Shortlisted for the Gramophone Awards!

Ken Woods writes of this new release: “Have you ever been on a long journey with your family and, after hours in the car or on the plane, you were so bored you thought you just might go mad? Well, that’s what this record is for. Just when you’re about to say “are we there yet” for the 400th time, instead try saying “Mum, can we listen to Lubin again?” I promise, the car will feel like it’s going twice as fast once the music starts. Now, it may come as a surprise to you, but your parents get just as bored and fed up as you do, so we’ve made sure they’ll enjoy these stories just as much as their kids. Just in a different way – there are aspects to all five stories that we are pretty sure older listeners will connect with. My friend David, who wrote Lubin, from Chelm, got interested in creating new musical storytelling works because he was reading bedtime stories to his two little girls. Several years later, I started writing The Ugly Duckling for my kids when they were little for the same reason. It’s been great over the years to see thousands of young people at our concerts laugh at the exploits of Lubin, the hapless robbers in the Bremen Town Musicians or the grandiose Condessa Duck. But, if we’re able to put a smile on your face on a rainy afternoon at home, or help the trip to your summer holidays go a bit quicker, then we’ll all be very happy. Enjoy!”

During the Fifties of XX Century Herbert von Karajan performed several times in Italy where he often conducted RAI Orchestras presenting both classics of his repertoire as Beethoven Symphonies and less known XIX composers works as for instance Sutermeister Requiem. Some of these recordings were preserved in a precarious are completely lost but some of them thanks to passion collectors are saved and now after nearly seventy years are still available for audience; as for example these two amazing Beethoven Symphonies conducted by Karajan in Rome in 1952 Christmas’ Eve and here presented for the first time on album after a long and accurate physical and digital remaster work which allowed the elimination of many interferences and a strong reduction of background noises. This album is an exceptional proof of Karajan incredible talent made shortly before Karajan first complete recordings Of Beethoven Symphonies.

Many thousands of miracles beckon, Peter Schreier promises already in the opening title of this unusual collection. There arises tense expectation. And already afterwards, a little Chopin piece, with which many a moderately talented piano student enraptured his relatives, is arranged and provided with the text by Ernst Marischka. In the 1930s it was a centerpiece from the musician's melodrama with the resonant name "Farewell Waltz". And what one can do with Chopin's etude, how one can ennoble this kitsch with a great voice, that Schreier shows and for that one absolutely needs tenor self-confidence. At the latest with "Granada" one sways gently along and is simply happy about this entertaining aberration of taste. The Gro�es Rundfunkorchester Berlin under Robert Hanell swings the castanets and otherwise beguiles with a canvas-wide sound in which one can let oneself drift. It doesn't always have to be Bayreuth! You can also sing beautifully at the sight of the Sierra Nevada. And who else takes those high notes so wonderfully? Schreier recorded this colorful bag not just at the end of his career, but right in the middle of it. Two years after his hit "Peter Schreier sings Christmas carols", the most successful classical music recording of the GDR, the singer again tries his hand at popular material, obviously mixing together his favorites from the not-so-serious repertoire. Operetta, melodious adaptations of well-known melodies, opera highlights, simply put: Romantic shreds of languor, which one gladly falls for in this interpretation, in order to perhaps bashfully wash out one's ears with simple baroque afterwards.

Felix Klieser, on his new album Beyond Words, focuses on the language of music, the stories that it tells all without any words at all. He places the emphasis on the images that arise before our mind's eye when listening to the music, on the emotions triggered by the music. For Beyond Words the hornist has chosen various arias by Bach, Vivaldi, Handel and Gluck, each of which describes the various, self-contained musical worlds they encompass in a very individual manner. What is really important for his album however is not virtuosity, but tonal expression, according to Felix Klieser: 'It needs to be easy to put into action. The songfulness and the expressive range of sound should always be at the heart, always be the focus.' Listeners are being told a story that is open to any interpretation at all, and this allows them to immerse themselves in a purely musical world.

The output of Marcel Dupré (1886-1971) is so vast and various that only scholars and fellow organists can expect to grasp its scale. Most listeners require a discerning ear to pull out some of the many highlights. The Italian organist Alessandro Perin has done so here, without confining himself to Dupré’s ‘greatest hits’, the characteristic pile-ups of chorale harmonies and torrents of semiquavers in toccatas and variations that find their natural home on the instruments of Cavaille-Coll as an apotheosis of the French Gothic organ style. Instead, Perin’s selection is more diverse. It begins with the Suite Op.39: four pieces originally written as part of a collection of 12 Studies, though they bear no trace of didacticism. Rather, there is a Lisztian quality of invention to their virtuosity, from the glittering cascades of the opening Allegro agitato to the driving counterpoint of the finale. The four settings of the Ave maris stella chant are progressively more ornate, from a simple statement of the chant over a walking bass, through an intricate Bachian chorale prelude, to a final, brilliant toccata. The ‘old Christmas carol’ featured in Op.20 variations is known in English as Now the green blade riseth: in one of his most justly celebrated works, Dupré treats the theme to a dazzling array of transformations, stretching the organist’s technique to the limit. At the height of the Second World War, Dupré composed the Evocation in memory of his father, and gave its first performance at the Cathedral in Rouen in 1941. Exactly what is being evoked is left to the listener to decide, though only the tender second-movement elegy casts its gaze back with fondness; the strident progress of the first movement seems to reflect the troubled times, and the finale has its own struggles to overcome in a final blaze of C major triumph.

Sonya Yoncheva and Charles Castronovo lead an award-winning cast in Richard Jones's acclaimed production of Puccini's most heartrending opera. Emmanuel Villaume conducts the Orchestra of the Royal Opera House and the Royal Opera Chorus in some of the composer's most luscious and memorable music. Spectacular designs by Stewart Laing for this Royal Opera production set the passion, friendship, comedy and tragedy in late 19th-century Paris. The production evokes the vulnerability of youth amid the harshness and glamour of the big city, and contrasts the poverty of the bohemians's attic home with the splendour of Paris's shopping arcades on Christmas Eve.

In the history of Spanish monarchy, the Royal Chapel is a fundamental entity for the establishment and dissemination of political and religious doctrine. It constitutes the heart of religious life centered around the kings. In the Royal Chapel, liturgical music plays an essential role as a means of legitimation of the catholic monarchy´s divine origin. In the 18th century, the life of the Spanish court was affected by the fire that razed the Real Alcazar on Christmas Eve of 1734, which also meant the destruction of the musical archive. The then maestro de música Francesco Corselli (1705-1778) had to face the challenge of reconstituting the archive and to provide the music needed for the celebration of liturgical functions, along with other musicians belonging to the institution. With this recording, music that was formerly exclusively intended for royalty is uncovered for the first time.

The last stop on a long journey, here is the third and final installment of a warmly received Langgaard cycle undertaken by violinist Gunvor Sihm and pianist Berit Johansen Tange. The present volume includes the violin sonatas Nos. 2 and 3 - highly accomplished works with strong individual features - and two single-movement pieces composed by Langgaard the precocious teenager: the charming Aubade written on a summer holiday with his parents, and the dark-colored Night Watchman's Song. Gunvor Sihm trained at the Royal Danish Academy of Music, from where she graduated in 2014 under Professor Serguei Azizian. Before that Gunvor studied 2 years at San Francisco Conservatory of Music with Ian Swensen. Gunvor Sihm has won several prizes, among others the prestigious Van Hauen's Music Prize 2011, the Eigil Harby Foundation's scholarship in 2015 and Gladsaxe Music Prize 2018. From 2011-15 Gunvor played in the 1st violins of Copenhagen Phil, until she won the position as 2nd Concertmaster for the 2nd violins of the Danish National Symphony Orchestra. Gunvor was a soloist with among others Odense Symphony Orchestra, Aarhus Symphony Orchestra, Tivoli Copenhagen Phil, Danish National Chamber Orchestra and, on several occasions, Copenhagen Phil. With Nightingale String Quartet Gunvor Sihm has recorded the complete string quartets by Rued Langgaard for Dacapo.

Johannes Brahms (1833-97) was uncompromisingly self-critical about his musical achievements and was only too aware of the long shadow of Ludwig van Beethoven over his creative output. He had composed his Scherzo in C minor in 1853 for a violin sonata collaboration with Robert Schumann and Albert Dietrich, but he had discarded four sonatas for piano and violin before he was sufficiently happy to allow a work in that genre, his Sonata No.1 in G major Op.78 (1878-9), to be published. About seven years elapsed before Brahms returned to the violin sonata genre. He composed his Sonata No.2 in A major Op.100 in 1886 during the first of three summer sojourns in the village of Hofstetten in the Swiss mountains where the Aare flows into Lake Thun. In a remarkable burst of holiday energy, he also wrote his Second Cello Sonata Op.99 and Third Piano Trio Op.101 there, as well as some of his Third Violin Sonata Op.108. Two of Brahms's songs to poems by Klaus Groth, the highly wrought 'Komm bald' (Op.97 no.5; 1885) and 'Wie Melodien zieht es mir leise durch den Sinn' (Op.105 no.1; 1886) are featured in motivic guise in the two principal themes of the first movement of this sonata. Brahms' Sonata No.3 in D minor Op.108 was composed between 1886 and 1888 and dedicated to the conductor and pianist Hans von B�low, who was a champion of Brahms' oeuvre. It differs from it's predecessors in that it is longer, more dramatic and much broader in design; indeed, it is almost symphonic in scale and is particularly remarkable for it's wide range of intense emotional feeling.

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)

Francois-Joseph Gossec was doubtless one of the most prominent French composers of the eighteenth century and wrote works representing almost all the musical forms and genres. Our recording of his symphonic music has just been awarded an Opus Klassik 2020, and now we would like to share some of his magnificent vocal works with you – since his oratorios and truly amazing Messe des Morts also made him a trailblazing figure. La Nativite to a text by Gossec’s contemporary Michel Paul Guy de Chabanon is his most famous oratorio. It was premiered on Christmas Eve in 1774 and went on to be performed no fewer than nine times in the Concert Spirituel. The impact was immediate, and critics vied with each other to formulate poetic descriptions of the orchestral effects and the impressive parts sung by the Shepherdess, the Shepherd, and the Choirs of the Angels and the Shepherds. This is moving music!

David Ian Vintage Christmas breathes new life into a set of familiar Christmas classics in relaxed, swinging arrangements that capture the spirit of the season and the spirit of jazz. In this beguiling blend of instrumental and vocal versions, the mood is intimate, the vibe is mellow, the sound warm and inviting. While dozens of Christmas albums are released each year, the most evocative ones are often those made by jazz musicians. This should come as no surprise, since the emotional primacy in the best jazz music echoes the spirituality inherent in the best Christmas songs. Jazz and Yuletide music have a long and complementary history, from Chet Baker's Have Yourself a Jazzy Little Christmas to Vince Guaraldi's a Charlie Brown Christmas to Wynton Marsalis' Crescent City Christmas Card. Taking proud place in this music lineage is David Ian Vintage Christmas, which breathes new life into a set of familiar Christmas classics in relaxed, swinging arrangements that capture the spirit of the season while respecting the sanctity of the material. Rather than burying the songs under a wall of sound, Ian has opted for a small jazz combo that places the accent firmly on their melodic and lyrical content.

Also available on Blu-ray

Scottish Ballet’s 50th anniversary year came to a spectacular close with the world premiere of The Snow Queen. This glittering new production is inspired by Hans Christian Andersen’s much-loved tale – which was also the basis for Frozen. It is set to the music of Rimsky-Korsakov, performed live by the full Scottish Ballet Orchestra. From the bustle of a winter’s market to the shivers of a fairytale forest, take a journey to the Snow Queen’s icy palace. Along the way you’ll meet a colorful cast of characters, from young lovers parted by a spell to a circus ringmaster with a few tricks up his sleeve. This glittering production is sure to delight the whole family. “Scottish Ballet’s Christmas present to us all... a truly memorable high.” (The Glasgow Herald)

In German-speaking countries, carolers go from door to door every year between Christmas and Epiphany. They collect donations for children in need and, with their songs, carry the blessing of God into every house. Children and young people from choirs belonging to the German Pueri Cantores Choir Association have sung a total of 25 carols for this album, including established classics such as “Stern über Bethlehem”, but also surprises such as the “Sternsinger-Rap”. This release heightens the joyful anticipation of carol singing, making it easier to learn the new songs as well as motivating people to sing.