From the producers: "There's a lot of great Jewish holiday music out there, and we were listening to one of our favorite world music programs during the holidays. That's when it occurred to us that we could do our own Khanike album, one that reflects our interests and highlights Yale's extraordinary arrangements and compositions, with music that could be enjoyed by a wide range of listeners, from little kids to serious music appreciators. And it provided a perfect opportunity for an idea that we had been discussing for some time- an entire album arranged for vocals and strings. It also gave us a perfect opportunity to join forces with Sara and David, whom we met through the Mark O'Conner Strings Camps; Amos; and Alex from the Hausmann Quartet. We wanted the repertoire to present a sense of how Khanike was and is celebrated by different cultures around the world. The Ladino songs were traditionally sung by women in the kitchen as they prepared for the holiday. There is a particular feeling of intimacy, comfort and family that was true of how we musicians felt about each other, both musically and personally, and that is really satisfying. When you listen to these songs, you'll hear the musicians thinking out loud and sharing inspiring thoughts and ideas with each other. Each of us has our own personal references, ranging from classical to jazz and blues, to Middle Eastern, klezmer, bluegrass, and Texas Swing. You'll hear all of this as we fuse seamlessly with each other."

This release features Christmas carols from all over the world. From South American rhythms to silent nights, from Italy, England, Germany, Sweden, Poland, Russia, France, Spain, USA, Uruguay and Argentina. Together we want to immerse ourselves in a joyous Christmas season. Everyone connects during this time with their own memories and sensory impressions. In addition to family encounters and festive food, it is also the music that lets us sensually capture the emotions of this time and awaken childhood memories. The spectrum is wide: from soulful, deep intimacy to merry cheering. If we are looking for Christmas carols around the world, the range will be even wider. So we have compiled a variety of Christmas carols, sung in 10 languages, and this edited for the simple cast of vocals and classical guitar. This is a beginning of our "world collection", which will be expanded with songs from other regions of the world. As different as the songs of all the nations on this album are, the content, Christ's birth, brings everyone together. We want to emphasize this solidarity and tolerance during the Christmas season and to revive it. With these songs we wish you a Merry Christmas.

“La Santa Allegrezza,” a tradition of the heart .. From the tradition of Advent and the Novena, the nine days before the birth of Christ, Letizia Fiorenza and David Sautter have collected songs from Campania and Sicily. Striking in these songs are the simplicity and the directness of the lyrics and the music. The story of Jesus' birth, for example, as narrated by the blind Cantastorie in Palermo, is dramatically staged with the same intensity as the famous Rider epics portrayed on the streets of Palermo with the gold-brained Pupi. These songs depict the human side of the Christmas story that is comprehensible to everyone, a dimension that appeals to the heart. We suffer with Mary, fear the shepherds and rejoice with the kings when they finally discover the promised child. A special position is given to Mary, who is shown as a dignified expectant mother, who commands over the water and the serpent, who in her paces the way, crushed with his foot. The selected classical pieces for guitar in contrast to the drama of the songs a contemplative pause.

In the 1990s, Donald Fraser scored a hit with his orchestral arrangement of Marin Marais’ baroque classic The Bells of Genevieve which reached the Top 5 of Billboard’s Classical Chart and remains a radio evergreen to this day. Numerous commissions for arrangements followed for musicians such as The King’s Singers, Yehudi Menuhim and the English Chamber Orchestra. In 2016, AVIE released Don’s large-scale orchestration of Edward Elgar’s Piano Quintet and choral version of Sea Pictures, which charted in the Top 10 of the UK Specialist Classical Chart. Don now returns to the art of arranging smaller scale, classic works by John Dowland, Henry Purcell, Antonio Vivaldi and others, including new versions of his own “Amen” from A Christmas Symphony which was written for and premiered by soprano Jessye Norman, a new remix of The Bells of St. Genevieve and orchestrations of four Elgar art songs that evoke the album’s title, Songs for Strings.

This recording has selected almost all of the piano-voice songs by Ángel Barja, based on ancient Galician folklore, where the melody tames a very accomplished popular style, slenderized in a subtle and coloristic piano accompaniment that scrupulously observes the conventions of popular roots voice writing. Barja preserves the syllabic nature of the melodies and insists on maintaining the accentuations against the verse. He alternates in them the strophic song, with turns and repetitions, with the simplicity of the popular tune, in many cases with medieval roots, as happens in the Cantiga “Those who know how to love” with a 13th century melody. Another bloc groups exuberant Christmas songs and, last, a third and eclectic group, assembles songs of different styles and subjects. The poetic anthology used by Barja in his songs is very successful regarding the rhythm and musicality of these verses. It is no coincidence that, despite the apparent aesthetical and geographical remoteness of Galicia and Granada, our composer chose Federico García Lorca to compose five of his songs. José María Pemán was the poet chosen by the composer to set two of his most beautiful and brilliant songs. This sample of the best of his legacy clearly showcases his music, his talent as melody composer, and his mastery to combine sonorities and tradition.

Let yourself be whisked away on a Tropical Holiday with music from around the Caribbean- Haiti, Martinique, Costa Rica, Trinidad & Tobago, and other island nations. Put your sunglasses on and get into the summer mood with irresistible dances. The cumbia is perhaps internationally the best-known form of music and dance from Colombia. It has African roots with a great deal of Spanish and Indian influence. In fact, Colombians consider the cumbia to be the meeting place of these three cultures. It's pace makes it one of the most danceable styles found within South America. Another well-known dance featured on this album is the salsa. Since the salsa's appearance in the early 1960s, it's impact and planet-wide expansion has been phenomenal. Broadly speaking, salsa is essentially an urban, popular dance music with deep roots in Cuban music. It's origins have been traced back to two main styles still heard in Cuba today: the Spanish influenced guajira and the Afro-Cuban son.

Edita Gruberova – her very name is melodious. The Slovak soprano is undoubtedly one of today’s most well-known interpreters of coloratura opera singing, and especially of Italian bel canto. She made her debut in 1970 as Queen of the Night in Mozart's "Magic Flute" at the Vienna State Opera and, ever since her performances in the same role at Glyndebourne and Salzburg in 1974, she has been a regular fixture on the world’s leading operatic stages and concert podiums. Flattering epithets such as "the Queen of Coloratura", "the Slovak Nightingale" or "prima donna assoluta" are hardly exaggerated, for they really do represent what Edita Gruberova has embodied for almost half a century. She is celebrated all over the world for her perfect mastery of vocal technique, her astonishing ability to master even the most difficult coloraturas and highest notes, her clear and precise intonation and, most importantly, for something that overshadows and transfigures everything else: the seductive and beguiling timbre of her voice. This album, released by BR-KLASSIK to celebrate her 50th stage anniversary, presents nine recordings made between October 1983 and June 2000 at Bayerischer Rundfunk concerts. In addition to well-known as well as lesser-known arias from operas by Handel, Rossini, Donizetti, and Bellini, and also the Couplet of Adele from Johann Strauss' operetta "Die Fledermaus", Edita Gruberova can also be heard in interpretations from Mozart's "Exsultate, jubilate", his “Laudate Dominum” from the “Vesperae solennes de confessore,” and also Michael Haydn’s far too rarely performed Christmas cantata “Lauft, ihr Hirten, allzugleich.” This album is more than a historical portrait – it offers a representative musical cross-section of Edita Gruberova's wide-ranging repertoire, and also includes several surprises that complement and enrich her comprehensive discography.

The Choir of The Queen's College, Oxford explore the works of choral music icon Herbert Howells, in an album that sets his works alongside pieces that his music inspired and influenced (such as Nico Muhly’s Like as the hart for choir, solo violin and percussion) as well as works that in turn influenced him. The release features two world premiere recordings by David Bednall – settings of two Marian antiphons that 'complete' the partly-lost set of works that Howells wrote for Westminster Cathedral. Led by their director Owen Rees, the Choir of The Queen’s College, Oxford is among the finest and most active university choirs in the UK. Its wide-ranging repertory includes a rich array of music from Renaissance and Baroque masterpieces to contemporary works, including commissions. Their recording of David Bednall's Christmas work Welcome All Wonders was met with critical praise: "An excellent [album]: the singing is incredibly tight, in the manner to which it has become increasingly accustomed under its musical director, Owen Rees, and Bednall’s writing is ingenious, embedded in a profound understanding of the workings of the choir and organ – both as distinct entries and as a partnership." (Gramophone)

Footprint is delighted to release the debut recording from Harlanda Chamber Choir in the ensemble's tenth anniversary year. 'A bright star shineth' is an atmospheric celebration of Christmas music from throughout Europe from the Sixteenth Century to present day. This recording charts a Christmas journey from France to Iceland, via England, Wales, Ireland and of course Sweden. Traditional songs in alluring arrangements by �ke Hillerud and John Rutter and more are heard alongside original compositions by the likes of Francis Poulenc, Thomas Tallis and Morten Lauridsen. The choir pays homage to it's own roots with a traditional song from the Halland Province, 'Guds son �r f�dd' (arranged by Otto Olsson). Two premiere recordings from Scandinavian composers complete the picture: Ola Gjeilo's striking 'Det hev ei rose sprunge' and Anna Cederberg-Orreteg's emotive interpretation of Sibelius's 'Julvisa.' With fulsome, warm singing and careful direction from Molin, 'A bright star shineth' combines head and heart this festive season, "our birthday gift to ourselves and a Christmas present to the world," in the choir's own words.

Johann Jeremias Du Grain was on familiar terms with the musical greats of his era. He learned the musical trade from Telemann, who was already famous at the time, and he assisted the very busy Handel with the composition of a festive cantata for the five hundredth anniversary of Elbing, his chosen place of residence. One hears traces of these illustrious surroundings in Du Grain’s own cantatas, which Anrzej Szadejko and the Goldberg Baroque Ensemble are now presenting for the first time on this audiophile multichannel release in the Musica Baltica series. Du Grain’s cantatas not only represent the very best of their times, they are also extraordinarily appealing. Virtuoso arias, splendid choral numbers, and highly expressive laments operate on the same high level as the music of the great masters. On the First Day of Christmas, full Baroque splendor awaits the Savior when timpani and trumpets open “Willkommen, Erloser” with a salutation befitting the deliverer of the world. Du Grain displays very great artistry in the elaboration of Luther’s challenging medieval chorale “Mitten wir im Leben sind.” This extensive fifteen part work explores all the facets of human life and death- now that is unique!

This release is the fourth volume in Adam Fischer’s fabulous survey of Mahler’s symphonies. His previous volumes in the cycle have garnered widespread critical acclaim, including two Editor’s Choices by Gramophone. The Fifth Symphony is one of Mahler’s most loved works. Composed during the summer months of 1901 and 1902 at Mahler’s holiday cottage at Maiernigg, the 5th Symphony features a trumpet solo that opens the work with the same rhythmic motive as the famous opening of Beethoven’s 5th Symphony. The scope of the work is huge, lasting over an hour and requiring a large number of musicians. The fourth movement, Adagietto, is said to represent Mahler’s love song to his wife, Alma, and is probably the composer’s most performed piece of music.

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REVIEWS:

Fischer’s elastic sense of tempo can be stretched to extremes in the Adagietto. What remains outstanding is the textural clarity and what is among the clearest renderings on disc of the finale’s teeming fugues. A peerless trumpet rides the first-movement welters impressively, too. The strings may not be the weightiest in the business, but every phrase is beautifully detailed and projected.

– BBC Music Magazine

Adam Fischer’s kinship with this music seems to grow exponentially with each successive instalment of what is already proving an exceptional Mahler cycle. There’s a stylistic and emotional understanding which goes beyond the precisely annotated scores. Perhaps the most impressive thing about this account of the Fifth Symphony is the ‘in the moment’ feeling it engenders from first to last.

– Gramophone

Ireland is not only the green island, but also the land of legends and singers. All this is reflected on the second GENUIN album by the Irish clarinetist John Finucane. The exceptional wind player brings together music from his homeland written from 1911 to the present day. Without exception, these are genuine discoveries, and not only because of the world premiere recordings and works written for John Finucane himself. Even in the most modern of times, the magic of the past is still alive, and contemporary musical language is inspired by the spirit of the Irish harpists: from Stanford to Bax, from Ferguson to Trimble, this album is an Irish blessing! John Finucane has been Principal Clarinet with Ireland's RTE National Symphony Orchestra since 1995, and has also been active as a soloist, chamber musician, and conductor in Ireland and abroad. Described by Gramophone Magazine as "an outstanding virtuoso" on the release of his album 'Clarinet Variations,' he has worked with the Ulysses Ensemble, the Irish Chamber Orchestra, Welsh National Opera, Opera North, and Irish Film Orchestras. He appears regularly on radio and television programs, and he has a particular affinity to chamber music, working with many groups across Europe.

The world-famous mezzo-soprano Magdalena Ko�en� decided to leave the world of classical music behind for a while and embarked on a gentle flirtation with the 'light muses'. She chose a truly soulful and immensely witty author for her excursion into the world of classical American musical - Cole Porter. She sings here his renowned, jazz-inspired hits with the accompaniment of Ondrej Havelka and His Melody Makers, an orchestra which ranks among the world's leaders in authentic interpretation of jazz, swing and dance music of the 1930's and 1940's. "I fell in love with Cole Porter's songs and the music of that period during the years when I was a student. I am a great admirer of Ella Fitzgerald, Billie Holiday, Peggy Lee and other jazz legends. Their recordings are still amongst my favorites. I did not dare take on this repertoire for a long time, however, because I am of the opinion that each artist should stick to his or her own style. However, I was inspired by listening to the songs of Cole Porter performed by Frederica von Stade, whom I admire greatly. Without in any way endeavoring to alter her singing style, she gave Porter's songs great charm and brought them into a different, interesting dimension. So, I decided that I would try and present my own take on these timeless melodies to audiences." (Magdalena Ko�en�)

Beauty is a question of view. For some it consists in perfection, symmetry; others perceive it only when ruptures, cracks, relativizations add to the impression. Herbert Joos has called his orchestra suite, which he premiered on the occasion of being awarded the 2017 Baden-Wurttemberg Jazz Prize for Lifetime Achievement, "Change of Beauty." This fits a process of musical creation that the star chef and bass trumpeter Vincent Klink laconically commented upon his encomium at the award ceremony at the Stuttgart Theaterhaus as follows: "I assert at this point that perfection curtails freedom and completely runs counter to a humanism of the Joosian kind." Ergo, beauty can endure only in a state of flux. An insight that coincides with Herbert Joos's experience in the course of a dazzling career as a musician. The trumpeter, flugelhorn player and composer appeared on the jazz scene at a time when certainties were crumbling. Born in 1940 and influenced by musical individualists like Miles Davis, Chet Baker, and Billie Holiday, Joos first learned the craft of imitation in ensembles such as the Modern Jazz Quintet Karlsruhe, but at the same time experienced the beginnings of the aesthetic resistance. In no time at all he sent jazz tradition packing into the museum.

An axiom is a self-evident truth. Everything on this album represents different aspects and shades of truth. On their debut recording, Axiom Quartet probes the soul and delivers a deeply satisfying statement on truth and inner fulfillment. Each track is a whirlwind journey of soul-searching expression. From the bravado of "Insight" into the confounding swirl of "Hindsight," and on to the profoundly elegant "Pur Ti Miro," this recording turns tempo and style on a dime leaving the listener exhilarated. While "Insight" is the exhilarating realization of truth, "Little Lies" bends truth. Axiom Quartet's arrangement of the Fleetwood Mac classic is a refined, yet provocative update that feels surprisingly at home in a chamber setting. An understated dignity adds depth to country-folk standard "Wagon Wheel," with a delicate banjo dancing under the Quartet's strings. In "Everything Means Nothing to Me" an artist painfully expresses the truth in his heart while Billie Holiday begs a lover to not tell her the truth in "Don't Explain." "Axiom" is a work about seeking truth and reason, only to have had the answers present from the beginning. Karl Blench wrote all of the arrangements and original compositions for this album. There are small moments of music, also original compositions of Karl Blench, between each of the longer sections of this album. They blend and blur the ideas of the music that comes before and after them to portray the grayer tones of truth. Known for creating and performing programs that mix traditional string quartet repertoire and transcriptions of works from a variety of genres, Axiom Quartet introduces audiences to extraordinary music from different genres and creates new fans of the classical repertoire.