In cooperation with the International Mozarteum Foundation belvedere is publishing highlights of the Mozart Week from first beginnings until today. Contemporary history and the history of interpretation become audible on carefully restored sound documents in excellent sound quality. Moreover, the edition will also comprise current recordings from the Mozart Week and concerts throughout the season, using the most up-to-date recording and production techniques. The Mozart Week has taken place annually in Salzburg since 1956. Renowned artists have made their mark on this festival since its beginnings and created a distinct impact as regards interpretation, artistic analysis and musical performance. Concerts of the Mozart Week have been recorded on radio and television since the inauguration of the festival. The treasures in the archives of these concert recordings are now being reissued. The album "Wilhelm Backhaus plays Mozart" contains a recording of the pianist's recital from 1956, the 200th anniversary of Mozart's birth and also the year when the Mozart Week was founded, and recordings from the recital in 1967. It offers an interesting opportunity to compare Backhaus's interpretations and the implicit relationships Mozart's compositions. Wolfgang Schaufler writes: "We have to bear in mind that Backhaus worked closely with Hans Richter who conducted the first performances of some works by Brahms."

The St Catharine's Girls' Choir, Cambridge, with director Edward Wickham, celebrate ten years since their foundation with this album of works for upper voices. In marking the momentous occasion in 2008 when St Catharine's created the first college-based girls' choir, the current choristers of this acclaimed group present a varied programme of secular works from British composers including Britten, Bennett and a world premiere by Sally Beamish. The St. Catharine's Girls' Choir- the only college-based girls' choir in the UK- was founded in 2008. The choir sings weekly in the College Chapel, as well as giving regular concerts and it's repertoire extends from the early Middle Ages to the twenty-first century, with several works written specially for it. The choir is made up of twenty girls, aged between eight and fifteen, drawn from local schools; and for this recording is augmented by former choristers. The choir has performed in some of the UK's leading venues, and has performed live in Radio 3's The Choir and toured to Poland and Hungary.

Taking a phone call, Miklós Rózsa could scarcely believe that the legendary violin virtuoso Jascha Heifetz really was seriously interested in his Violin Concerto and ready to give the work its premiere – but so he did in 1956, and the first recording of the work, with its extreme technical challenges, was also made by Heifetz. And it had been just the same with the Violin Concerto by Korngold: the 1947 premiere and the brilliant first recording of this 20th-century classic again showcased Heifetz as soloist.

In the new generation of genuinely American musicians, one outstanding figure was Leonard Bernstein, an all-rounder whose early success led on to even greater heights. Bernstein rated his Violin Concerto of 1954, “Serenade,” inspired by Plato’s Symposium, as his best work ever, and this work too in its imaginatively slimmed-down scoring is now acknowledged to be an important 20th-century concerto for violin.

As an “encore,” this compilation includes the masterly Symphonic Dances from the immortal “West Side Story.”

REVIEWS:

This set of American concertos sees her widen her recorded repertoire still further and her performances of all three are highly successful. She’s very well supported by the young Finnish conductor, Santtu-Matias Rouvali who here appears with the two orchestras of which he’s currently Music Director. The Gothenburg Symphony does the honors on the first disc while disc two features the Tampere Philharmonic. Both orchestras make first rate contributions.

— MusicWeb International

In addition to some 47 keyboard sonatas, Haydn wrote a variety of other pieces including arrangements of earlier orchestral or chamber works, and dances intended for occasional use. The 10 kleine Klavierstucke (10 Little Piano Pieces) contain five symphonic movements- including the second movement from one of his most popular, No. 53 in D major, known as L’Imperiale- a single movement from a string quartet and three extracts from his witty Eszterhaza opera La vera constanza. The dance movements were popular in Vienna’s many ballrooms. This is the penultimate release in Jeno Jando’s project of recording the complete solo piano music by Joseph Haydn. Of the complete piano sonatas release, Audiophile Audition commented: “Jando is every inch the professional, his years of experience and his muscular playing full these [works] with vivacious life.”

Mozart himself saw the advantages of creating more accessible versions of his concertos in reduced instrumentation. Ignaz Lachner followed common 19th-century practice by leaving the piano parts of these concertos intact and making splendid transcriptions of the orchestra parts using only a string quartet with added bass. K. 488 and K. 491 are two of Mozart’s greatest and most popular piano concertos. These chamber versions throw an intense and intimate new light on familiar music. Alon Goldstein is one of the most original and sensitive pianists of his generation, admired for his musical intelligence and dynamic personality. His career as a soloist has taken him all over the world, working with leading orchestras and conductors. The Fine Arts Quartet ranks among the most distinguished ensembles in chamber music today, with an illustrious history of performing success and an extensive legacy of over 200 recorded works.

Alongside its ongoing and much lauded Haydn and Schubert series, both on-stage and on-record, the Doric String Quartet with this Mendelssohn album is adding a new milestone in its repertoire. Mendelssohn wrote and published these three quartets at very different stages in his life and they therefore outline the complete trajectory of his creative output. The early Op. 12, also called No. 1, was composed in London and includes many musical allusions to Beethoven, dead only a few years before its composition. These subtly contrast with Mendelssohn’s genially flowing energy. While Op. 44 No. 3, which incorporates many deft variations, developments, and combinations, follows an extended honeymoon tour and Mendelssohn’s twenty-ninth birthday, Op. 80 emerged from a bout of helpless depression after the sudden death of Mendelssohn’s older sister and confidante, Fanny. Mendelssohn described this quartet as a Requiem, and the nervous agitation often found in his music here bursts forth with full force. Resignation, agitation, and nostalgia shape the work, the almost shocking finality of which may be said to prefigure Mendelssohn’s own death only six months later.

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REVIEW:

Op. 44/3 is the longest of the quartets, and the outer movements can sometimes come across as prolix. The Doric’s performance steers clear of this trap – again through the controlled variety and technical ease of their music-making – as well as tripping the light fantastic in the scherzo, and laying bare the emotional ambiguity of the Adagio. I look forward to Volume 2.

– BBC Music Magazine

Bronislawa Kawalla, the first prize winner at the International Bach Competition in Washington, comes from a well-known musical family. She graduated from the Secondary Music School in Krakow in the class of Maria Bilinska-Riegerowa and studied at the Higher State School of Music in Warsaw (currently the Fryderyk Chopin University of Music) in the class of Professor Jan Ekier. She polished her skills in Paris with Nadia Boulanger and Monique Haas, as well as at the Academie Internationale de Maurice Ravel with Philippe Entremont. She has recorded for Polish Radio and Television recordings, and has performed in renowned concert halls all over Europe, Canada, the USA, Latin America, and Asia. Kawalla is also devoted to pedagogical work, being a professor at the Fryderyk Chopin University of Music in Warsaw. Appropriately, for this release she has chosen a programme of music by Chopin.

This is a disc of pure delight.

This brilliant release features a live recording of the Orchestre Revolutionnaire et Romantique led by Sir John Elliot Gardiner performing Schubert’s Symphony No. 5 and Brahms’ Serenade No. 2 in A Major. The recorded concert took place in November 2016 inside the stunning acoustics of the Concertgebouw, Amsterdam. Schubert’s Symphony No. 5 was written mainly in September 1816 and was completed on October 3 of that same year just six months after the completion of his prior symphony. In character, the writing is often said to resemble Mozart; Schubert was infatuated with the composer at the time he composed it. Brahms’ second Serenade was written in 1859 and dedicated to Clara Schumann. The five movement work is scored for chamber orchestra, including double woodwinds but omitting violins, trumpets, trombones and percussion.

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REVIEW:

In matters of colour and timing, the playing of this early-Romantic repertoire has undergone its own revolution in the past 30 years. Under Goodman and Mackerras, even Minkowski, the Minuet of Schubert’s Fifth is neat but plain by comparison with Gardiner. Every phrase of the Andante is weighted and cherished. For its combination of tenderness, gravity and springtime joys, the performance may be set alongside Klemperer’s Philharmonia (with a first flute, Marlen Root, who has nothing to fear by comparison with Gareth Morris). The conclusion is quickly faded, but applause is retained after the Brahms. It’s a disc of pure delight.

– Gramophone

The present release is a fascinating journey through the music that unites Debussy with Spanish composers. Places are sounds- and this music is Granada. The city was a recurring source of inspiration for Debussy, and yet the composer never visited it; his knowledge of it was gained only indirectly through literary accounts, images, and musical sources heard in Paris. All of these materials served to unleash his imagination in regard to its sound, which according to Falla represented ‘the truth without authenticity, as not a single note is borrowed from Spanish folklore and yet, even in its smallest details, it wonderfully expresses Spain’. A common element links all the composers in the present program: the city of Paris. From the end of the nineteenth to the early twentieth century, the French capital was a fundamental goal for many Spanish composers, who at some point in their lives went there for study or work purposes. Born in Tokyo, Japan, Azumi Nishizawa is considered one of the finest Japanese pianists of her generation. She studied with Michiko Okamoto and Ikuyo Kamiya at the Toho Gakuen Conservatory of Music in Tokyo, and was subsequently selected as an outstanding pupil by the famous French pianist and instructor Dominique Merlet at the Geneva Conservatory where she won first prize for virtuosity.

In this new Chaconne release, Trio Goya offers unique accounts of Beethoven’s early piano trios, revealing on period instruments and in the magical acoustic of the Britten-Pears Auditorium at Aldeburgh’s Snape Maltings the extraordinary range of colors and narratives that these pieces suggest. Beethoven’s Opus 1 features amongst Trio Goya’s central repertoire, played regularly in the UK’s most prestigious venues and beyond. After a recent Wigmore Hall concert, Early Music Today wrote that “Trio Goya sent us home spinning on the delights and laughter of early Beethoven. His piano trio opus 1 No. 1 frothed and bubbled down the finale's theme, the musicians swept along by their own hell-for-leather, immaculately kept tempo.” These pieces mark a kind of beginning in Beethoven’s career. They were indeed planned and executed, over a period of two years, with unprecedented care and skill; they mark the start of a new creative period for the young genius, which is distinct from the younger Bonn years and is fully deserving of the label ‘first maturity’ conferred by the musicologist Lewis Lockwood.

The cellist Jan Vogler, who lives in New York and Dresden, has recorded three Double concertos for violin, cello and orchestra with his wife, the outstanding violinist Mira Wang, with the renowned Royal Scottish National Orchestra under direction of Peter Oundjian. Brahms' famous Double concerto captivates with wonderfully sweeping melodies, romantic sounds, eloquent solos and great orchestral sound. The English press wrote about one of the previous concerts: "Vogler, in particular, treated his solo sections like an operatic recitative, even in the faster Vivace sections of the finale, and Wang, his wife, matched him both in virtuosity and in beauty of tone. The highlight, however, was the opening of the slow movement, which produced sensational legato tone, soloists and orchestra slotting into one another like concentric circles, and creating a sound like molten chocolate.” The American composer John Harbison (born 1938), whose cello concerto premiered by Yo-Yo Ma has already caused a sensation, composed the Double concerto for the Boston Symphony Orchestra commissioned by the Friends of the Dresden Festival. The highly praised world premiere with Jan Vogler and Mira Wang took place on April 8th 2010 in Boston under the direction of Carlos Kalmar. Now this colorful, dynamic work full of glittering virtuosity can be heard for the first time in a recording. The German composer Wolfgang Rihm (born 1953) is considered one of the most important composers of our time. His "Duo Concerto", performed at Carnegie Hall in New York by Jan Vogler and Mira Wang with the Orpheus Chamber Orchestra in 2015, completes this fascinating new recording of three Double concerts with the Royal Scottish National Orchestra.

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)

Tengyue Zhang won the 2017 Guitar Foundation of America (GFA) International Concert Artist Competition, one of the world’s most prestigious events. His debut recital illustrates the moods, colors and techniques of the concert classical guitar from baroque transcriptions to masters of the twentieth-century genre such as Castelnuovo-Tedesco, Tansman, and Brouwer. Despite being from very different backgrounds and time periods, several of the pieces share intriguing relationships in their use of variation form or thematic motifs and harmonic progressions. Aside from the GFA, Tengyue Zhang has also won first prizes at other well-known competitions- Austria’s Forum Gitarre Wien International Youth Competition, the Changsha International Guitar Competition, the 2017 Schadt String Competition, and the 2017 Alexander Frauchi International Competition in Moscow.

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REVIEW:

One is struck by the extraordinary level of comfort and ease that his total mastery of his program communicates. He manages to imbue every single work with tremendous personality, power, and nuance.

– Classical Guitar

Inspired by the personality, prodigious technique and musicality of the cellist Gregor Piatigorsky, Castelnuovo-Tedesco’s Cello Concerto is a work of imposing scale and demanding virtuosity, but also with a rare beauty and warmth of expression. This live recording documents the first professional performances of the concerto in more than 80 years, and is paired with playful and virtuosic freely composed transcriptions for cello and piano of Mozart, Rossini and Ravel that Castelnuovo-Tedesco made for Piatigorsky and Heifetz. Mario Castelnuovo-Tedesco’s career was interrupted by his move to America in 1939 to escape the Fascist regime in Italy. He worked as a film composer in Hollywood, and as a result his concert works have become neglected, and he is now best remembered as a composer for the guitar. There is something of an ongoing revival however, of which this program is a part. Acclaimed cellist Brinton Averil Smith appeared on the Naxos ‘American Classics’ album of music by Steven Gerber, in which Smith’s performance was widely lauded by critics. His virtuosity and musical ideas rooted in the golden age of string playing make him a favorite of audiences all over the world.

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REVIEW:

There’s a cinematic feel and scope to the Cello Concerto, primarily during the first movement, with plenty of expressive lines and passages that Brinton Averil Smith projects with aplomb.

The other pieces and arrangements on this CD are a pleasure to hear, most particularly Brinton Averil Smith’s own arrangement of Figaro, from the Barber of Seville, with Evelyn Chen on the piano. Their playing well projects the comical elements of this famous opera aria.

– Classical Music Sentinel

Alessio Bax returns to recording with the Southbank Sinfonia under Simon Over, in a new album of works by Beethoven centered around the majestic “Emperor” Piano Concerto No. 5. Combining exceptional lyricism and insight with consummate technique, Alessio Bax is without a doubt “among the most remarkable young pianists now before the public” (Gramophone). He catapulted to prominence with First Prize wins at both the Leeds and Hamamatsu International Piano Competitions, and is now a familiar face on four continents, not only as a recitalist and chamber musician, but as a concerto soloist. He has appeared with more than 100 orchestras, including the London and Royal Philharmonic Orchestras, Dallas and Cincinnati Symphonies, NHK Symphony in Japan, St. Petersburg Philharmonic with Yuri Temirkanov, and the City of Birmingham Symphony with Sir Simon Rattle. Alessio has appeared frequently with the Southbank Sinfonia in concerts and recordings – their 2013 disc of Mozart’s Concertos Nos. 24 & 27 was described by Musicweb International’s critic as their “Recording of the Month … and quite possibly my recording of the year”. A live concert of the “Emperor” concerto in 2016 with the orchestra in Tuscany’s Incontri in Terra di Siena festival was met with praise by reviewers: “[Bax’s] capacity for softness and for evenness of touch came beautifully to the fore for the concerto’s many top-keyboard pianissimo flutterings, as his strong relationship with the orchestra also reaped dividends, producing satisfyingly sympathetic chamber pockets amidst the surrounding symphonic excitement.” Bachtrack (Live Concert Review)

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REVIEW:

His playing is consummately lyrical. His expressive molding and the very forward recording quality make for an overall result that is more immediate. All in all, this is an impressive disc, which repays repeated listening and can stand comparison with many of the biggest names.

– Gramophone

Navona Records is proud to announce the re-release of David Tanner's 1988 album The Eloquent Saxophone. Tanner is no Stranger to Navona; his compositions and arrangements can be heard on two other Navona releases: Of Birds and Lemons (2012) and Dashing (2016). This was his first album, featuring him as a performer. It includes two unaccompanied pieces and two sax quartets recorded by multi-tracking, as well as a rich variety of works with accompaniment admirably rendered by pianist Marc Widner. The music ranges from Schumann to a stylized blues by Gene DiNovi. Tanner's musical language is enriched by classical training and a career encompassing rock'n'roll and jazz as well as symphony. Reviewer Denis Armstrong wrote in Music Magazine, "Not long into this recording, one begins to marvel at the sheer joy David Tanner's playing conveys... a dense and rich recording... at times elegant and elegiac, other times ribald and visceral. But the one constant is the joy and clarity of expression." The first track sets the tone: "Serenade comique" is a brief, frantic sax quartet composition that evokes Parisian traffic or perhaps a flock of birds. "La Blues," the other quartet selection, evokes the melancholy of New York in the depth of night. "It is a treat for the listener to hear this feat of multi-tracking done so well," said reviewer Joseph Viola in Saxophone Journal. Each track is in contrast to the one before it; each represents something different and interesting. To quote Music Magazine again, "The Eloquent Saxophone [is] a thoroughly eccentric, invigorating and generous treat."

This third volume of Erik Satie’s complete solo piano music using Satie scholar Robert Orledge’s new Salabert Edition focuses on music composed between 1892-1897, including theatrical scores such as the revolutionary uspud, and the Danses gothiques and famous Vexations written while the composer was hiding from a tempestuous love affair. The period closes with Satie composing in what he called “a more flexible and accessible way withthe final Gnossienne and the six Pieces froides.” Recognized at once as a great interpreter of Liszt’s music, Nicolas Horvath became in recent years one of the most sought after pianists of his generation. Holder of a number of awards, like the First Prize of the Scriabin and the Luigi Nono International Competitions, he frequently organizes events and concerts of unusual length, sometimes over twelve hours, such as Philip Glass complete piano music or Erik Satie’s Vexations.

Telemann was among the most admired and prolific of composers and his compositions encompass virtually all genres and instrumentations known in his lifetime. The ‘Six Ouvertures,’ strangely neglected for many years, reveal his inventive and imaginative writing for solo harpsichord. They contain elements that suggest an amalgam of French and Italianate influences, whether ‘ouverture-suite’ or three-movement concerto or sonata. Also evident, in the central movements, is Telemann’s preference for Polish folk music, of whose ‘true barbaric beauty’ he was an ardent admirer. Gaku Nakagawa was born in 1993 in Japan. He began playing piano at the age of four, and in 2012 entered the University of Tokyo to study philosophy. Without ever having a harpsichord lesson, he became the first prize winner of the 27th YAMANASHI, Japan, international competition for early music in 2014. This is his debut recording.

Expert in Baroque repertoire and making period discoveries, the Philadelphia-based ensemble Tempesta di Mare extends the commemoration of the 250th anniversary of Telemann’s death with this unique album played on historically authentic instruments. This recording is the first to bring together Telemann’s three surviving concerti-en-suite, from the intimate Concerto di camera to the more extravagant and impressive Concerto-Suites. Like many seventeenth-century German composers referring to their national idiom as a blend of French, Italian, and German styles, Telemann, who added rustic Polish music to this stylistic soup, quickly became the standard-bearer for this ‘mixed taste’ during the early eighteenth century, writing Italian concertos with a French accent, French overture featuring moonlighting concerto soloists, and Polish folk tunes that exuberantly dance their way into arias, concertos, sonatas, songs, and suites. One of his more interesting mixtures is the concerto-suite, a subgenre in which a soloist is featured in an opening concerto-allegro and in a following series of French dance movements. The three surviving works of this genre are brought together here for the first time.

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REVIEW:

It’s all top-drawer stuff. Not least thanks to the beautifully blended sound of the whole: crisp strings, mellow woodwind, subtle-but-there harpsichord and theorbo and a gorgeous soft-focus halo of horns. In short, every instrumental timbre is beautifully looked after.

– Gramophone

American pianist Timothy Ehlen continues his prolific recording career with this offering of the music of Johannes Brahms. Mr. Ehlen, Professor of Piano at the University of Illinois in Urbana-Champaign, has performed extensively in the United States and Europe as a soloist and chamber player. He first gained international attention after winning the World Piano Competition in 1987; after his subsequent debut in Lincoln Center at Alice Tully Hall in 1988, the New York Times raved that his "playing was filled with elegant personality... recalled bygone artists like Robert Casadesus and, especially Walter Gieseking in their mastery of both 18th century and impressionist music... immaculate technique." The Pro Piano Recital Series sponsored his 1997 recital in Weill Hall at Carnegie Hall, which the New York Concert Review hailed as "... an absolutely remarkable tour-de-force." Recitals in France, Germany and Korea have received a similarly enthusiastic response. Mr. Ehlen has recorded the complete Beethoven Piano Sonatas for the Azica label. After the release of volume III, Fanfare Magazine wrote: "... I have the feeling that the cycle with the richest rewards will turn out to be the Ehlen."

A New York Times 25 Best Tracks Selection for 2018 - Fanfare

Following acclaimed albums devoted to Britten, baroque lute songs and German lieder, Grammy Award-nominated tenor Nicholas Phan continues to spread his wings with Illuminations, an album featuring compositions by Benjamin Britten, Claude Debussy and Gabriel Faure who were each inspired by the poetry of two nineteenth century French literary titans, Paul Verlaine and his protégé and eventual lover Arthur Rimbaud. The intertwined lives of the French poets and composers manifested themselves in Faure’s impassioned Verlaine-inspired ‘La bonne chanson’ and Debussy’s ‘Ariettes oubliees’ drawn from Verlaine’s ‘Romances sans paroles.’ Just decades later Britten was inspired by Rimbaud’s influential prose-poetry ‘Les Illuminations.’ Critical acclaim for Nicholas Phan has been widespread.



REVIEW:

Britten captures the blend of bizarre, beautiful, decadent, and courtly elements in Rimbaud's symbolist poems. These mingled emotions enliven Mr. Phan’s singing on this recording, starting with the opening “Fanfare,” in which, in trembling voice, he declares that he alone holds the key to this savage parade (of life).

– New York Times

This release is the 49th volume in the Naxos series of the complete works of Franz Liszt. Volume 49 features a wide-ranging selection of dance pieces. The Valses oubliées reveal a compound of wistful nostalgia and advanced harmonies while the remarkable Csárdás macabre, a characteristic Hungarian folk-dance, is full of innovative features. The effervescent Mazurka brillante is a very rare example of Liszt making original use of this Polish form, whilst simultaneously transforming it. The Grand Galop cromatique, heard here in two versions, is a bravura encore piece that the young Liszt often played in his virtuoso recitals. The works are presented on this release by Goran Filipec, recent laureate of the Granc Prix du Disque of the Ferenc Liszt Society of Budapest.

Featuring ten premiere recordings and a number of recently discovered ‘Sins of Old Age’ manuscripts unassigned to specific volumes, this album brings together a notable diversity of genres and instrumentation. They include the catchy ‘Allegretto’ for violin and piano that Rossini used as his musical calling card, the ‘Tarantelle pur sang’ for choir, harmonium, clochette and piano, and a harmonization of the simple folk melody ‘Marlbrough s’en va-t-en guerre’ that transforms it into a little musical gem. The Ars Cantica Choir was established in 1988 in Milan and today, as a body of professional singers, has won a reputation for its versatility and ability to tackle repertoire from the Renaissance to the contemporary.

Romain Descharmes concludes his generally impressive cycle of Saint-Saëns piano concertos with this coupling of the formerly popular Fourth, and the increasingly popular Fifth. His performance of the Fourth, the composer’s most original work in the medium, is impressive. It’s a difficult work to pace; there’s a lot of slow music, and the thematic material is expressively pretty neutral. If the work is “about” anything, it’s a study in thematic metamorphosis and chromatic counterpoint versus diatonic harmony.

Descharmes and conductor Marc Soustrot understand the music well. The opening variations are nicely contrasted, the ensuing Andante attractive in its flow. The long finale effectively integrates the ongoing return of the main themes, with Descharmes weaving into and out of the instrumental textures smartly and sensitively. It’s an interpretation that consistently holds your attention, and rewards your patience.

The “Egyptian” Concerto isn’t quite as good. The outer movements are fine, especially the rollicking finale, but the long central movement could be more effectively shaped, its “orientalisms” indulged just that more characterfully. Still, as in the Fourth, the performance reveals a lot of meaningful detail, especially in the finale, and Descharmes isn’t afraid to take a step back and let other instrumental colors take center stage once in a while. Ultimately this complete set of the five piano concertos stands among the best out there, even if everyone will have favorite individual performances. This is an achievement of which everyone can be proud.

– ClassicsToday (David Hurwitz)

Monteverdi’s sacred vocal compositions introduced the expression of powerful and personal emotions to the world of church music. While it took him a number of years to find fulfillment in his work, Monteverdi was a revered composer within his lifetime and his music is regarded as revolutionary, marking the change from the Renaissance style to that of the Baroque. This album includes some of the finest works from Monteverdi’s years as director of music at St Mark’s in Venice, published posthumously in 1650 as the ‘Messa a quattro voci et salmi.’ “Pure- and vintage- Monteverdi, starting with a Dixit Dominus and ending, grandly with a version of Beatus Vir, using material we know from the familiar one. Ideal consort singing.” (The Sunday Times) “As always with The Sixteen, we get superb tuning, balanced ensemble work and a lively pace.” (BBC Music Magazine)