The impossible love between a human prince and a swan princess, tragic fates, the constant opposition between imagination and reality: these are the core elements of Tchaikovsky's Swan Lake. Profoundly classical, Valery Kovtun's version for the Ballet of the National Opera of Ukraine is an homage to Tchaikovsky's talent, but also to Marius Petipa's timeless heritage. As in the original libretto, this Swan Lake ends with the two main character's death, drowned into the lake's tears. But evil is overpowered by love, and in the final apotheosis, Odette and Siegfried are forever united in a world of perfect harmony. A first-class company, the Ballet Company of the National Opera of Ukraine has toured all around the world: from the United States to Europe and Asia. Thanks to it's rich classical heritage, the Company has managed to win the hearts of it's audience thanks to it's amazing technique and artistic maestria, and as in every good dance company, the whole is equal to the sum of it's parts. The Company has also, over the years, established itself as a unique talent pool, that has nurtured first class dancers such as Iana Salenko (Staatsballet Berlin), Alina Cojocaru (Royal Ballet), Maxim Beloserkovsky and Irina Dvorovenko (American Ballet Theater); and the young gifted dancers that make the Ballet's reputation ensure the preservation of the classical heritage of this historical and world-renowned company.

Connolly’s is a distinguished addition to the catalogue.

In many respects Schumann is the archetype of the romantic artist: deeply influenced by literature, committed to powerfully intense emotions, creatively aware of the virtuosity of performers. He was himself a fine pianist, and the first twenty-three of his published compositions were for his own instrument. He then went on to match this achievement in the field of solo song, in which regard he became the true inheritor of Schubert’s mantle.

Another important aspect of Schumann’s creative nature was his fondness for creating large-scale compositions out of sequences of miniatures. He developed this trend in piano works such as Carnaval and Kreisleriana, and continued it in the vocal song-cycles, including for example Frauenliebe und -leben and the two groups of songs under the title Liederkreis (Opp. 24, 39).

All of these issues are germane to this collection of songs presented by Sarah Connolly with the expert support of Eugene Asti. Under the collective title 'Songs of Love and Loss', this Schumann programme includes two cycles from the great song year of 1840, the Liederkreis and Frauenliebe und –Leben. The remaining songs come from later in the composer’s life: the collection entitled Gedichte der Königin Maria Stuart Op.135, the beautiful short 'Requiem' from Op.90 and 'Mein schöner Stern!' Op.101 No.4. These show no falling-off in quality, despite the commonly-held view that his encroaching final illness undermined the quality of the composer’s later compositions.

There are abundant alternative performances of Frauenliebe und –Leben and the Liederkreis, but Sarah Connolly brings a distinguished addition to the catalogue. While many great artists have brought their insights to the former, a personal favourite is the 1996 Deutsche Grammophon disc by Anne-Sophie von Otter with Bengt Forsberg (445 881 2), while in the Op. 39 Liederkreis there is always the issue of whether a man’s voice is better. Among notable interpretations is that of Bryn Terfel, for instance, with Malcolm Martineau (again DG, 447 042 2). Therefore the excellent Sarah Connolly does not become an instant top recommendation, but she does have both the technique and the insight to do full justice to these great songs.

In Frauenliebe und –leben Connolly and Asti tend towards slower tempi, perhaps missing some degree of ardour, though a real highlight of their performance is 'Du Ring an meinem Finger', in which there is much intensity. The balance between voice and piano is nicely achieved by both the artists and the Chandos engineers, while the recording venue, Potton Hall in Suffolk, is a tried and tested acoustic well suited to chamber music and songs.

Although Connolly is not a native German speaker, her treatment of the language is assured and the treatment of the text abounds in all the subtleties the songs have to offer, with a vocal timbre that is rich and nicely in focus. The collaboration of the artists seems even better in the lesser-known songs. For instance Requiem moves to a convincing climax after a beautifully chaste opening phase, and the somewhat austere songs on poems attributed to Mary Queen of Scots have an intensity that is all their own. Perhaps her preference for slower tempi pays its strongest dividends here.

-- Terry Barfoot, MusicWeb International

A lot has been written about the multifaceted relationship between Robert and Clara Schumann and Johannes Brahms. Maria Sournatcheva opens another audio chapter in this story. Together with the pianist Aleksandr Shaikin, this principal oboist from Winterthur explores the musical interrelations waiting for discovery in the chamber music of the three and very particularly in some of their songs. In the process she brings to light so many a veritable surprise. Robert’s Romances are of course a must. However, it is hardly known at all that three Romances by Clara have been transmitted to us. Originally intended for violin and dedicated to Joseph Joachim, these character pieces prove to be extremely progressive compositions and particularly compelling when rendered by the oboe and piano. The same applies to Robert’s “Adagio and Allegro;” it is just as “swift and fiery” as Schumann prescribed- and here many a horn player will turn pale with envy. It is perhaps the oboe’s sound so similar to the human voice that makes the interpretations of songs with the oboe so moving. “Stille Tranen,” “Von ewiger Liebe,” “Verzagen”- the titles referring to quiet tears, eternal love, and despair already indicate that an emotional tour de force awaits us. “Widmung” supplies the name and the conclusion- how fitting for Robert’s wedding present dedicated to his beloved Clara!

A work of great depth and eloquence, and the longest work in Brahms’s œuvre, A German Requiem inspiration from Bach’s contrapuntal genius but avoids overt religious tradition. Brahms chose the texts himself, placing an emphasis on an affirmation of life with the suggestion that he would gladly have substituted ‘human’ for ‘German’ in the title. This release joins Antoni Wit’s ‘richly satisfying’ (Gramophone) recording of Brahms Choral Music [8.572694].

The present album is the second of two recorded by the Orchestre Philharmonique Royal de Liège and Jean-Jacques Kantorow to commemorate the centenary of the death of Camille Saint-Saëns. On the first instalment the team offered us ‘deeply impressive performances in stunning sound’ (theclassicreview.com) of the composer’s first and second symphonies and the unnumbered Symphony in A major, but now the time has come for Saint-Saëns’ crowning glory in the symphonic genre: his Symphony No.?3 in C minor, generally known as the ‘Organ Symphony’. The work was composed in 1886, and Saint-Saëns had planned to dedicate it to Liszt but the latter’s death the same year caused the dedication in the published score to be modified to ‘in memory of Franz Liszt’. It is written for a larger orchestra than his previous symphonies, with the unusual addition of a piano and an organ – the two instruments that Liszt (and Saint-Saëns himself) favored. Without being a virtuoso vehicle, the organ part is central to the work – especially in the grandiose ending – and it is here performed by the renowned organist Thierry Escaich, playing the great organ of Liège’s Salle Philharmonique. On the album, the symphony is preceded by the ‘Urbs Roma’ symphony, composed in 1856 by a 21-year-old Saint-Saëns. It was written for a competition, and its title – ‘the city of Rome’ – was one of the subjects prescribed by the organizers. In the absence of an explanation by the composer, it is unclear how the music relates to the subject. Another enigma is why Saint-Saëns omitted the symphony from his catalogue of works, even though it actually won him a first prize. In consequence, ‘Urbs Roma’ remained unpublished until 1974 and is rarely heard even today.

Classical Music

Chopin’s E minor Concerto and Schumann’s Opus 92 remain two of the finest works for piano and orchestra by composers of the Romantic era- the universal spirit of these compositions being equally relevant in the early decades of the 21st century as they were when they first appeared. Sveinung Bjelland is one of The Norwegian Radio Orchestra’s preferred partners, both as soloist, which he has been numerous times, and in its chamber music series. With an ear for detail in sound and phrasing and content only after achieving his intended nuances at the micro level, he is, at the same time, a pianist with the power and authority needed to be heard over the orchestra. In these works, the interplay between soloist and orchestra is especially important, and it may be noted that the conductor on this recording is also a pianist. Bjelland is Professor at the Norwegian Academy of Music and the Univeristy of Agder. The Norwegian Radio Orchestra is known and cherished throughout the land and regarded by music-loving Norwegians with a unique combination of respect and affection. The orchestra is comprised of highly talented classical instrumentalists and its musical philosophy is distinguished by a light-hearted approach, a curiosity for all kinds of music, and an unwillingness to pigeonhole musical styles.

Beethoven was involved in theater in one way or another from boyhood, and the commission to compose incidental music for Goethe's play Egmont at the Royal Imperial Court Theatre in Vienna was the first of many such collaborations. Beethoven's score conveys the essence of this tragedy and reveals his clear affinity with it's theme of heroic sacrifice by a man condemned to death for taking a valiant stand against oppression. Leif Segerstam is recognized internationally as a conductor, composer, violinist and pianist. He is currently chief conductor of the Turku Philharmonic Orchestra. He has also conducted many of the world's most prestigious orchestras, and was one of the most important ambassadors for Sibelius' 2015 anniversary year. His many recordings have been critically acclaimed, and feature works by contemporary composers as well as the complete symphonies of Mahler, Sibelius and Nielsen among many others.

Classical Music

Classical Music

The start of an exciting ane prestigious series: the complete Beethoven piano sonatas played by Giovanni Bellucci. Bellucci is one of the most interesting and extraordinary pianists of today. Described by Piero Rattalino as ''a force of nature, vast and palpitating'', his playing is highly original, striving to recreate the original impact of the work she is playing: ''het akes us back to the Golden Age of the Piano'' wrote Le Monde. His recordings, notably with works by Liszt, were showered with prizes such as Diapson d'Or, Choc, Editor's Choice, CD Maestro, etc. Giovanni Bellucci embarks on this epic musical journey of recording the complete Beethoven Sonatas, a challenge that every pianist of world stature will face. His Beethoven is free, with a strong sense of rhetoric and improvisation, adhering nevertheless strictly to the score and its intentions. The result is fresh, exhilarating and illuminating, letting us marvel at the originality and genius of the music.

Gotterdammerung (Twilight of the Gods) is the epic fourth and final opera of Wagner’s great Ring cycle, with a plot that depicts the fall of heroes, gods, and the entire world. As ever with the Ring, the joys of love are all too fragile and fleeting, and the drama of Gotterdammerung revolves around dark and unsettling reversals of fortune and illusions of hope that synthesize thrilling and powerful grand opera traditions with Wagner’s revolutionary techniques. Containing all of the Ring’s essential elements, Gotterdammerung’s profoundly satisfying sense of inevitability makes it both a towering climax and a unified summation of the Ring’s abundant variety.

Mezzo-soprano Jamie Barton burst upon the global opera and concert scene in recent years after having won many of the world’s most prestigious prizes for vocal excellence and accomplishments. Delos has scored a major coup in releasing her debut album. Jamie’s well-chosen program of late-Romantic repertoire begins with eight of Gustav Mahler’s finest lieder- including his wonderful Five Ruckert Songs- before treating us to the rare delights of Antonin Dvorak’s song cycle Gypsy Songs. Her album concludes with even more seldom-heard selections from the many lovely Swedish-language songs of Finnish master Jean Sibelius. This sublime release- further graced by pianist Brian Zeger’s peerless collaboration- will take your breath away, and leave you hungry for more from Jamie Barton, considered by many of the world’s top vocal and operatic experts to be the rising mezzo of our time.

Classical Music

Antonin Dvorak's success in Europe during the 1880s led to invitations to visit England and the commissioning of his oratorio Saint Ludmila for the Leeds Festival. It tells the moving and turbulent story of Ludmila's conversion to Christianity, an important event in Bohemian history that led to her becoming Bohemia's patron saint. Written for large forces and with a predominant part for the chorus in the tradition of Handel, Saint Ludmila is full of Dvorak's typical warmth and melodic beauty, and stands alongside his Stabat Mater and Requiem as one of his greatest works. Here, the piece is interpreted by the Slovak Philharmonic Orchestra and Choir, led by Leos Svarovsky. Leos Svarovsky studied flute and conducting at the Academy of Music in Prague as the last student of the renowned professor Vaclav Neumann. He started his career at the National Theatre in Prague as assistant to Zdenek Kosler and subsequently went on to hold principal positions with the Prague Chamber Opera, the Janacek Philharmonic Orchestra Ostrava, the Brno Philharmonic, the Zilina State Chamber Orchestra, the Czech Chamber Orchestra, and others.

Classical Music

Anda-Louise Bogza is a leadering operatic soprano who performs in renowned opera houses across Europe. She has performed in starring roles such as Aida and Tosca, and here presents a programme of songs from composers Glinka, Chopin, Dvorak, Tchaikovsky, and Rachmaninoff. Especially notable on this release is the inclusion of the songs by Chopin, which have been rarely recorded. Talented pianists Marcel Javorcek and Galina Aleshkevich accompany Bogza for these works.

Begun in 2012 with the release of Symphony No. 1, Thomas Dausgaard’s four-album traversal of the symphonies of Johannes Brahms is here brought to a close with the composer’s final work in the genre. The E minor Symphony is sometimes described as Brahms’ ‘elegiac symphony’, and has been called ‘one of the greatest orchestral works since Beethoven’. Typical for the composer is the striking degree of motivic relationships throughout the work. This includes the finale in which Brahms demonstrates his full mastery in a towering Passacaglia consisting of 30 variations and a coda. The smallish forces of the Swedish Chamber Orchestra contribute to a transparency and clarity which bring out the finer details of Brahms’ compositional web. As on previous installments, the symphony is coupled with other works by Brahms. Included on the present release is another late work, Tragic Overture, which concludes the programme. These two ‘serious’ works frame some of the most rousing and ebullient music Brahms ever wrote, namely his Hungarian Dances. Composed for piano four-hands, the 21 dances became immensely popular, and Brahms arranged three of them for orchestra himself. Having made his own orchestrations of the remaining 18 dances, Thomas Dausgaard has recorded the full set for his Brahms cycle, with the final nine dances included here.

Most of the pieces on this album have been designated ‘WoO’ (Works without Opus Number) or bear the numbering from the Hess catalogue of unpublished or unfinished pieces. These include the piano transcription of the topically programmatic Battle Symphony (Wellington’s Victory or The Battle of Vitoria) and the genial variations on Rule Britannia and God Save the King. The Marches, Menuets and Ecossaises derive from a variety of sources, while there is a strangely tragic aspect to the Waltz in C minor.

Also available on Blu-ray

I Lombardi alla Prima Crociata is an operatic drama in four acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The work is based on an epic poem by Tommaso Grossi, which was “very much a child of its age; a grand historical novel with a patriotic slant.” Verdi dedicated the score to Maria Luigia, the Habsburg Duchess of Parma, who died a few weeks after the premiere. "I Lombardi best encapsulates the spirit of the Italian people’s desire for nationhood. One would be pleasantly surprised, full as it is, of rousing choruses and musical numbers of great beauty, with music wonderfully expressive and perfectly in accord with drama at times. Visually and musically a sumptuous staging, full of contrasting colors and glorious singing for this young Verdi's rare work." (review by Alan Nelson / Operawire). American soprano Angela Meade and the italian tenor Francesco Meli star in the main roles of this production, which is conducted by Michele Mariotti and was recorded in April 2018.

The essential meaning of Wagner’s magnum opus ‘Der Ring des Nibelungen’ is wrapped up in the composer’s own lifetime pursuit of transcendent romance, with the redemption of eternal love one of the primary tenets of this and his other music dramas. Wagner’s gift for orchestral color and scenic characterization make his operas highly suited to the genre of the tone poem, and these seven tableaus evoke major scenarios in the saga, as well as providing a sense of the course and spirit of the greatest operatic drama ever written. JoAnn Falletta serves as music director of the Buffalo Philharmonic and Virginia Symphony, and is the principal guest conductor of the Brevard Music Center of North Carolina. She has guest conducted over a hundred orchestras in North America, and many of the most prominent orchestras in Europe, Asia, South America, and Africa.

-----

REVIEW:

Conductor JoAnn Falletta creates a magical Forest Murmurs when Siegfried first understands the meaning of the songbird, and sends the Valkyries on a really wild ride. The sound coming out of Buffalo for the Naxos label is some of the best.

– David's Review Corner (David Denton)

This is Volume 7 in Centaur's recording of the complete organ works by Charles-Marie Widor (1844-1937), performed by Joby Bell. All works are recorded on classic American organs; hence the title "American Classic Widor." Most importantly, these are superlative performances of an important body of organ literature. Joby Bell brings to his performances a contagious affability and a keen sensitivity toward increasing an audience's appreciation for organ music. His recital programming demonstrates a varied and interesting repertoire, always enhanced by illuminating program notes designed to embrace all audiences. Bell is featured on several recordings. Born in 1968, Joby Bell attended high school at the University of North Carolina School of the Arts, where he studied piano with Marian Hahn and Robert MacDonald. He earned the Bachelor of Music degree in organ and piano from Appalachian State University and the Master of Music and Doctor of musical Arts degrees in organ from Rice University.

The work of Gabriel Fauré, one of the most significant composers for the development of the French music at the turn of the 20th century, is not easily classified under a specific artistic trend. On the one hand, the pieces he wrote in the early stages of his career are quite closely linked to the major minor system, on the other hand, the artist had already been using a number of original harmonic means, aesthetically announcing the musical Impressionism. Krzysztof Grzeszczak was born on 17 September 1965 in Maków Mazowiecki. In 1987–1989, he studied organ under Feliks Raczkowski and harmony and counterpoint under Franciszek Wesolowski. In 1993, he graduated from theological studies in Warsaw at the Academy of Catholic Theology (currently the Cardinal Stefan Wyszynski University). James Whitbourn was born in 1963 in Royal Tunbridge Wells in Kent, Great Britain. Initially, he pursued his education at The Skinners’ School, but after receiving a scholarship he moved to Magdalen College in Oxford, where he graduated. Whitbourn quickly became popular in his country thanks to the cooperation with the BBC channel, for which he prepared a number of television programmes. The present album contains three, completely stylistically different, rarely performed masses of the aforementioned composers, which can be particularly attractive for lovers of rarities of sacred music.

Classical Music

S. WAGNER Der Kobold • Frank Strobel, cond; Rebecca Broberg ( Verena ); Regina Mauel ( Gertrud ); Andreas Mitschke ( Ekhart ); Achim Hoffmann ( Trutz ); Johannes Föttinger ( Fink ); Philipp Meierhöfer ( Kümmel ); Volker Horn ( Friedrich ); Nicholas Isherwood ( Der Graf ); Martina Borst ( Die Gräfin ); Ksenija Lukic ( Jeannette ); Marco Bappert ( Jean ); Joachim Höchbauer ( Knorz ); Heike Kohler ( Käthe ); Young Jae Park ( Seelchen ); PPP Music Theatre Ens; Nuremberg SO • Marco Polo 8.225329 (3 CDs: 195:27)


Each time I listen to this recording of The Goblin , I am utterly unnerved—do not be fooled by the descending flute figures that cue the overture, like Pan himself coming down to bless the land. Obviously, there is no shortage of warped and twisted librettos, which tend to serve as jumping off points for music yet more warped and twisted, but my goodness, our man Siegfried was exorcising some personal demons with this work—ironically, by enlivening some.


The first “sung” note, once the gentle, autumnal instrumental opening has concluded, is a scream, one that comes through on the recording like a spike—no reverb, no vibrato, just fear, hammered home. We are dealing with a dramatis personae of goblins (including one whose entrance into the world comes courtesy of a mixture of a hanged man’s seed and the yellow grass below), a wizard, some assassins, night phantoms, a few satyrs, a circus collective, a rapist, and such cheery pursuits as infanticide, abortion, flesh trading, and prestidigitation for, shall we say, less than salubrious ends. Good luck sorting out the plot, which is about as close to postmodernism as Siegfried ever got, and features an opera within the opera, and a climax not dissimilar to F. W. Murnau’s Nosferatu , which had the subtitle, intriguingly enough, of “A Symphony of Horrors.”


The quality of the recording itself will jar you, but that’s part of its effectiveness—weapons crash to the ground as though they’ve landed on microphones, or like something is kicking inside the speakers and trying to get out. It’s a fascinating, weird kind of audio-vérité, that further unsettles the nerves; but distortion was Siegfried’s ally in the creation of this work, and some passages even appear, at first, to be atonal. Rebecca Broberg as Verena, the opera’s heroine—a default designation, really, in this case, given her successive and ultimately defeating tragedies—is really stretched on the rack in her exceedingly taxing role, and it is through her vocal lines that we experience whatever empathy—which often takes the forms of anxiety and fear—the opera has to offer. It’s been remarked that for all of its fantastical elements, Der Kobold is something of a gangster story, but the noir -ish element becomes almost hallucinatory in the constant churn of crises, a vortex of demonism, you might say—of both the supernatural and human variety, the latter, of course, always being worse. Cpo has a Siegfried Wagner sampler disc with the West German Radio Symphony Orchestra and Roman Trekel handling an excerpt, but for the whole, vivid nightmare, you’ll need this set to be properly shocked and disturbed. And for those who cherish their illusions of childhood, there is perhaps no 20th-century opera that poses such a menacing threat to any and all forms of latency.


FANFARE: Colin Fleming

One of Germany's most prominent pianists, Alexander Krichel from Hamburg, has brought together a couple of heavyweights for his first album with Berlin Classics. He combines the "Pictures at an Exhibition" by Modest Mussorgsky, a central work of the piano literature, with a rarely heard gem by the Romanian composer George Enescu. Enescu's Second Piano Suite enhances the formal language of the Baroque with Romantic and Impressionist timbres, and entrances the listener with a rich palette of tone colors. To round off the program, Alexander Krichel plays another work by a composer from Russia's "mighty handful", the Nocturne from the Petite Suite by Alexander Borodin. There's no denying it: born in the Hanseatic city of Hamburg, Krichel feels himself strongly drawn to the Russian repertoire. He studied with two of the greatest Russian pianists of modern times. "I've long had Modest Mussorgsky's 'Pictures at an Exhibition' in my repertoire, but now, this piano suite is exactly right with it's strong sense of dedication," says Krichel. "It would be hard to find another piano cycle that has such variety and places such comprehensive demands. Mussorgsky captures a whole cosmos in his 'Pictures'. That links him with George Enescu, who in writing his Second Suite actually composed a tribute as well. ECHO Klassik prizewinner Alexander Krichel also made his presence felt on the music scene with unusual activities during the long Corona lockdown. In May 2020, he initiated the first drive-in concert, which was broadcast by WDR. Soon after that, his audience was following him on a video diary from a Hong Kong hotel suite, in which he had to observe a 14-day period of quarantine before a concert. All the greater, then, the relief felt by Alexander Krichel that like other artists, he can again communicate live with his audience.

With this release, distinguished Korean pianist Klara Min brings her special touch a seventeen-piece survey of her favorite Mazurkas - a unique “composer genre” from Frédéric Chopin. Widely regarded as the most intimate, heartfelt, emotional, and personal music that the “poet of the piano” composed, the mazurkas fairly shine under Min’s fingers. Her tone has been called “ravishing” and “out of this world” (American Record Guide), and her rare interpretive acumen, technical wizardry, and intuitive musicianship make Chopin’s music a perfect fit.

It is not by chance that luminous textures and sensual orchestral colors are considered essential features of French music. Its history features great names renowned for their art of instrumentation and sensitive use of timbres, who include the composers of the cello concertos on this recording: Camille Saint-Saëns, whose instrumentation technique always combines color with transparency, Édouard Lalo, who was highly esteemed by Claude Debussy for the wealth of color in his works, and Arthur Honegger, who painted striking soundscapes not only in his Cello Concerto but in his works without a large orchestra as well. Often it is the fine shadings and delicate transitions that characterize the tone colors of French music and are responsible for its delightful charm. Daniel Müller-Schott – Opus Klassik award winner 2019 – appealingly combines five works from the French sound kaleidoscope on his newest album with the DSO Berlin and Alexandre Bloch 'Four Visions of France’.

REVIEWS:

In every way, this is an impressive CD. It contains first-rate performances in excellent sound and has a most appealing programme. Included is a handsome booklet with photos and more than adequate notes on the works and artists. There is simply no reason to hesitate in adding this to your collection, if you are a cello aficionado.

-- MusicWeb International

After more than two decades in the spotlight, a still boyishly handsome Daniel Müller-Schott rightly remains one of the world’s foremost cellists, and a personal favorite of mine. He turns his attention here to chestnuts of the French repertoire, with most felicitous results.

The Saint-Saëns is of course the heavyweight entry in terms of standard repertoire status. Müller-Schott is on a plane with the work's finest exponents, giving a brisk and authentically French rendition, light and yet with dramatic flair. Equal credit in this regard is due to conductor Alexandre Bloch, who elicits an echt Gallic sound from the Deutsches Symphonie-Orchester Berlin. Much the same can be said of the other works featured here.

The recorded sound is excellent, the booklet notes (supplemented by artist bios) brief and to the point. This is a well thought out and beautifully realized release; strongly recommended.

-- Fanfare (James A. Altena)

Müller-Schott plays Saint-Saëns’ bravura test piece broadly in the opening Allegro, playfully in the Allegretto, and energetically in the closing Allegro. Later the Romance in F Major is tenderly executed by Müller-Schott. By contrast, the cellist’s take on the Élégie of Gabriel Fauré is all gentleness. His mining of the early 20h century sound in Arthur Honegger’s Cello Concerto bespeaks boldness and incisiveness.

When it comes to Édouard Lalo’s less-French than most work among those of his contemporaries: the Cello Concerto in D Minor, Müller-Schott embraces the grandiose, quasi-Wagnerian music with no small measure of impassioned fervor. Throughout all of the works featured in this interesting album, the soloist and his colleagues from the Deutsches Symphonie-Orchester Berlin play with commitment and unimpeachable style.

–Rafael's Music Notes

Christian Gottlob Neefe flourished as the Baroque was giving way to the Classical period. These Twelve Sonatas represent important steps in this transition, each having a uniquely individual character and showing a mixture of styles. Neefe is remembered today as Beethoven's first main teacher in Bonn, the Dressler Variations being young Ludwig's first published composition. Susan Kagan, a pianist, author, and educator, has explored the music of composers associated with Beethoven and his Milieu.

The present release is the most comprehensive Bruckner Symphonies cycle, including all 19 available versions. Anton Bruckner burst out of the confines of the cathedral using that most secular of musical forms, the symphony. The creator of some of the 19th century’s greatest orchestral music, Bruckner cut a singular figure among his contemporaries. This new complete Bruckner Symphonies edition from Capriccio reassesses these enduringly enigmatic and complex works. Presented by the Bruckner Orchestra Linz and the ORF Vienna Radio Symphony Orchestra, and featuring all 19 available versions, the cycle is scheduled for completion in 2024, Bruckner’s 200th birthday. The second release, of Symphony No. 8 (1890 version) is performed by Bruckner Orchestra Linz conducted by Markus Poschner.