Royal Liverpool Philharmonic Orchestra
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Mihkel Kerem: Orchestral Music, Vol. 2
$20.99CDToccata
Mar 06, 2026TOCC0776 -
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The Backyard of the Village – Orchestral works by Xiaogang Y
$19.99CDSignum Classics
Apr 03, 2026SIGCD972
Stravinsky: Petrushka / Petrenko, RLPO
Vasily Petrenko’s previous Stravinsky recordings have been universally praised by the critics for the fine interpretations of these great scores, the superb playing of the RLPO and for the outstanding recorded sound. The same technical team was on hand for the final album in the series – the 1911 version of Petrushka which is coupled with the delightful Rossini/Respighi La Boutique fantasque.
Shostakovich: Symphony No 13 "Babi Yar" / Petrenko
Shostakovich wrote his Symphony No. 13, Op. 113 in 1962. The climax of his ‘Russian period’ and, in its scoring for bass soloist, male chorus and orchestra, among the most Mussorgskian of his works, it attracted controversy through its settings of poems by Yevgeny Yevtushenko (the ‘Russian Bob Dylan’ of his day)—not least the first movement, where the poet underlines the plight of Jews in Soviet society. The other movements are no less pertinent in their observations on the relationship between society and the individual. This is the final release in Vasily Petrenko’s internationally acclaimed symphonic cycle.
J.S. Bach: The Trio Sonatas, BWV 525-530
VERISMO
ZEMLINSKY: DIE SEEJUNGFRAU SCHREKER: DER GEBURTSTA
Santos: Piano Concerto & Symphonic Overtures Nos. 1 & 2 / Cassuto, Filipec, Royal Liverpool Philharmonic
Joly Braga Santos was Portugal’s greatest orchestral composer, and this recording presents eight world premiere recordings including his very first work for orchestra, the Symphonic Overture No. 1. This and the Symphonic Overture No. 2 share a unified structure and lyrical themes, contrasting with the somber Prelude, originally written for an intensely tragic opera. Braga Santos’s characterful four ‘miniatures’ are brought together to form an attractive suite, while his only Piano Concerto is a virtuoso spectacle with a large part for percussion and a gloriously anarchic approach to timbre and tonality. Born in Rijeka in 1981, Goran Filipec studied at the Ino Mirkovich Academy in Croatia, at the Tchaikovsky Conservatory in Moscow, the Royal Conservatory in The Hague, and the Conservatoire national superieur de musique et de danse de Paris. During his early career, he was a top prizewinner of several international piano competitions. He performs across Europe, the US, South America and Japan as a recitalist and as a soloist with leading orchestras.
Bruckner: Symphony No. 4 / Hindoyan, RLPO
Jose Viana Da Mota: A Patria - Sinfonia (To The Homeland)
The most distinguished pianist of his generation, a brilliant pedagogue and a highly gifted composer, José Viana da Mota was a towering personality in the field of Portuguese music. Disapproving of ‘modernistic’ compositional trends he stopped composing around 1910 but not before he had written his Symphony ‘To the Homeland’, a brilliantly orchestrated paean to Portuguese prowess and discovery which makes use of Portuguese folk dances and songs. Based on the dramatic life and murder of the 14th-century noblewoman Inês de Castro, Viana da Mota’s Lisztian symphonic poem is an early work notable for its kaleidoscopic sections full of inspiring contrasts. This recording presents the complete orchestral works of Viana da Mota.
Ireland: Piano Concerto, Legend, First Rhapsody / John Lenehan

John Ireland was an exceptional composer for the piano, as was his contemporary York Bowen. He may not have been a "major" composer in a conventional sense, but his work deserves to be better known, especially outside of England. His Piano Concerto is a masterpiece. Sure, the influence of Prokofiev is obvious, but Ireland embraces it and makes it his own. Written in 1930, it offers a combination of romantic glamor, saucy wit, and lyrical expressiveness that's quite personal and memorable. John Lenehan plays it as well as anybody has to date, with a very winning combination of fluidity in passagework and an easy rhythmic precision in the finale that sounds just right.
Legend, a tone poem for piano and orchestra, lives up to its name. It's a brooding, dramatic work that, like so many short pieces for piano and orchestra, never will be heard in concert because of its brevity. Why doesn't some pianist put together a program of tone poems for piano and orchestra and turn them into a "mini" concerto? Anyway, what makes this program so attractive is the inclusion of the solo piano works. Lenehan already has produced several fine discs of Ireland's piano music, and there's no question that he understands the idiom. The pieces on offer here really show Ireland's range, from the passionate First Rhapsody to the poetic Sea Idyll and colorful Three Dances. Excellent sonics too.
– David Hurwitz, ClassicsToday.com
Shostakovich: Symphony No 14 / Petrenko
At its première in June 1969 Shostakovich described his Symphony No. 14, in effect a symphonic song cycle, ‘a fight for the liberation of humanity…a great protest against death, a reminder to live one’s life honestly, decently, nobly…’ Originally intending to write an oratorio, Shostakovich set eleven poems on the theme of mortality, and in particular early or unjust death, for two solo singers accompanied by strings and percussion. This is the penultimate release in Vasily Petrenko’s internationally acclaimed symphonic cycle.
Mihkel Kerem: Orchestral Music, Vol. 2
Beethoven: Piano Concertos Nos. 3 & 4 / Giltburg, Petrenko, RLPO
Here are two very personal, immediately spontaneous and highly dramatic interpretations of the two concertos, in which so many things sound excitingly new.
For 19th-century audiences Beethoven’s Piano Concerto No. 3 was the most loved of all his piano concertos, a work in which the balancing of high drama, tenderness, lyricism and humour is most pronounced and in which a coda resolves inner tensions with brilliance and triumphant grandeur. Piano Concerto No. 4 is the most introspective and poetic of the concertos. The simplicity of its opening piano statement gives way to an unprecedented dialogue in the central movement between a heartfelt piano and an austere unison string orchestra, before the infectious energy of the dramatic finale.
REVIEW:
Beethoven’s 3rd Piano Concerto is a departure into a new era. And that’s what Boris Giltburg makes us feel in his interpretation with the Liverpool Orchestra under Vasily Petrenko. His first movement is very agitated and rhetorical, and the Largo is not a beautiful romance, but rather a reflection and lingering, a recharging of the batteries, so to speak, whose energy is used up in the last movement. On the whole, the contrasts are highly dramatic. Orchestra and pianist sometimes seem to want to go in directly opposite directions.
Excitement and contrasts between orchestra and piano also characterize the first movement of the Fourth Concerto in which Giltburg makes the cadenza particularly exciting and expressive. The second movement ends enormously sombre and hopeless, the Passagio experience is fearfully depicted. The last movement is jubilant and fluttering, extremely virtuosic and ravishing in its exalted manner.
So we have here two very personal, immediately spontaneous and highly dramatic interpretations of the two concertos, in which so many things sound excitingly new. And that makes us recommend these pianistically and orchestrally magnificent recordings without hesitation.
-- Pizzicato
