has been performed regularly since it's premiere. This production, by renowned director Christoph Marthaler, stars leading Wagner exponents Robert Dean Smith and Ir�ne Theorin in the title roles, supported by the Bayreuth Festival Chorus and Orchestra conducted by Peter Schneider. The press had only good things to say about this performance: "It's hard to know where to point the awards finger first in such a complete ensemble performance... Musically everything is fine under the super-experienced Peter Schneider... Despite the ferocious competition, absolutely unmissable.' (Gramophone) 'Peter Schneider conducted with real feeling for the score and the prelude to the first act stole upon the ear with the magic of Bayreuth's amazing acoustics.' (The Stage)

Before Felix Mendelssohn produced his Octet for strings in 1825, only Louis Spohr had composed for a similar combination of instruments. Rather than an octet, however, Spohr’s work was a ‘double quartet’ written for two equal but independent string quartets. Mendelssohn, on the other hand, treated the eight instruments as a single unit, collaborating ‘in symphonic orchestral style’, as he himself put it. He was only sixteen when he composed the Octet, full of a youthful ardour that has made it one of his most popular works. It is a farewell to the Mozartian style that had characterized Mendelssohn’s early production and at the same time a first step on the way to Romanticism. The second octet on this disc is also a youthful work written at a time of transition, now from Romanticism to Modernism: George Enescu was 19 years old when he completed his Octet in C major in December 1900. The work is concentrated, complex and highly contrapuntal, a sounding illustration of what Enescu elsewhere described in words: ‘I am by nature a polyphonist, not at all an advocate of sequences of pretty chords. I have a horror of anything that stagnates. For me, music is not a state but rather an action…’ Among the small number of works for this instrumental combination, these belong to the very finest, and are here performed by two of today’s leading quartets: the Gringolts Quartet and Meta4 have both made numerous acclaimed recordings in the most diverse repertoire.

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REVIEW:

At a purely technical level there are few recordings of the Mendelssohn Octet that come anywhere near the supreme expertise of the combined Gringolts Quartet and Meta4. There is a thrilling sense of the music being lived through as an emotional imperative, and the ensemble creates a simply glorious corporate sonority.

Such is the depth of sound created by these expert players that there are times in the Enescu they sound like a string orchestra in full flow. They hurl themselves into the fray with a sensitivity to semantic context that is deeply immersive and compelling. An outstanding coupling.

– The Strad (Julian Haylock)

To mark the 180th anniversary of Antonín Dvorák’s birth, Supraphon has released a special 3-album set. Presenting a wide selection of the composer’s chamber, orchestral and vocal works, it contains recordings made by superb musicians in the second half of the 20th century that are still exemplary and unrivalled in many a respect. Dvorák is paid tribute to by renowned Czech Philharmonic conductors (Talich, Ancerl, Neumann, Belohlávek, Sawallisch, Mackerras, and others), instrumentalists (Rostropovich, May, Suk and Panenka), singers (Soukupová, Benacková, Urbanová, Blachut, Novák), choirmasters (Jan and Pavel Kühn), as well as the Prague, Dvorák, Smetana and Panocha Quartets. The album’s repertoire was compiled by Patrick Lambert, a former long-time music editor and BBC Radio 3 producer, a great lover and connoisseur of Czech music, who focused on the themes to which Antonín Dvorák had a strong, passionate affinity: the Nation and Homeland, the Slavonic Soul, Nature, God and Religion, Family and Humour. Besides widely known opuses (yet in lesser-known recordings), the album features many beautiful Dvorák pieces that are not performed overly often, including the cycles In Nature’s Realm, Love Songs and Poetic Moods, the Serenade for Wind Instruments, and scenes from the operas Dimitrij and The Jacobin. As Patrick Lambert puts it: “The new album is for everyone who wants to revel in the sheer diversity and profundity of Dvorák’s music.” Antonín Dvorák at his most beautiful – through the eyes of a great connoisseur and lover of his music

MacBeth undoubtedly marked a turning point in Verdi's operatic writing, i. e. , the foregrounding of the characters' introspective, psychological aspects. This DVD/Blu-ray captures the production staged at Novara's Teatro Coccia during the 2013-14 season, with thriller/horror filmmaker Dario Argento tackling opera direction for the first time. One could only expect a direction in line with his films, and from that point of view this MacBeth meets expectations, with the visualization of the opera's bloody, indeed gory scenes matching the dark, brutal character of Shakespeare work.

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

Shakespeare provided lifelong inspiration for the towering operatic genius that was Giuseppe Verdi, but just three of the Bard’s plays ever emerged fully-fledged from the composer’s pen. This trio of landmark productions, featuring a veritable constellation of singers, conductors and directors, are united here under the banner of Verdi’s Shakepeare Operas: Macbeth, which lifted the young composer out of his hard-working ‘galley years’, propelling him to international fame and universal acclaim, and Otello and Falstaff, his final two crowning operatic achievements. Simon Keenlyside and Liudmyla Monastyrska are imposing as the Thane and his Lady in Phyllida Lloyd’s sumptuous production of The Scottish Play for The Royal Opera, conducted by Sir Antonio Pappano, while José Cura interprets the Moor in a profound, intense staging by Willy Decker at Barcelona’s Liceu. By the end of his dramatic opera career, Verdi claimed he had ‘earned at last the right to laugh a little’, and Richard Jones’s Glyndebourne Festival production of Falstaff radiates humour, tinged with bitterness and wisdom and brought to life by an international ensemble cast with Christopher Purves in the title role under the inspiring baton of Vladimir Jurowski.

Subtitles: English, French, German, Spanish, Italian, Catalan (Otello), Japanese (Macbeth)
Running time: 170 Minutes (Macbeth), 23 Minutes (Bonus), 151 Minutes (Otello), 136 Minutes (Falstaff)
Sound format: 2.0LPCM + 5.1(5.0) DTS

Sor: Studies in a Form of a Suite

Antonín Dvorák needs no introduction – neither in his homeland nor anywhere else in the world. But how widely known are his piano works? The Piano Concerto in G minor has recently enjoyed a degree of revived interest, yet Dvorák’s pieces for solo piano are in the main an unexplored landscape even for many pianists and musicologists. More’s the pity! They do not possess Chopin’s sway and finely nuanced emotionality, or Liszt’s ostentatious virtuosity. Just as he did in his entire oeuvre, in his piano works Dvorák eschewed flashiness, focusing instead on tender intimate lyricism, teeming with ideas, and shaping even his miniatures with the sensibility of a genius. Such music is certainly worthy of a new complete recording. The challenge was undertaken by Ivo Kahánek, an artist whose recording of Dvorák’s difficult Piano Concerto made with the Bamberger Symphoniker conducted by Jakub Hruša has deservedly gained critical acclaim and even won the coveted BBC Music Magazine Concerto Award. The present 4-album set encompasses cycles (Silhouettes, Poetic Moods and the Suite in A major, composed in the US, which Dvorák himself valued greatly), occasional pieces, as well as several little-known works, recorded for the very first time. One such is the polka Forget-me-not, Dvorák’s first surviving miniature, written when he was 14 years of age. The recording of piano works provides yet another precious insight into the abundant world of the composer’s soul. Dvorák’s rich inner world expressed through the piano.

Recorded in 1971 the film on this DVD is taken from the Chicago Symphony Orchestra's appearance at the Edinburgh Festival in the same year: their first ever concert outside America. This is the first release of this material on DVD and is the first in a series of Sir Georg Solti/CSO releases to come from ICA Classics to celebrate Solti's centenary.

With the three piano trios Op. 1 Ludwig van Beethoven took a genre still largely associated with entertaining salon music, and raised it up to rival the string quartet. The works are innovative in form as well as in content – especially so in the case of the Trio No. 3 in C minor, Beethoven’s trademark key. It is therefore fitting that the Sitkovetsky Trio has chosen this work to open their cycle of the composer’s piano trios. That the C minor trio was pioneering is illustrated by the fact that Haydn, who at the time was Beethoven’s teacher, advised against its publication. He feared that it would not ‘be understood so quickly and easily’ – but the world as Haydn knew it was clearly changing and the trios became a commercial success as well as harbingers of a new musical aesthetic. Some twenty years later, in 1813 when E. T.A. Hoffmann reviewed the two Op. 70 trios, the new era was firmly established, and to Hoffmann the works confirmed ‘how Beethoven carries the Romantic spirit of music deep within his soul’. Between the two complete trios recorded here, the Sitkovetskys include Beethoven’s last contribution to the piano trio genre, the little Allegretto in B flat major, WoO 39. It was composed in June 1812 for Maximiliane Brentano, the ten-year-old daughter of Franz and Antonie Brentano – or, as it says on the title page of the autograph manuscript, ‘for my little friend Maxe Brentano, to encourage her piano playing’.

Carlo Maria Giulini's very high level of achievement was the result of profound study, human and artistic sensitiveness and a great deal of experience. This double CD box collects four of his most beloved symphonies recorded between 1957 and 1968 with “ his” Philharmonia Orchestra, a period considered the best of his career. The performances, all extraordinary, have been long unavailable on CD.

Classical Music

In her first chamber music album Claire Huangci- together with Solenne Païdassi, violin Adrien Boisseau, viola and Tristan Cornut, cello- devotes herself to two works by Maurice Ravel and Ernest Chausson. As the debut album of Trio Machiavelli and Adrien Bosseau as support for Chausson, this album is a calling card that is worth seeing. Claire Huangci, the young American pianist of Chinese descent and 2018 Geza Anda Competition first prize and Mozart prize winner, has succeeded in establishing herself as a highly respected artist, captivating audiences with her “radiant virtuosity, artistic sensitivity, keen interactive sense and subtle auditory dramaturgy” (Salzburger Nachrichten). Her unusually diverse repertoire, in which she also takes up rarely performed works, is illustrative of her remarkable versatility.

Adolphe Adam
GISELLE

Giselle – Alina Cojocaru
Count Albrecht – Johan Kobborg
Myrtha – Marianela Nuñez
Hilarion – Martin Harvey

The Royal Ballet
The Orchestra of the Royal Opera House
Boris Gruzin, conductor

Marius Petipa, choreographer

Recorded live at the Royal Opera House, Covent Garden, London, January 2006.

Bonus features:
- Cast gallery and synopsis

Picture format: NTSC 16:9 anamorphic
Sound format: LPCM Stereo / DTS 5.0
Region code: 0 (all regions)
Menu language: English
Running time: 112 mins
No. of DVDs: 1

Starring Dimitra Theodossiou, Daniela Barcellona & Carlo Ventre. From the Macerata Festival, Italy, 2007. 2 DVDs. (165 min)

Classical Music