SOMM Recordings announces the launch of a major six-volume series of Franz Xaver Scharwenka’s transcriptions of Beethoven Symphonies featuring the label debut of the Tessa Uys and Ben Schoeman Piano Duo. Formed in 2010, the Duo began their in-concert exploration of Scharwenka’s four-hand Beethoven transcriptions in 2015 and now bring that experience to disc for the first time. Volume 1 includes the premiere recording of Scharwenka’s piano duet transcription of Symphony No.3, the ever-popular Eroica, and Debussy’s two-piano arrangement of Robert Schumann’s Six Studies in Canonic Form. As Robert Matthew-Walker’s booklet notes reveal, Scharwenka had a direct line to Beethoven, having been taught by Franz Kullak, who was tutored by Carl Czerny whose own teacher, in turn, had been Beethoven himself. A composer of no mean stature in his own right, Scharwenka’s transcriptions were once widely admired, making masterpiece symphonies available to every home with a piano. Possessing, says Matthew-Walker, “significant qualities which are often overlooked today”, his Eroica transcription receives ardent, eloquently persuasive championing by Schoeman and Uys. Scharwenka wasn’t alone in exploiting new developments in piano technology. Robert Schumann’s Six Studies in Canonic Form made use of the then novel ‘pedal-piano’ (a standard piano with an additional bass pedal-board) even as he was looking back stylistically towards his idol, Bach. Debussy’s arrangement for two pianos adroitly accommodates Schumann’s original to “rescue this fine music from the obscurity of the pedal-piano repertoire.” Born in Cape Town and a Royal Academy of Music Associate, Tessa Uys has an impressive reputation as a concert and broadcasting performer, appearing at major venues throughout the world. Her multi-prize-winning South African compatriot Ben Schoeman also has a busy international profile and is currently a senior lecturer in piano and musicology at the University of Pretoria.

SOMM Recordings continues its acclaimed championing of neglected British composers with Dame Ethel Smyth: Songs and Ballads – 17 vocal works with piano and chamber orchestra accompaniment composed between 1886 and 1913. Contralto Lucy Stevens has a long relationship with Smyth, portraying the composer, political activist and writer in her widely admired stage show Ethel Smyth: Grasp the Nettle. She is joined by her long-time stage companion, pianist Elizabeth Marcus, and Odaline de la Martinez conducting the Berkeley Ensemble. All four are making their debuts on SOMM. Published in 1886 and receiving their first recordings in English are the five Op.3 Songs and Ballads. Dedicated to Livia Frege, the singer to whom Mendelsohn and Schumann dedicated some of their finest songs, they blend images of the natural world with themes of lost love to reveal Smyth as a songwriter of already considerable gifts. Dedicated to Smyth’s mother and exploring themes of motherhood while shot through with images drawn from troublesome dreams, the five Op.4 Lieder, settings of German texts, exalt in an emotional palette that ranges from tenderness to trenchant emotion. Three Songs from 1913, composed during the period of Smyth’s suffragette activity – which saw her jailed for two months for throwing a stone through a cabinet minister’s window – deftly combine the political and personal. With lyrics by the suffragist Ethel Carnie Holdsworth, Possession is dedicated to Emmeline Pankhurst, On the Road: a marching tune to Pankhurst’s daughter, Christabel. The Clown sets a text by Maurice Baring, whose biography Smyth wrote in 1938. Written for voice and chamber orchestra, the Four Songs from 1908 boast exquisite orchestrations that revel in Smyth’s associations with artistic circles in France and were hailed by Debussy as “tout à fait remarquables”. Stevens, who devised the album’s programme, Martinez and Christopher Wiley provide informative booklet notes.

SOMM Recordings pays tribute to the remarkable flourishing of British Violin Sonatas in the 20th century with a collection of music for violin and piano by six key figures of the modern chamber music renaissance in Britain. Making her debut on SOMM, violinist Clare Howick’s championing of this repertoire prompted iClassical to declare “the record-buying public owe [her] a debt of gratitude”. She is accompanied by pianist Simon Callaghan. From the middle of the century, and commissioned for Yehudi Menuhin, William Walton’s Violin Sonata is unique in the composer’s oeuvre with its almost constant sense of nervous uncertainty. Composed the same year (1948), Kenneth Leighton’s youthful First Violin Sonata is the product, as Robert Matthew-Walker comments in his authoritative booklet notes, of “a deep-thinking musician of whom everything he was to write, from his earliest compositions onwards, is genuinely felt and unaffectedly original”. William Alwyn’s beautifully proportioned Sonatina (1933) receives only its second appearance on album here. Composed the following year, Alan Rawsthorne’s Pierrette: Valse Caprice is best remembered from its quotation in the composer’s soundtrack for the 1947 film Uncle Silas. The contrasted Elegy and Toccata from Lennox Berkeley’s 1951 Op.33 reveal a master craftsman in miniature, while three pieces by Gordon Jacob – Little Dancer (1959), Caprice (1969) and Elegy (1972) – all make their first appearances on album here. Somm gratefully acknowledges the support of the William Alwyn Foundation, the Lennox Berkeley Society, the Delius Trust, the Rawsthorne Trust and the RVW Trust in making this recording.

This release is the third and final installment in the critically-acclaimed recording of the complete Piano Sonatas of Sergei Prokofiev by pianist Peter Donohoe. This album is dedicated entirely to the ‘War Trilogy,’ which are three piano sonatas that Prokofiev composed consecutively during World War II. The pieces show the horrors and reflections of what Soviet Russia referred to as the “Great Patriotic War.” The central sonata in the trilogy, No. 7, is regarded by many as his most famous and brilliant piano work. The finale of the piece depicts the grit and ferocity of the Russian attacks on the Nazi army. Peter Donohoe has long been a masterful interpreter of Russian music. He first recorded the Seventh Sonata in 1982, then again in 1991. “Prokofiev was creating these major works throughout his career- all of them are major and some are still underrated and I am delighted to have had the chance of recording the complete cycle at last.” (Peter Donohoe)

A recording of piano music by Mario Castelnuovo-Tedesco: What an original and fascinating way for a young pianist to embark on a career which in a short time grew to span Europe, the US, North Africa and the Far East! Mark Bebbington recorded this stunning debut album for SOMM in 2003, now newly available. Even before embarking on a series of recordings for SOMM now running to over 30 albums, Mark had been looking for fresh and unusual repertoire, both for recording and concert performance. Guided by his cherished teacher and mentor Aldo Ciccolini, he was already becoming known as a passionate advocate of unjustly neglected composers. A fifteen-concert European recital series several years ago featured premieres by Sir Malcolm Arnold and Mario Castelnuovo-Tedesco, Judith Bingham, Toru Takemitsu and Julian Anderson. Hi sErik Satie Cafe Concert, featuring the UK premiere of 'Sprts et Divertissements' in its original version for narrator and piano toured festivals in this country before playing two sold-out performances at 'le chat blanc' cabaret club in Paris. In typical late-romantic style, Castelnuovo-Tedesco's music can be tender, rhapsodic and passionate and presents formidable challenges for the pianist as it was often conceived in orchestral terms. It also reveals his fondness for the music of Rachmaninov, Granados and Albeniz and Ravel.

Grieg was the first great composer in the late 1880's to travel around Norway collecting folk tunes from the rural population and these proved to be a genuine source of inspiration to him. For John McCabe, as his original note for these recordings makes clear, Grieg was a far more significant figure than popular appreciation would suggest and these recordings came as quite revelatory in the early 1980's to wider audiences outside of the inner circle of specialists in Norweigian music.

SOMM RECORDINGS is delighted to announce the release of Elgar from America, Volume I featuring historic recordings by a legendary cellist, two American orchestras and a trio of the 20th century’s greatest conductors. The results offer a fascinating transatlantic perspective on a titan of British music and includes two masterpieces and a symphonic study which Elgar considered his best orchestral piece.

Elgar visited America annually from 1905-07 and again in 1911 where his music found articulate champions and a place in the country’s affections, the trio of his Pomp and Circumstance March in D an essential, long-established part of ceremonies accompanying America’s graduation tradition. The featured recordings date from the 1940s and have been restored and remastered by the multi-award-winning audio restoration engineer Lani Spahr, who also provides informative booklet notes.

The Enigma Variations were, by far, America’s favourite Elgar work in the first decade of the last century. The “fleet, error-free performance” by the NBC Symphony Orchestra conducted by Arturo Toscanini in New York’s Radio City Studio on November 5, 1949 appears here on album for the first time. New in any form is Artur Rodzin´ski’s never-before released October 10, 1943 Carnegie Hall account of Falstaff Symphonic Study in C minor with the New York Philharmonic-Symphony Orchestra.

Cellist Gregor Piatigorsky joined the NYP-SO under John Barbirolli for a November 10, 1940 Carnegie Hall performance of the Cello Concerto. Piatigorsky never recorded the work commercially and this is the only known existing recording of him playing the piece. Lani Spahr’s previous restorations of historic Elgar recordings for SOMM Recordings include Elgar Rediscovered and the four-disc set Elgar Remastered which featured recordings from the composer’s own collection and was hailed by Audiophilia as “a fascinating achievement which will have you wishing for more”.

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REVIEW:

Elgar enthusiasts will find it intriguing, not least because it offers performances by some performers who one does not normally associate with Elgar’s music. This particular Toscanini performance of ‘Enigma’ is new to CD and Rodzinski’s Falstaff has never been issued commercially in any format. It’s also healthy and stimulating to hear performances from outside the English performing tradition. There is some surface noise at times but in general Lani Spahr’s transfers seem to me to have been extremely successful. There is applause after each work but otherwise the audiences are commendably quiet.

– MusicWeb International

SOMM Recordings is delighted to announce 17 world premiere recordings of Songs by Hamilton Harty in a ravishing recital by one of today’s most exciting young partnerships – mezzo-soprano Kathryn Rudge and pianist Christopher Glynn. Although best known today as a composer of orchestral music, Hamilton Harty was also one of the most accomplished accompanists of his generation, forming especially notable partnerships with the sopranos Agnes Nicholls and Elsie Swinton. It prompted, in turn, his increasing activity as an accomplished song writer. The 23 featured songs include settings that speak eloquently of Harty’s abiding engagement with his Irish heritage and point, in the technical demands made of vocalist and pianist alike, to his innate understanding of the song form in all its concentrated, emotional power. Favourite Harty songs such as Sea Wrack, The Blue Hills of Antrim and My Lagan Love are heard alongside settings of Walt Whitman (By the Bivouac’s Fitful Flame), Thomas Campion (Come, O Come, My Heart’s Delight) and two texts by the composer himself (My Thoughts of You and Adieu, Sweet Amaryllis). Also included are two early, unpublished works for solo piano – Idyll and Arlequin and Columbine. Five songs are heard in new editions created from original manuscripts by British music authority Jeremy Dibble who also provides informative booklet notes.

The acclaimed Italian guitarist Gianluigi Giglio makes his debut on SOMM Recordings with The 19th Century Guitar, a scintillating recital of music by Fernando Sor, a pioneering champion of the guitar in the vanguard of raising it's profile out of the tavern and into the concert hall. Giglio's wide-ranging recital explores Sor's innate feeling for the guitar and charts the increasing demands he placed on the instrument in a body of work that transformed it's standing with public and pundits alike. From the early Op. 9 masterpiece that charted a new and expressive landscape for the guitar - Introduction and Variations on a Theme by Mozart - to the late Elegiac Fantasy (Op. 59) with it's leanings towards newly-emerging Romanticism, this is a textbook display of the instrument's many abilities given eloquent voice by a master guitarist. Other notable pieces include the Introduction and Variations on 'Malbrough s'en va-t-en guerre' (Op. 28), a deliciously knowing exercise in re-creating 18th-century style, the possibly unique programmatic caprice Le calme (Op. 50) and the no less singular �tude The movement of a religious prayer from the Op. 31 24 Progressive Lessons for Beginners which is distinguished by it's beautiful sense of polyphony. Gianluigi Giglio plays a guitar made by the noted Parisian luthier Ren� Lac�te in Paris in 1834. SOMM's previous recordings of Fernando Sor include Eros Roselli's recital Studies for Guitar (SOMMCD 021) and 12 Seguidillas performed by Craig Ogden on a disc of Spanish Songs featuring soprano Patricia Rozario (SOMMCD 078).

SOMM Recordings announces the first complete survey on album of George Dyson’s music for solo piano including five premiere recordings performed by Simon Callaghan in a specially priced two-album set. Callaghan is joined by Clíodna Shanahan for the first recording of the two-piano version of Concerto Leggiero, a mature work originally composed for piano and string orchestra. Almost classical in its sense of economy, the two-piano arrangement boasts a remarkable lyricism. Born in Halifax in 1833, Dyson studied with Stanford and Parry before becoming one of the most prominent British composers and distinguished teachers of his generation. Best known for his choral work, his piano music spans his career. Heard in its entirety, it provides valuable new insights into his development as a composer. Other first recordings include the seven-year-old Dyson’s first work for piano, Untitled Piano Piece, the exam board commission for young pianists, Twelve Easy Pieces, and The Open Window and Six Lyrics, character pieces designed to help develop technique and musical imagination in young pianists. Among other works included are the Debussy-accented Primrose Mount, the dazzling set of fugues Bach’s Birthday and so-called War Epigrams, inspired by Dyson’s experiences on the Western Front before being invalided home. Dyson biographer Paul Spicer provides the authoritative booklet notes. Simon Callaghan’s recent SOMM releases include British Violin Sonatas with Clare Howick, and a survey of Roger Sacheverell Coke’s piano music, of which MusicWeb International said: “The commanding and virtuosic musicianship of Simon Callaghan allows this quirkily individual music to register with maximum effect – a fascinating and compelling album”. Making her debut on SOMM, Clíodna Shanahan has a busy performing and recording schedule for TV, radio, symphony and chamber concerts. A pianist and organist, she also records film soundtracks, most notably Howard Shore’s The Hobbit.

SOMM RECORDINGS announces a major new recording of songs by Charles Villiers Stanford including the first complete recording of Songs of Faith and 12 first recordings of other distinctively vital songs. Songs of Love, Faith and Nonsense continues SOMM’s widely acclaimed commitment to Stanford’s music with baritone Roderick Williams, tenor James Way (making his SOMM debut) and pianist Andrew West throwing revealing new light on his gift for word setting and the variety of his responses to matters of emotional ardor, spiritual fervency and the sublime nonsense poems of Edward Lear. Setting poems by Tennyson and Walt Whitman, Songs of Faith demonstrates Stanford’s ability to give unique expression to the profound and the arcane with music of dramatic force and harmonic ingenuity. Three songs by Robert Bridges (librettist for Stanford’s oratorio Eden) and four songs from the opera Shamus O’Brien tap into Stanford’s Irish roots to colorful and evocative effect. Composed to mark his 25th wedding anniversary and receiving its first recording, The Triumph of Love sets five sonnets by his close cousin, Edmond Gore Alexander Holmes, in richly executed settings. The delightful Nonsense Rhymes taken from Edward Lear’s inimitably playful, poignant and pointed limericks show a different side to Stanford, a “highly articulate, dry humor like many literary Irishmen of his era”, as Jeremy Dibble says in his authoritative booklet notes.

SOMM RECORDINGS announces the release of Kathleen Ferrier in New York, historic performances of Mahler and Bach by the much-loved contralto during her triumphant visits to the United States in 1948 and 1950. Recorded live on Ferrier’s only appearances in Carnegie Hall in January 1948, four months after her acclaimed performance at the inaugural Edinburgh International Festival, Mahler’s Das Lied von der Erde reunited her with the conductor Bruno Walter and saw her making first appearances with tenor Set Svanholm and the New York Philharmonic Orchestra. Re-mastered by Norman White and Adrian Tuddenham, this remarkable account pre-dates Ferrier’s often-reissued 1952 recording by four years and finds her in exhilarating fresh voice – a vivid, vital display of a great artist at her peak. Accompanied by pianist John Newmark in New York’s Town Hall in 1950, three songs by JS Bach – Vergiss mein nicht, Ach dass nicht die letzte Stunde and his arrangement of Gottfried Stölzel’s Bist du bei mir – are taken from Ferrier’s final visit to the US. Also included are excerpts from a revealing 80th birthday interview with Bruno Walter in which he discusses his friendship and collaborations with Mahler and recalls his first meeting and subsequent association with Kathleen Ferrier. Illuminating booklet notes are provided by Ferrier authority and discographer Paul Campion, who also compiled the disc. SOMM’s previous Ferrier releases include Bach’s Mass in B minor, songs by Brahms, Chausson and Mahler and Kathleen Ferrier Remembered, a first release of BBC Radio recordings of Lieder and British songs. Kathleen Ferrier in Celebration of Bach was acclaimed by Gramophone as “an important addition to Ferrier’s discography... one of the most beautiful things she ever committed to album”.

Russia produced three renowned composer-pianists at the end of the nineteenth century: Medtner, Rachmaninov, and his fellow student at the Moscow Conservatoire, Alexander Scriabin, a unique figure in Russian music as he seemed to follow a musical path all his own, completely different to that of either of his contemporaries. He created an original, exotic soundworld which progressed from Chopinesque romanticism in the First Sonata to a world of fantasy, inhabited by uncompromising, audacious dissonances in the later Sonatas which make overwhelming demands on any performer who dares to tackle them. In his third Sonata Scriabin provided descriptions of the four movements under the heading ‘States of the Soul’. In the Fourth he experimented with Wagner’s Tristan harmonies. By the Sixth Sonata Scriabin’s harmonic tonality had completely broken down and dissipated – “frightening...dark and mysterious, impure, dangerous” as he himself wrote. The Seventh Sonata (White Mass) instructs the performer to play ‘with a heavenly voluptuousness’, ‘with a dark majesty’... Through the music he wanted to express an ecstatic disorder creating a trance-like effect on performer and audience. The Ninth (Black Mass) represents the Satanic but the Tenth has an opening marked ‘very sweetly and pure’. He said of this, ‘My Tenth Sonata is a sonata of insects. Insects are born from the sun, they are the kisses of the sun.’ These works are performed by legendary pianist Peter Donahoe.

This new SOMM release features two perennial favorites, the Glazunov and Dvorak Violin Concertos. They are often recorded together, deriving their inspiration from Russian Bohemia's musical heritage whilst still remaining close to Brahmsian Viennese traditions. Greek-born violinist Efi Christodoulou has been reviewd by The Strad as "a powerful violinist, demonstrating a high level of technical achievement" Efi is developing a career in the UK where she has recently given recitals at St. John's, Smith Square and Wigmore Hall.

Incomparable composer and pianist John McCabe, who passed away in February 2015, had recorded Nielsen's Piano Music on LP for Decca's Ace of Diamonds back in 1975. More recently, the SOMM label was approached by John's wife, Monica McCabe, to ask if they would consider issuing it on CD. From an early age, John loved to explore little-known works and considered Nielsen's Suite, Op. 45 a true masterpiece. The piano music of Nielsen, whose 150th anniversary is celebrated this year, is overshadowed by his six symphonies but his piano music has always had a special place in the hearts of music lovers worldwide. These recordings have been unavailable for many years; now newly re-mastered, they are given a new lease on life and serve as a timely reminder of McCabe's unique interpretations.

This new release of American Piano Sonatas from SOMM reminds the listener of 20th-century America's achievements in music as in so much else. SOMM's new collaboration with pianist Nathan Williamson who has been steeped in American music since his years as a student of piano and composition at Yale has produced an exhilarating album brimming with dynamism and energy. The release includes sonatas by four very different American composers writing under very different circumstances: Leonard Bernstein, a charismatic, ambitious all-round musician in his student years; Aaron Copland, an established master at the height of his powers; Lou Harrison, an inveterate experimentalist setting himself a new problem; and Charles Ives, a dogged individualist insisting on his own way of doing things. In each case, the composer chose not to fit his music into conventional forms, but to rethink the whole idea of the sonata. America is after all the land of the clean sheet, the fresh start – of making things fresh, exciting and new. Nathan, who leads a diverse and varied career as pianist, composer and artistic director studied at the Guildhall School of Music and Drama with Joan Havill and Malcolm Singer, at Oxford University with Robert Saxton, and at Yale with Martin Bresnick and Joan Panetti and American composer Ezra Laderman Dean of the Yale School of Music and President of American Academy of Arts and Letters, who died in 2015 at the age of 90. Nathan has dedicated this recording to Laderman as a tribute to a great teacher whose far-reaching influence has inspired him to study the work of American composers in great depth.

SOMM Recordings is proud to announce the premiere recording of Ian Venables’ exquisite and moving Requiem with the Choir of Gloucester Cathedral conducted by the Cathedral’s of Music Adrian Partington and Assistant of Music Jonathan Hope playing the organ. Completed in 2018, the Requiem received its first performance in the imposing surroundings of Gloucester Cathedral, where this recording was made in 2019. Widely acclaimed for his songs and chamber music, the Requiem is Ian Venables’ most substantial choral work to date and is a compelling piece full of fine melodies and gorgeous harmonies. Adrian Partington describes the Requiem as “a significant addition to the choral repertoire. The music is eloquent, resourceful and exerts a strong emotional appeal”. Ian Venables comments: “Composing a Requiem is a daunting creative challenge because so many great settings have been written in the past. However, as a composer of songs, words are always crucially important to me and I found that the words of the Mass for the Dead came to appeal to me strongly. I felt an overwhelming desire to set them to music. I am delighted that Adrian Partington, his excellent choir and Jonathan Hope have brought my music so vividly to life.” The album also includes first recordings of Ivor Gurney’s God mastering me (arranged by Venables), John Joubert’s O eternal God and Venables’ O Sing Aloud to God alongside John Sander’s Dedication. SOMM’s long relationship with Ian Venables includes his chamber music (SOMMCD 0101), of which Gramophone declared: “Lovers of the 20th- century English music renaissance will derive much pleasure from this enterprising and rewarding SOMM anthology”.

Following Great American Sonatas, his admired debut on SOMM RECORDINGS, pianist Nathan Williamson turns to British piano music of the 20th century in Color and Light, a revealing exploration of how the past influences the present and the new. A century-spanning programme from Delius's quixotic 1887 Nocturne (more familiar as An Nacht, the Florida Suite's finale, here in Robert Threlfall's 1986 transcription) to Anthony Herschel Hill's combustible Toccata of 1985 also lights on three other distinctive but highly contrasted composers. Modernity makes itself felt in Elisabeth Lutyens' The Ring of Bone (1975), which strikingly employs the use of spoken text in what Williamson describes in his booklet notes as "a bold and heartfelt gesture". William Alwyn's Twelve Preludes (1958) pay a glancing nod to Lutyens' serialist techniques even while displaying "a peculiarly English combination of both tonality and modality" characteristically his own. Peter Dickinson's "postmodern, poly-stylistic" Paraphrase II (1967) is the work of a composer open to the broadest influences, it's seven sections inventively re-working an earlier three-part motet and receiving here their first studio recordings. Slowly emerging into the light, Anthony Herschel Hill's Litany (1992) and Toccata (1985) - heard here in first recordings - are the product of a wholly individual compositional voice, boasting, says Williamson, "some of the most gorgeously idiomatic and exhilarating piano writing of any late-20th century composer". Delius's Prelude and Duet from his one-act opera Margot la Rouge, composed in 1902 yet un-performed until 1983, are distinctive for their delicate harmonic textures and colors, masterfully transcribed for piano by Maurice Ravel. Featuring music by Bernstein, Copland, Charles Ives and Lou Harrison, Great American Sonatas, Nathan Williamson's 2017 SOMM Recordings debut was hailed by Gramophone as "a release of distinction".

Somm Recordings celebrates the sublime choral music of Richard Rodney Bennett – best known to a wider audience for his Academy Award-nominated scores to Murder on the Orient Express and Far from the Madding Crowd – with 11 first recordings and a vivid new recording of his choral masterpiece, The Glory and the Dream. Performed by the Royal Birmingham Conservatoire Chamber Choir, directed by Paul Spicer and with dexterous support from organist Nicholas Morris, The Glory and the Dream features 12 varied and vivacious choral pieces composed over more than 50 years. The album’s striking title work sets Wordsworth’s ode Intimations of Immortality to music that conjures childhood rapture and adult fears with the utmost finesse and feeling and features a fearsomely complex and challenging organ accompaniment. Dating from 1961, the earliest pieces here are Two Madrigals in which Bennett treats the rich ornamentations of the 17th century to a wholly modern perspective. The most recent work, One Equal Music – a sinewy, austere anthem with a serene ending – was completed in February 2012, just 10 months before the composer’s death at the age of 76. Bennett’s fascination with the Elizabethan and Jacobean eras is also to be found in the elegiac partsong A Contemplation Upon Flowers, the vocal fanfare This Day and Time, a somber meditation on the finality of life and lasting effulgence of Christ’s eternal being, and the simple but affective carol I wonder as I wander. Other seasonal pieces include the early, plainchant-infused The Sorrows of Mary, the gentle ‘hush song’ Lullaby Baby and late, substantial Remember, O thou man, a fervent and heartfelt prayer ending in quiet contemplation. Previous Royal Birmingham Conservatoire Chamber Choir recordings on SOMM have included admired recordings of choral music by Herbert Howells, Samuel Barber and John Joubert, together with partsongs by Ireland, Delius and Stanford.

SOMM RECORDINGS announces the first release of never before available performances by one of the defining partnerships of modern American music in the specially priced two-album set George Szell and the Cleveland Orchestra: The Forgotten Recordings. Long considered one of America’s “Big Five” orchestras, the Cleveland Orchestra entered its second century in 2018 and earlier this year was hailed by The New York Times as “America’s finest [orchestra] still”.

The Forgotten Recordings features eight historic performances made for the Book-of-the-Month Club in 1954 and 1955 – seven of which are first releases – that have been restored and remastered by the multi-award-winning audio restoration engineer Lani Spahr, who also provides extensive and informative booklet notes. Three works – Bach’s Third Orchestral Suite (BWV 1068), a revealing engagement by Szell with a composer he is not usually associated with, Smetana’s The Moldau and Strauss’s Till Eulenspiegel (with an early spotlight on legendary horn player Myron Bloom) were recorded in mono in a remarkably productive session on Christmas Eve, 1954.From October 1955 in stereo recordings are two works by Brahms – his Haydn Variations and the Academic Festival Overture, two symphonies – Mozart’s No.39 and Schumann’s Fourth – and a Stravinsky Firebird Suite that “crackles with energy”. “Here”, says Spahr, “we can appreciate that the orchestra was well on its way to becoming, in Szell’s words, ‘this glorious instrument... that perfectly reflects my musical ideals’.”

REVIEW:

George Szell’s tenure as music director of the Cleveland Orchestra began in 1946 and ended with his death in 1970. He can be credited for transforming the orchestra into a first class ensemble, with its own characteristic sound and style. When he first accepted the position, he vowed to "dedicate all [his] efforts…to make The Cleveland Orchestra second to none in quality of performance." Musicians were hired and fired in an effort to achieve this goal – a warm, refined sound, clarity and technical perfection, demanding total commitment from the players. His lofty goal was eventually achieved.

These ‘Forgotten’ recordings were made for the Book-of-the-Month Club (BOMC), a mail order outfit that dealt with popular books sold by subscription. In 1954 it made the decision to branch out into classical LPs, with accompanying analysis of the works by such noted writers as Thomas Scherman and Deems Taylor. Many of the issues were licensed from labels such as Vanguard, Vox and Decca, conducted by some notable names - Max Rudolf, Alfred Wallenstein, Fritz Stiedry and Leonard Bernstein. George Szell was also approached by the company and was happy to accept, considering it a means of supplementing his musician’s income.

On December 24 1954, the first recording session took place at the Masonic Auditorium, Cleveland, with the Bach, Smetana and Richard Strauss works, music that had recently featured in subscription concerts. The session was recorded in mono. The rest of the works featured in the set date from 1955 and are in stereo.

Bach is not a composer one usually associates with Szell. Though HIP had a long way to go, Szell pares his orchestra down, and employs a harpsichord continuo. Tempi throughout don’t drag, with the dance movements being quite animated. The ubiquitous Air is nicely paced. There’s some wonderfully refined woodwind playing in Smetana’s Moldau (Vitava), and the recording balance enables the river’s rippling undercurrents to form a vivid backdrop. Szell never overdoes it with the brass, which lets down some performances, but steers everything along maintaining balance and proportion. The quieter moments are quite magical. Strauss’ Till Eulenspiegel features the renowned horn player Myron Bloom in one of his first appearances on record. A year later he became the orchestra’s principal horn. The performance captures the very essence of the witty, light hearted, mischievous prankster, and reveals the discipline and virtuosity of the Cleveland players, especially in the brass and woodwind sections.

Over three days in October 1955, five more works were recorded for BOMC, this time in the new stereophonic sound. Szell takes a rather more relaxed view of Mozart’s Symphony No.39, which is free-flowing, refined and eloquently phrased. The Menuetto is lively with a distinct spring in its step, and the finale is truly exhilarating. There’s a bracing account of Brahms’ Academic Festival overture, infused with spirit and celebration. Szell’s approach is warm-hearted in the composer’s Variations on a Theme by Haydn. The performance is well-paced and the variations are deftly-characterized.

There’s a purposeful reading of Schumann’s Fourth Symphony, soused throughout with drama and tension. The Romanze excels for its tender moments. Szell injects plenty of energy into the fourth movement, and the orchestra respond with gusto and panache. Stravinsky’s Firebird is heard in the 1919 version. It’s an atmospheric account of many moods. There’s the captivating lyricism of the Round of the Princess, which contrasts strikingly with the Infernal Dance of King Kastchei, where Szell invests the music with an extra ounce of punch and sizzle. I certainly concur with Lani Spahr that this is the highlight of the set.

Comparing the three mono recordings with those taped in stereo, the latter have a degree more bloom to the sound and register more presence. All the works featured are making a first appearance on CD, with the exception of Brahms’ Variations on a Theme by Haydn. These compelling aural documents have been expertly restored by Lani Spahr, who has also contributed the booklet notes, running to 19 pages. All in all, the entire project is an unmitigated success.

– MusicWeb International (Stephen Greenbank)

SOMM Recordings’ historic complete survey of Charles Villiers Stanford’s String Quartets by the Dante Quartet reaches its end with a third volume focusing on Nos. 1 and 2, and the first recording of No. 6. Already acclaimed as a composer of choral music, Stanford came relatively late to the string quartet form, composing his first two at the age of 39 in 1891. Six more followed over the next three decades, including the Op. 122 String Quartet, No. 6 in 1910. This final volume features the early String Quartets, Opp. 44 (No. 1) and 45 (No. 2) which share a concern for meticulous use of individual instrument voices and a leaning towards lyricism. Allusions to Beethoven and Mozart are contained within Stanford’s own beautifully crafted music. Heard here in its premiere recording, the Sixth String Quartet is a work of rich contrasts, restless energy and some of Stanford’s most expressive writing for the medium. Volume I (SOMMCD 0160) was admired as “an excellent disc in every respect” (MusicWeb International), applauded as “most enterprising and thoroughly likeable” (Classical Ear) and acclaimed “a really worthwhile release” (Gramophone). Volume II (SOMMCD 0185) was described as “essential listening... SOMM and the Dantes have broken important new ground with impressive commitment” by Gramophone and by Limelight as being “played with great élan and sensitivity by the excellent Dante Quartet”.

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REVIEW:

The Dante Quartet play splendidly throughout the album, with noticeably clean articulation and gratifying intonation. Unerringly accomplished, these Dante performances, combined with spirited interpretations that breathe vitality and enthusiasm, would pass the most rigorous examination. The engineering team, recording in St Nicholas Parish Church, Thames Ditton, has provided first class sound quality. Stanford biographer Jeremy Dibble has written the booklet notes. Lovers of British music, and Stanford in particular, need not hesitate in acquiring this superb album.

– MusicWeb International

SOMM celebrates Christmas this year with Carols from Chelsea, a delicious offering from the Chapel Choir of the Royal Hospital Chelsea under their Director, William Vann. The Royal Hospital, founded in 1682 by Charles II, is the home of the iconic Chelsea Pensioners, who are all retired soldiers of the British Army. The Chapel Choir sings for the Sunday morning Matins service in the Royal Hospital's Wren Chapel during the year, but in December provides the music for carol services and other Christmas-themed events almost every day. This recording showcases some of the Choir's most cherished carol repertoire, alongside solo organ music performed by the Royal Hospital's Organ Scholar, James Orford, and a very special performance with Chelsea Pensioner and George Hatton. Many of the Royal Hospital's carol services begin wtih Franz Gruber's spine-tingling carol Stille Nacht, an especially moving carol to hear in the original German, given it's celebrated performance in the trenches on Christmas Day, 1914. Once in Royal David's City is the first of three carols that are usually sung with the full congregation, opening with the famous solo that captures the mood of Christmas like nothing else.

SOMM Recordings is delighted to announce the release of an intriguing new recording, introducing the melodious, rhythmically vibrant choral music and songs of Penelope Thwaites. Featuring 19 premiere recordings, From Five Continents celebrates a lifetime of making music around the world to showcase Thwaites’ distinctive compositional signature. The album’s centrepiece, a moving new Missa Brevis, is coupled with four Psalm settings, songs influenced by the sounds of Indian and African music, folk-styles from the Americas and an evocation of the vast Australian outback. From Five Continents features three outstanding singers venturing into new musical territory. Making their debuts on SOMM are Carolyn Sampson – whose brilliant soprano ranges from shimmering choral solos to guitar- accompanied folk song – and baritone William Dazeley, who vividly conjures the inherent anger of the much-set Fear no more the heat o’the sun, one of five Shakespeare settings. Enveloped by drums and saxophone, tenor James Gilchrist returns to SOMM for a stirring tribute to Nigeria’s second-largest city, Kano. The composer herself provides exceptional accompaniment on piano throughout the album. Also returning to the label is Ex Cathedra under their inspiring conductor Jeffrey Skidmore to demonstrate again a rare versatility and the most beautiful of choral sounds while reveling in the punchy, rhythmic vivacity and telling colors of Thwaites’ music. Thwaites’ previous release on SOMM was the premiere recording of the concert version of her musical co-written with Alan Thornhill, Ride! Ride! (SOMMCD 017) which featured Keith Michell as the 18th-century religious and social reformer John Wesley. “The strength of Alan Thornhill’s libretto and the sheer variety of Thwaites’ music combine to create a compelling aural drama”, said Gramophone.

SOMM Recordings is thrilled to announce the release of Mosaic featuring the label debut of the A4 Brass Quartet. Formed in 2013 at Manchester’s Royal Northern College of Music, the quartet comprises principal players from some of the UK’s top brass bands, including Black Dyke, Foden’s and Brighouse & Rastrick. Its unique blend of instruments – cornet (Jamie Smith), tenor horn (Jonathan Bates), baritone horn (Mike Cavanagh) and euphonium (Chris Robertson) – creates a unique sound that stands out from the standard brass quartet. An exciting kaleidoscope of new music and bespoke arrangements for the ensemble’s distinctive line-up, Mosaic makes a bold claim for the vibrancy and variety of contemporary brass music. Its aim, the quartet says, “is to take the listener on a journey in which they are never quite certain what lies around the corner”. First recordings include Bramwell Tovey’s Street Songs, inspired by photographs of 19th-century Salvation Army bands, three movements from Christian Overhead’s vibrant portraiture in music, 5 Miniatures (both composed for A4 Brass), an arrangement by Jonathan Bates of José Serebrier’s vivacious Cuarteto, Bates’s own virtuosic Toccata 2, and Daniel Hall’s visceral take on a notorious Hollywood murder dubbed The Black Dahlia, which won the A4 Brass Quartet’s inaugural composition competition in 2018.Lighter fare is provided by Elgar’s perennially popular Salut d’Amour, the ebullient Overture to Leonard Bernstein’s Candide, and three more arrangements by Bates: Percy Grainger’s dancing Molly on the Shore, the lovelorn jazz standard, Autumn Leaves, and Kentaro Sato’s tribute to victims of the 2011 earthquake and tsunami in Japan, Tsuna’ngari (‘connection’).Euphonium player Chris Robertson provides striking arrangements of Bruckner’s beloved motet Locus iste, and Bartók’s Six Romanian Folk Dances that exploit the quartet’s distinctively individual signature.

SOMM Recordings is pleased to announce the fourth volume in Leon McCawley’s much praised series of Franz Joseph Haydn’s Piano Sonatas. Six Sonatas spanning the years 1766-80 are featured: the earliest the miniature First Sonata in G major, the latest the E flat major Sonata No.51, while Robert Matthew-Walker’s fascinating booklet note charts how deftly Haydn balanced the expectations of others and his own creative ambition. “Intended more to entertain than engage the intellect”, the fleet, divertimento-like First Sonata seems to anticipate the pedagogical leanings of Bartók’s Mikrokosmos more than a century and half later.With its unabashed galant style, the D major-led Sonata No.30 is ‘Papa’ Haydn at his most quicksilver brilliant and delightful, while Sonata No.35, in A flat major – “a masterpiece of piano writing” – displays striking characteristics of early Romanticism. Composed with the enhanced voice of the then newly available fortepiano in mind, sibling Sonatas Nos.48 (C major) and 49 (C sharp minor) maintain a winning Classical poise even as one surprise after another see Haydn pushing the sonata form in new and unexpected directions. Volume I (SOMMCD 0162) received a coveted Diapason d’Or from Diapason magazine, which enthused: “What a range in his interpretation and how many layers of gradation! McCawley ties these together in a special quality of inflexions which make their point with great intelligibility and sensitivity”. BBC Music Magazine declared Volume II (SOMMCD 0602) “should stand high on any list” of quality recordings of Haydn, adding “the sparkle of McCawley’s touch is instantly apparent”. Of Volume III (SOMMCD 0624) Gramophone hailed McCawley as “a thoughtful, keenly intelligent artist in peak form… [Haydn’s] piano works an inexhaustible source of artistic riches.”