Leroy Anderson (1908-1975); John Rutter (b.1945)Victor Herbert (1859-1924); Englebert Humperdinck (1854-1921)Robert Chilcott (b. 1955); Cesar Franck (1822-1890); et al Eton College Chapel ChoirRalph Allwood, conductorDavid Goode, organ Anderson: A Christmas Festival; Musical Sleigh Ride; Traditional:Twinkle, Twinkle Little Star; Victor Herbert: March of the WoodenSoldiers; Bob Chilcott: Hey Now!; Cesar Franck: Panis Angelicus;John Rutter: Twelve Days of Christmas; Humperdick: Sandman's Song; Evening Prayer; John Williams: Somewhere in my Memory;Waldteufel: Skater's Waltz; Meakins: Penguin Song; Lane: Sleighbell Serenade; Britten: This Little Babe; Harrison: Christmas Hope;Koschat: Scheewalzer; etc.

Gustavo Diaz-Jerez is one of the leading composers and pianists in Spain. His compositional output spans all genres, from solo works to opera. His works have been premiered by prestigious ensembles and orchestras. His orchestral work Ymarxa, commissioned by the XXVII Canary Islands Music Festival, was premiered by the Royal Philharmonic Orchestra, conducted by Charles Dutoit. In 2018, his first opera was premiered, La casa imaginaria. This album represents the culmination of more than ten years of compositional work. A unique endeavour in the history of music in the Canary Islands, it comprises seven symphonic poems – almost two and a half hours of music– which evoke the landscapes and natural beauty of the Canaries. The cycle takes its name, Maghek (“the one who creates brightness”), from the sun-goddess of the Guanches, the aboriginal inhabitants of the Canary Islands. Each piece is inspired by a specific locale on a different island; some resurrect forgotten stories. Naturalistic tonal painting (the sea, the wind, the rugged scenery) is a constant feature throughout the cycle.

Tchaikovsky’s ballet The Nutcracker, which has its origins in a novella by E. T. A. Hoffmann, contains some of the best-loved music ever written. But its composer wasn’t very happy with it, perhaps because the plot he was given to work with allowed him to present only a series of dances, losing the moral basis of Hoffman’s surprisingly modern tale, with its messages of inclusivity and what is now called ‘women’s agency’ – here it is the little girl who saves the prince. Hoffmann’s aspirational story continues well after the ballet ends, with the little girl, now grown up, marrying the prince, who is now king.

John Mauceri has brought the ballet back to its inspiration, calling on music from elsewhere in Tchaikovsky’s orchestral output to fashion this ‘re-telling’, marrying Hoffmann’s text and Tchaikovsky’s music for the first time.

REVIEW:

While this album is entitled “Tchaikovsky by Arrangement” (part of Toccata’s series that includes arrangements of Mozart, Wagner, Prokofiev, and Brahms among others), the main clue is in its subtitle: “A Retelling by John Mauceri.” Tchaikovsky’s Nutcracker is a very condensed reworking of the original tale. In Mauceri’s retelling, the conductor has written a fairy-tale narrative based on the broader “Story of the Nutcracker,” published by Alexandre Dumas in 1845, which in turn was a retelling of the original story, Nussknacker und Mausekönig (The Nutcracker and the Mouse King) by E. T. A. Hoffmann, published in 1816. What’s more, Mauceri has created a pastiche of Tchaikovsky’s works to accompany Alan Cumming’s almost nonstop narration with music from not just The Nutcracker but also The Tempest, Hamlet, The Snow Maiden, and Orchestral Suite No. 1 (its fourth-movement miniature “Marche Militaire” serves as Mauceri’s overture). The final product really is quite an achievement.

— Fanfare

Violinist Rachel Barton Pine’s 26th recording for Cedille Records, Dependent Arising, reveals surprising confluences between classical and heavy metal music by pairing Shostakovich’s Violin Concerto No. 1 in A minor, Op. 77 with Earl Maneein’s “Dependent Arising” — Concerto for Violin and Orchestra, performed with the Royal Scottish National Orchestra under the baton of Tito Muñoz.

Known for her virtuosity, expressive playing, and extensive repertoire, Pine discovered her love for heavy metal as a teenager, and later performed at rock radio stations where she would intersperse covers of songs by Black Sabbath, AC/DC, and Metallica with works by Paganini and Ysaÿe. The album explores connections between modern classical music and heavy metal and showcases Pine’s unique journey with these two seemingly disparate genres.

Now a staple of the classical concerto repertory, Shostakovich’s emotionally charged Violin Concerto No. 1 also holds a special place among metal enthusiasts, with its diverse movements ranging from haunting Nocturne to relentless Burlesque. Earl Maneein’s “Dependent Arising” pushes the boundaries of traditional concerto composition and draws inspiration from the Western European classical music tradition, the world of “Extreme Metal,” and the composer’s practice as a Buddhist. Maneein ia also an acclaimed violinist and composer known for his unique and innovative fusion of western classical music, heavy metal, and hardcore punk,

The album was produced by the Grammy-winning team of James Ginsburg and engineer Bill Maylone, with session engineering by the RSNO’s Hedd Morfett-Jones. It was recorded January 7–8, 2022 at Scotland’s Studio, Glasgow.

Recorded in: Glasgow City Hall 3-4 September 1978 (Enigma Variations) & 11 August 1977 (Pomp and Circumstance Marches) Recorded in: Guildhall, Southampton July 1976 (CD2, tracks 1-14) Recorded in: Christchurch Priory, Dorset 1975 (CD 2, tracks 15-20) Producer(s) Brian Couzens Sound Engineer(s) Brian Couzens Ralph Couzens (Assistant)