Following the success of 100 Christmas Classics (Capriccio C7331) comes Christmas Meditation, featuring 100 choral and vocal works from across the centuries. The set encompasses sacred Renaissance treasures including Bach’s Christmas Oratorio and Bach/Gounod’s Ave Maria, Handel’s Baroque masterpiece Messiah (‘He shall feed his flock’) and classic Christmas carols such as It Came Upon A Midnight Clear by Richard Storrs Willis and Franz Xaver Gruber’s Stille Nacht (‘Silent Night’). Featuring some of the most renowned choral institutions, Christmas Meditation offers listeners a classical Christmas to remember.

REVIEWS:

A rather sumptuous collection of seasonal choral works, instrumental pieces and carols. --BBC Music Magazine

After the success of the 5 CD box “100 Christmas classics” (Capriccio C7331), the new 5 CD box “Christmas Meditation” contains 100 choral and instrumental works from past centuries. It contains works from 43(!) composers, including excerpts from Bach's Christmas Oratorio, Bach/Gounod's Ave Maria, Handel's Baroque masterpiece Messiah, and traditional and classical carols such as "It Came Upon A Midnight Clear" by American composer Richard Storrs Willis, and Franz Xaver Gruber's "Silent Night”. With some of the most renowned choirs, “Christmas Meditation” offers you an unforgettable Christmas.

In addition to world-famous Christmas music, in this box you will also discover previously unknown but no less beautiful work by Bruch, Rheinberger, Carl Neuner, Wagenseil, Robert Fuchs, Johann Philipp Reichert or Johann von Herbeck. Cannot be missed!

--Stretto

Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven’s 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer. These exceptional performances received widespread critical acclaim upon their original digital release and this premiere release includes extended personal and informative booklet notes written by the pianist. From the vivid energy of the early sonatas, through the dark passions and enchanted lyricism of Beethoven’s middle period, to the awe-inspiring transcendence of the final sonatas – this cycle runs the full gamut of human emotion.

At home in repertoire ranging from Beethoven to Shostakovich, in recent years he has been increasingly recognized as a leading interpreter of Rachmaninoff. He is recording the complete Beethoven piano concertos for Naxos with the Royal Liverpool Philharmonic (RLPO) and Vasily Petrenko. In 2018 he won Best Soloist Recording (20th/21st century) at the inaugural Opus Klassik Awards for his Naxos recording of Rachmaninov’s Piano Concerto No. 2 with the Royal Scottish National Orchestra and Carlos Miguel Prieto, coupled with the Études-Tableaux.

Past praise for previously released performances included in this set (digital video format only):

Beethoven: 32 Piano Sonatas, Vol. 3, Nos. 8-11

In keeping with the character of both the Op 14 Sonatas, Giltburg’s approach is prevailingly lyrical. For me, the two standouts of the series thus far are Opp 13 and 22. I can think of no other performance of the Pathétique that imbues the Grave introduction with a greater sense of melancholy desolation. The bright, ingratiating Op 22 is also brimful of character, its narrative unfolding with a charming urgency.

– Gramophone

Beethoven: 32 Piano Sonatas, Vol. 8, Nos 27-29

These interpretations are enormously pleasurable and at times revelatory. Always clean and never showy, Giltburg’s pianism is ideally suited to late Beethoven, and his touch throughout is light and flexible. His Hammerklavier lacks fury at the outset but magnificently makes up for that in the closing fugue, where his easy control of the tumult of voices is impressive.

– BBC Music Magazine

Celebrating the 130th anniversary of Sergei Prokofiev (1891 - 1953), the present box set brings together recordings of his seven symphonies made by Andrew Litton and the Bergen Philharmonic Orchestra between 2012 and 2017. Released on separate discs, the series has received acclaim from international reviewers, variously highlighting the orchestra ('Bergen Philharmonic plays gorgeously... ', ClassicsToday. Com), the conductor ('It is clear that Litton has a deep understanding of Prokofiev's complex, protean style... ', MusicWeb-International) and the recordings themselves ('BIS's blockbuster sound... ', Fanfare). The symphonies appear with their original couplings, including the popular suites from the film score to Lieutenant Kijé and the ballet The Love for Three Oranges. As an added bonus, the set includes the team's very first recording for BIS: an innovative and highly praised version of Prokofiev's three suites from Romeo and Juliet, with the 20 movements reordered to follow the ballet score.

Excerpts of reviews from previously released volumes included in this set:

Prokofiev: Symphonies Nos. 1-3

In sum these performances, engineered with warmth, clarity and impact, rank with best; and having all three symphonies on a single disc makes this release something of a bargain as well–even at full price.

– ClassicsToday.com (10/10; David Hurwitz)

This is a perfect disc; absolutely everything goes right. The revised, enlarged version of the Fourth Symphony can sound bloated and too long for its material. This performance, by contrast, has passion, color, and drive aplenty. Especially in the outer movements, you’d never know that the leaner, meaner first version exists, and no praise can be higher than that.

The Seventh has always been, for me at least, a better work than many commentators allow. It contains, for example, one of Prokofiev’s best lyrical melodies in its first movement and finale. The waltz-like scherzo is wholly delightful, the slow third movement touching. Prokofiev often indulges a deliberate simplicity, and Litton takes him at his word, never for a moment lapsing into artifice or affectation.

The finale, which we get to hear twice complete, once with each of its endings, is particularly breezy and exhilarating. Through it all the Bergen Philharmonic plays gorgeously, and the SACD sonics are state-of-the-art. A wonderful release.

– ClassicsToday.com (10/10; David Hurwitz)

These recordings of Balakirev’s complete solo piano works by the much-lauded pianist Nicholas Walker have been hailed as ‘the reference set’ by the American Record Guide. Originally released between 2013 and 2020, these critically acclaimed performances are now collected together for the first time in a 6 album box set. Includes world premiere recordings. Hailed by the London Evening Standard as a 'prodigy, of awesome technical fluency backed by exceptional artistry', Nicholas Walker possesses a rare combination of talents combining sensitivity with 'the flair of a full scale virtuoso and a sparkling intelligence' (BBC Music Magazine). Nicholas Walker teaches at the Royal Academy of Music in London, where he devised the celebrated keyboard skills course, the advanced level of which not only helps students to be proficient in all aspects of practical musicianship, but offers them the chance to learn how to improvise in various forms, such as minuets, variations, sonatinas and Mozart-type cadenzas, in addition to devising and performing a virtuoso transcription of their own.

CONTENTS:

• Balakirev: Piano Sonata in B flat minor
• Balakirev: Piano Sonata No. 1 in B flat minor, Op. 5
• Balakirev: Piano Sonata in B flat minor, Op. 3 'Grand Sonata'
• Balakirev: Waltz No. 1 in G - Valse di Bravura
• Balakirev: Nocturne No. 1 in B flat minor
• Balakirev: Waltz No. 2 in F minor
• Balakirev: Waltz No. 3 in D - Valse Impromptu
• Balakirev: Nocturne No. 2 in B minor
• Balakirev: Waltz No.4 in B flat
• Balakirev: Nocturne No. 3 in D minor
• Balakirev: Waltz No. 5 in D flat major
• Balakirev: Nocturne in G sharp minor (early version of Nocturne No. 1)
• Balakirev: Fantasiestuck
• Balakirev: Chant du pêcheur
• Balakirev: Waltz No. 7 in G sharp minor
• Balakirev: Mazurka No. 1 in A Flat
• Balakirev: Mazurka No. 2 in C sharp minor
• Balakirev: Sonatina (Esquisses) in G
• Balakirev: Berceuse
• Balakirev: Mazurka No. 3 in B minor
• Balakirev: Mazurka No. 4 in G flat minor
• Balakirev: Dumka
• Balakirev: Mazurka No. 5 in D
• Balakirev: Rêverie in F major
• Balakirev: Mazurka No. 6 in A Flat
• Balakirev: Piece in F sharp minor
• Balakirev: Mazurka No. 7 in E flat minor
• Balakirev: Capriccio
• Balakirev: Scherzo No. 1 in B minor
• Balakirev: Novelette
• Balakirev: Pustinya
• Balakirev: Scherzo No. 2 in B flat minor
• Balakirev: Fandango-Etude
• Balakirev: Spanish Serenade
• Balakirev: Caprice Brilliant Sur La Jota Aragonesa
• Berlioz: L'Enfance du Christ, Op. 25: La fuite en Egypte - Overture
• Balakirev: Scherzo No. 3 for Piano in F sharp major
• Balakirev: Spanish Melody
• Taneyev, S: Valse-Caprice No. 1 in A flat
• Taneyev, S: Valse-Caprice No. 2 in D flat major
• Glinka: Ivan Susanin (A Life for the Tsar): Overture
• Glinka: Ruslan and Lyudmila: Chernamor's March
• Chopin: Piano Concerto No. 1 - Romanza (transc Balakirev)
• Balakirev: Impromptu on the themes of two Preludes by Chopin
• Chopin: Scherzo No. 2 in B flat minor, Op. 31
• Liszt: Mazurka brillante, S221
• Beethoven: String Quartet No. 8 in E minor, Op. 59 No. 2: Allegretto
• Beethoven: String Quartet No. 13 in B flat major, Op. 130: Cavatina
• Balakirev: Gondellied
• Balakirev: Tarantelle in B
• Balakirev: Polonaise Brillante
• Balakirev: La fileuse
• Balakirev: Au Jardin
• Glinka: Kamarinskaya
• Balakirev: Symphonic Poem 'Tamara'
• Balakirev: Polka in F sharp minor
• Balakirev: Elegy on the Death of a Mosquito
• Balakirev: La Danse De Sorcières (Witches Dance)
• Glinka: Ne Govori: Lyubov' Proydyot (Do Not Say: Love Passes Away)
• Balakirev: Tyrolienne
• Zapol'sky: Reverie
• Balakirev: Toccata
• Balakirev: The Lark
• Balakirev: Islamey - Oriental Fantasy

Past praise of previously released volumes included in this set:

Balakirev: Complete Piano Works Vol 1

Walker presents the works in reverse chronological order, thereby giving us the best and best-known work first. It is a masterly performance, fully on a par with or exceeding ones I have reviewed in recent years: Hinrose (Mirare 181, Nov/Dec 2012), Driver (Hyperion 67806, July/Aug 2011), and Hellaby (Cameo 2081, Sept/Oct 2009). Besides Kentner’s great recording (Naxos 111223, not available in US), I also enjoy Earl Wild’s (Ivory 73005, May/June 2004). Walker finds inner voices and emphasizes some different aspects of the harmony and form, making for a new and well thought out interpretation. He has the full technical capability to handle all of the demands of this score

– American Record Guide

Balakirev: Complete Piano Works Vol 3

This third volume of Balakirev’s complete piano works is built around his seven Mazurkas, joyous and colourful pieces with an unmistakable Slavic tone. This series continues to establish Walker as the new reference for Balakirev’s music.

– Musiq3

Balakirev: Complete Piano Works Vol 5

This one is particularly fascinating for transcription junkies, beginning with the spectacular (and spectacularly difficult) Reminiscences on Glinka’s A Life for the Czar, famous from Earl Wild’s 1969 recording. Walker is quite his equal—and that is saying something—and is also beautifully recorded in a realistic, sympathetic acoustic. Indeed, Walker’s playing throughout this absorbing disc is a pleasure to hear, with a sophisticated tonal palette and eschewing any superficial virtuosity: ‘bravura with integrity’ is how I would describe it. Why don’t we hear more of him?

–Gramophone

After a boxed set devoted to nineteenth-century French music (Alpha, 2015) and another containing Beethoven’s symphonies and overtures (Alpha, 2018), Jos Van Immerseel and his period-instrument ensemble Anima Eterna present an anthology of seven albums including recordings of major nineteenth- and twentieth-century composers of many nationalities. Whether it is Liszt with his symphonic poems, Orff with his Carmina Burana or Gershwin with his Rhapsody in Blue, all of them seem to be driven by a deep-seated urge to push back the formal limits of orchestral music by confronting it with other traditions and musical horizons, thus giving it a universal resonance.

Sir Roger Norrington has been chief conductor of the former Stuttgart Radio Symphony Orchestra (today the SWR Symphonieorchester) for thirteen years. During this time he has caused a stir internationally with what has come to be termed ‘The Stuttgart Sound’: a synthesis of historically-informed performance practice with the technical capabilities of a modern orchestra. Whether in Mozart, Haydn, Bruckner or Brahms, Norrington has sought to capture the performance experience of the time, adjusting the orchestra’s size and seating plan to create an authentic sound without vibrato. The present reissue of Brahms' four symphonies, recorded back in 2005, is no exception to Norrington's artistic credo of keeping as close as possible to the composer's expectations. And one of the main features – beside the "pure sound" without vibrato – are the quick tempi. Brahms left no metronome indications in his symphonies. However, the overall timings left by the Brahms conductor von Bülow are so short, compared to today, that there can have been no very slow tempi in his interpretations. Additionally, Norrington considered also one of the many hints left by another admired conductor and friend of Brahsm, Steinbach: “By all means conduct the opening of Brahms First Symphony in 6. But it must sound in 2.” 'A German Requiem' is one of the most popular compositions by Johannes Brahms. Although the texts are taken from the Bible, the piece is not part of any ecclesiastical-liturgical tradition, it is aimed – as Brahms himself expressly emphasized – at people “who are in mourning” and unlike the “Requiem”, the Catholic Mass of the Dead, it is not a liturgical prayer for the souls of the deceased, but rather intended to console the bereaved.

In 1984, just as the long-playing gramophone record was supposedly fading into the sunset, the British record company EMI issued an 8-LP box in green livery compiled by Keith Hardwick and entitled “Schumann & Brahms Lieder on Record 1901-1952”. That was the year after the introduction of the Compact Disc, which was expected to deliver the coup de grâce to the vinyl record introduced in 1948. Fast forward to today: LPs are still around, so are CDs, but EMI as the world’s oldest and once greatest recorded music organization is no more – its heirs and successors are the majors Warner and Universal. Be that as it may, the English company has won eternal honor for its invaluable service to music in preserving historic vocal documents in such painstakingly edited sets as “The Record of Singing” or indeed “… Lieder on Record” (RLS 1547003). However, the Schumann-Brahms box was not available “overseas” – in countries outside Great Britain, that is – save for brief periods and in homeopathic quantities, and then only as an import. Hänssler Classic and editor Dieter Fuoss are now closing the gap, initially with the part devoted to Robert Schumann (born June 8, 1810, Zwickau – died July 29, 1856, Endenich on the outskirts of Bonn). He fills the first three albums with “Lieder in historic recordings”. A fourth album completes the set with three song cycles by Schumann in legendary interpretations.

REVIEWS:

The Profil series Lieder on Record has had a new addition. Volume 2 with songs by Robert Schumann has been released. If you want to find out how important Schumann interpreters have performed his songs, you can’t miss this box. The songs are heard in historic recordings made between 1901 and 1951. The performers include Lotte and Lili Lehmann, Friedrich Schorr, Dietrich Fischer-Dieskau, Victoria de los Angeles, Leo Slezak, Feodor Schaljapin, Richard Tauber, Elisabeth Schumann, Karl Erb, Willi Domgraf-Fassbaender, Frida Leider, Hans Hotter, Elisabeth Höngen, Elisabeth Schwarzkopf and many others.  

-- Pizzicato

This set is a treasure trove for anyone who would like to hear dozens of singers from the first half of the 20th Century sing songs of Robert Schumann. It shows how performance style evolved in that time, including interpretive liberties taken. It offers a chance to hear dozens of voices, many I’ve never heard—or even heard of—before. You get to hear how different singers perform some of the same songs.

This set will appeal mainly to people interested in hearing how people of the first half of last century approached lieder. Some of them are very good, others are terrible. Many of the singers are hardly remembered today, and the liner notes tell us little about them. The liner notes give only general background information. As you would expect, texts and translations are not supplied.

-- American Record Guide

Dietrich Fischer-Dieskau is undoubtedly one of the greatest vocalists of the past century – and one of those with the most extensive discography. Yet we constantly note the disappearance from the catalogue of early recordings for radio or gramophone, particularly those which covered less popular repertoire. And there are a number of recordings that have simply never been issued on album. The present anthology aims to bridge this gap – with seven albums offering an average of 77 minutes playing time, or a total of some nine hours of music: rare repertoire, seldom or never yet available in these versions on album, matched by indispensable gems of recorded music such as the young Fischer-Dieskau in Gustav Mahler’s Lieder eines fahrenden Gesellen in the orchestral version under the baton of the great Wilhelm Furtwängler. That legendary orchestra director, in his turn, judged that “no-one has ever sung Mahler better” than the young baritone.

In this recording entitled Enigma Fortuna, the ensemble La Fonte Musica, directed by Michele Pasotti, aims to shed light on the mysterious and eccentric personality of Antonio Zacara da Teramo (1355-1416). A contemporary of Boccaccio, Donatello and Brunelleschi, this composer from the Abruzzi region could almost be likened to a sort of musical Hieronymus Bosch, for the texts he set to music conjure up a ‘topsy-turvy universe’ where the obscene, the imaginary and the grotesque go hand in hand. In his ballata Amor ne tossa he writes ‘Let him understand me who can, for I understand myself’, foreshadowing the proud egotism of the Romantic artists who were to come 400 years after him. With this four-album set presenting the world premiere of Zacara’s complete works, La Fonte Musica offers us an initial approach to understanding his music. And thereby, through the timeless character of art, to understanding a so-called ‘renascent’ era that seems as ‘topsy-turvy’ as our own.

Without any doubt this session of the Queen Elisabeth Piano Competition 2021 will stay fixed in our memories. In spite of the constraints imposed by the health crisis (absence of the public, number of semi-finalists and finalists reduced by half), 58 candidates presented themselves to play before the members of the jury. The media maintained exceptional visibility at the competition right from the first round (television, radio, internet and social media) and the audiences confirmed an ever growing passion for the Competition. In this 4 album-box set you will find the 6 laureates of this session, that saw the Frenchman Jonathan Fournel win First Prize; you can enjoy his performance in Brahms’ Second Concerto with the Belgian National Orchestra conducted by Hugh Wolff, as well as the whole of his recital in the semi-finale. The Russian Sergei Redkin, second laureate, is present in the Third Concerto of Rachmaninov as well as the set piece by Bruno Mantovani. Two concertos by Mozart with the Orchestre de Chambre de Wallonie conducted by Frank Braley are also on the programme: No. 23 (KV 488) by Vitaly Stakirov (5th Prize) and the No. 27 (KV 595) with the Japanese Keigo Mugawa (3rd Prize). Chamber music is also well represented, revealing notably Tomoki Sakata (4th Prize) in the Liszt Sonata and Dmitry Sin in Schumann’s Concerto without orchestra. These artistes, all of them exceptional pianists, who tomorrow perhaps will appear on the world’s leading concert platforms, can be discovered here in their first ever recordings.

“This collection of recordings contains the fruits of my research into new sound aesthetics carried out with various travelling companions who, over the years, have collaborated with me in Ensemble Aurora, from 1995 to 2016. We have explored various facets of the repertory of the seventeenth and eighteenth centuries, devoting ourselves chiefly – but not solely – to Italian music. We have always used exceptional original instruments or copies of excellent workmanship; we have always gone to record in historical locations with particularly interesting and diverse acoustics, all this to bring to you and share with you our love for refinement and for a sincere and natural imitation of the human voice and its warm overtones.” (Enrico Gatti)

Anton Bruckner is a composer with an unmistakable musical language: darkly glowing, overwhelmingly beautiful, but also energetic and innovative. For the Berliner Philharmoniker, this music has been part of their artistic identity for over a hundred years. The orchestra now presents Bruckner's symphonies in an exclusive edition, recorded over the last ten years together with some of the foremost Bruckner interpreters of our time. The Berliner Philharmoniker is a German orchestra based in Berlin which is consistently ranked among the top orchestras in the world, distinguished amongst peers for it's virtuosity and compelling sound.

Orfeo honors Júlia Várady as one of the most important sopranos of the second half of the 20th century with the release of this 10 album boxed set ‘The Orfeo Recordings’ on the occasion of her 80th Anniversary on 1st September 2021.

A significant number of opera lovers and connoisseurs maintain that Maria Callas’ mantle ought to have passed to Júlia Várady, and that the (now eighty-year-old) Romanian-Hungarian-German soprano actually should, in her day, have ascended the international throne of the prima donna assoluta. But as it is said, her loyalty to her two musical homes, the Bavarian State Opera and the Deutsche Oper Berlin, prevented this. Nonetheless, she made guest appearances at all the world’s major opera theaters – but she was apparently not available to the market as unrestrictedly and ubiquitously as would have been necessary for her image, in order for her to be enthroned as the Várady (as the legitimate successor of the Callas). In addition to her loyalty to the two aforementioned opera houses, another reason seemed to be a natural modesty that prevented her from constantly drawing attention to herself (with a reputation, for example, of being the “difficult one,“ or even with scandals). Her marriage to the titan Dietrich Fischer-Dieskau in 1977 may also have played a role, as she often and willingly stepped into his shadow.

Escerpts from reviews of previously released volumes included in this set:

Julia Varady sings Wagner

Varady's reading of the Wesendonck Lieder is remarkable, enthralling. There's nothing here of the slow, wallowing approach often favoured today. The feeling of the words is one of very present emotions. And transfiguration is a feature of Varady's concentrated, urgent Liebestod, her complete absorption with the text as much as with the music an object-lesson in great Wagner singing. The players of Fischer-Dieskau's Berlin orchestra cover themselves in glory. The recording is exemplary.

– Gramophone

Julia Varady sings Richard Strauss

The final scene of Salome, under the watchful eye of Varady's husband, Fischer-Dieskau, has the perfection of pitch and phrase one expects of this singer, as well as an expected acuity for the meaning of the text.

– Gramophone

Julia Varady - Puccini Arias

A lovely and somewhat surprising record by the most fascinating and patrician lyric soprano of the present age: 'surprising' because, though Varady is associated closely enough with Verdi, the Puccini connection is less readily made, 'lovely' because the voice is still so pure, the style so musical and the response so intelligent, immediate and full-hearted. She adjusts wonderfully well to the Italian idiom, lightening the vowels, freeing the upper range, allowing more portamento than she would probably do in other music, yet employing in its use the finest technical skill and artistic judgement.

– Gramophone

The piano works by Isaac Albéniz range from indisputable masterpieces to ravishing salon music, the composer painting with bright Spanish colors as well as the hues of Classicism and Romanticism. On nine discs, originally released between 1998 and 2017 and gathered here, Miguel Baselga guides listeners through the music of his compatriot, earning acclaim from reviewers worldwide: ‘pianism of the highest order’ (MusicWeb-International); ‘berauschend agil und rhytmisch spannungsgeladen’ (PIANONews); ‘un pianista elegante y refinado’ (CD Compact). Composed between December 1905 and January 1908, only a year before the death of Albéniz, Iberia is the crowning achievement of the composer’s genius. Marking a high point of the post-romantic piano literature, this collection of ‘12 nouvelles impressions’ was to serve as an endless source of inspiration for other composers throughout the twentieth century, admired by Debussy and Messiaen, who called it 'the marvel of the piano'. Baselga’s exhaustive series places Iberia in its proper context, and with the assistance of Albéniz scholar Jacinto Torres, he has been able to access original editions and scores, including rarities such as the Marcha militar by a nine-year-old Albéniz and the composer's two scores for piano and orchestra. We are also given the opportunity to hear three improvisations, transcribed from a phonograph recording made by the composer in 1903.

REVIEW:

Miguel Baselga was the first and (I believe) only pianist to have recorded Albéniz’s complete solo piano works, a project encompassing nine CDs. The cycle has been reissued in a boxed set, together with each individual release’s original booklet. It remains a significant catalog milestone.

As a stylist, Albéniz covered all bases, from unabashedly salon-like trifles and flashy neo-Lisztian fare to the Iberia Suite’s astonishing originality and labyrinthine complexities. Since Baselga wanted each disc to represent different aspects of Albéniz’s musical personality, he cunningly divided Iberia’s four parts across the first four volumes, aiming to give lesser-known masterpieces like the wild and woolly La Vega and tender Barcarola Op. 202 their due.

The two concerted works (the Piano Concerto No. 1 and Rapsodia Espanola) also receive impressively fresh and well-balanced readings. And for those who can’t get past the faded sound of Albéniz’s three 1903 improvisations preserved on private cylinders, Milton Laufer’s painstakingly notated editions will be revelations, especially in Baselga’s inspired hands.

In all, Baselga’s combination of technical brilliance, exuberant temperament, and tonal imagination yields consistently idiomatic and enjoyable results. A must-have for serious aficionados of Spanish piano music.

– ClassicsToday.com (Jed Distler)

This spectacular collection comprises The Sixteen’s five acclaimed Polish recordings with the group’s Associate Conductor, Eamonn Dougan. Masters of the Polish Baroque such as Bartlomiej Pekiel, Grzegorz Gerwazy Gorczycki and Marcin Mielczewski are celebrated alongside Italian maestri Giovanni Francesco Anerio, Vincenzo Bertolusi, Luca Marenzio and Asprilio Pacelli. These composers flourished at the court of King Sigismund III marking a new dawn for sacred music in Poland. “The Sixteen luxuriate in textures and sonorities, offsetting serene, arching lines with more urgent declamatory passages...basses plummet while sopranos soar into the stratosphere in a swirl of all-embracing sound.” (BBC Music Magazine)

Also available on Blu-ray

The eight Mahler symphonies contained in this box were all recorded live as part of the Leipzig Mahler cycle that began with the acclaimed Mahler Festival in 2011. They once again confirmed the Gewandhausorchester's reputation as a Mahler reference orchestra, which was consolidated in particular thanks to the intensive examination of Mahler's work under the direction of former Gewandhaus Kapellmeister Riccardo Chailly, who emphasized the compositional qualities of the works, traced the origins of their interpretive history and avoided false pathos and sentimentality despite all the drama and urgency. This becomes clear especially in the more than two hours of documentation material which supplements these exceptional Mahler recordings. In addition to Riccardo Chailly, leading Mahler experts such as Henry-Louis de la Grange and Reinhold Kubik give an insight into Mahler's works and their interpretation. In addition to its musical excellence, the Leipzig Mahler cycle impresses with its graphic design. Each cover of the cycle is adorned with a work by the Leipzig painter Neo Rauch that was inspired by Mahler's music and painted specifically for this cycle.

Excerpts of reviews from previously released volumes in this set:

Mahler: Symphony No. 7 / Gewandhaus Orchestra Leipzig

The Leipzig players do Chailly proud. There are so many stunning solos, from tenor horn at the start to the first trumpet who never splits brilliant top notes in the finale. This of all symphonies requires a terrifying amount of preparation - there's none better than this one.

– BBC Music Magazine

Mahler: Symphony No. 5 / Gewandhaus Orchestra Leipzig

Chailly is a pleasure to watch, being neither over-demonstrative nor affectedly matter-of-fact. If the rest of this projected second Chailly Mahler cycle is as good as this, then I suspect we have treats aplenty in store.

– Gramophone (Editor's Choice, November 2014)

Chailly's latest Mahler Five surely has the best of all possible worlds for this comprehensive darkness-to-light epic. It's rewarding to see the Leipzig Gewandhaus strings articulating with such mobile engagement.

– BBC Music Magazine

Mahler: Symphony No. 9 / Gewandhaus Orchestra Leipzig

Here we have something very special, and a good deal more than 'just another Mahler Ninth. This Leipzig Ninth is Chailly off the leash, liberating the music in a way that is impassioned, positive, fitfully fractured and often ethereal. He flicks the Symphony's heartbeat opening into action with the most economical of gestures.

– Gramophone (Editor's Choice, November February 2015)

‘Arguably one of the strongest recordings in the whole Mörbisch operetta series, this is strongly recommended, and not just to die-hard operetta fans.’ (Fanfare on Der Graf von Luxemburg). This Operetta Edition presents popular works by Franz Lehár that were recorded at the Mörbisch Festival and feature the Mörbisch Festival Choir and Orchestra under the direction of Rudolf Bibl and Wolfdieter Maurer (Der Zarewitsch). The edition comprises Das Land des Lächelns, Giuditta, Die lustige Witwe, Der Graf von Luxemburg and Der Zarewitsch.

REVIEW:

At the helm of the Mörbisch Festival Orchestra is Austrian conductor and pianist Rudolf Bibl (1929-2017), except for Der Zarewitsch under Wolfdieter Maurer. The cast of artists in each of these delightful operettas is far too extensive to identify individually but be assured, each production is echt Lehár and, of course, unmistakably Viennese. The librettos are sung in German.

-- The Whole Note (CA)

Benjamin Carr (1768-1831) was born in London. He immigrated to the U.S. in 1793. Carr was prolific as a composer, writing operas, pantomimes, masses, sacred hymns and anthems, many songs, and a prodigious amount of music for organ and pianoforte. Kirsten Johnson is a pianist, composer and recording artist of international acclaim. She has recorded 18 albums of solo piano music with Centaur, Nimbus, Delos and Guild. This includes the complete piano music of Arthur Foote, James Hewitt and Amy Beach, and world premiere recordings of Albanian piano music and Dmitri Kabalevskys op. 1. Kirstens compositions have been played around the world. Brno, for cello and piano, was performed at the Festival OSMOSE in Brussels, Belgium. Flute Vibes was premiered at Exeter College, Oxford, U.K. The premiere of Remembrance, Journey and Dance (in a version for clarinet, bassoon and piano) was given in New York City by Vent Nouveau. Dr. Johnson received her Doctor of Musical Arts from the University of Missouri-Kansas City, conducting much of her research in Albania and in the Bodleian Library, Oxford University.

Fr�meaux & Associ�s and Les Belles Lettres offer, for the first time in audio books, an ideal library of the great literary texts of Greek and Latin Antiquity. Whether one has read these works or always dreamed of doing so, this collection offers texts that are still current, served by faithful translations and by the interpretation of the greatest French-speaking actors. The Latin counterpart of the Iliad and the Odyssey, the Aeneid is the quintessential Latin epic that made Virgil (70-19 BC) the greatest Latin poet of antiquity. This long and captivating story recounts the adventures of Trojan Aeneas, mythical ancestor of the Roman people, from the Trojan War until his victorious installation in Lazio. The epic, especially the love story between Dido and Aeneas or the descent into hell of Aeneas to find his father there, inspired many literary and artistic works throughout the ages. Daniel Mesguich offers us here a captivating narration.

The acclaimed English Song Series celebrates the richness and diversity of British composers, performed by leading interpreters of the repertoire. Growing out of an ancient tradition that still echoes in the folk song arrangements of Benjamin Britten, the British art song draws its inspiration from the English poetic language, the nation’s unique land and seascapes, and the suffering and joy of human emotions. From the delightfully light-hearted songs of Liza Lehmann to the abundance of invention and imagery from today’s composers, this collection is a repository of the essence of British musical craftsmanship at its finest.

REVIEWS:

There is so much is here that is central to the genre, and it is all almost uniformly well done. In addition, there is enough here that is less well-known, assuming many collectors will have the main works of, say, Butterworth, Finzi, Vaughan Williams, and others, that even that collector will grow their knowledge and pleasure through acquiring this collection. It is to be hoped that this issue does not signal an end to Naxos’s recordings of this repertoire. There are many other composers and songs that could be added to its catalog. Meanwhile we have this superb anthology of many of the finest English songs from the late Victorians to the present day.

-- MusicWeb International

This superlative set's roster is impressive, with turns from Felicity Lott, Thomas Allen, Susan Bickley, Gerald Finley and even Judi Dench.

– BBC Music Magazine

This set will surely provide many hours of listening pleasure.

-- Gramophone

This is a hugely ambitious and successful project that deserves many hours of attention and appreciation. I recommend it wholeheartedly.

– Opera Now

4-DISC PACKAGE INCLUDES 2CDs + 1 DVD + 1 Blu-ray

In purgatory, the Ghosts of Versailles are waiting impatiently for Beaumarchais’ new play: what if he manages to save Marie Antoinette from the scaffold? Here is Count Almaviva, the famous Figaro, but also Rosina and Cherubino, plunged into a thousand twists and turns to make the famous Queen’s Necklace disappear, thwarting the spies of the Revolution. But the situation escapes its creator, and Beaumarchais must himself become involved in the trial of the Queen – with whom he is in love? With assumed brio, Corigliano’s music navigates between Mozart and Rossini, and takes the audience into an unexpected opera, all the characters of which are familiar to us! The Ghosts of Versailles are indeed there, and will fulfil their destiny once again… This unique opera, triumphantly premiered in 1991 at the Metropolitan Opera of New York, was predestined for to the stage of the Royal Opera of Versailles, for which no doubt Beaumarchais had written this story which goes back in time… Two hundred and fifty years after her marriage in this mythical theatre, will Marie-Antoinette be able to escape her destiny there?

BONUS CONTENT: "Of Rage and Remembrance" - a documentary on Corigliano's Symphony No. 1

REVIEWS:

Corigliano’s score is a riotous mix of styles — Gilbert & Sullivan, Mozart, Rossini, Strauss, as well as his own — and Joseph Colaneri masterfully blended them into a cohesive whole. The orchestra underpinned all of the madcap escapades, tender love scenes and heartache with shimmering sound.

– Seen and Heard International (Rick Perdian reviewing this production)

At the head of the Royal Opera Orchestra, Joseph Colaneri leads instrumentalists and singers in this complex score, of which he masters the shifting distribution between the different instruments. He also ensures a good sound balance between singers and orchestra, in which the voices are highlighted.

– Baroquiades.com (Bruno Maury)

Also available on Blu-ray

This box set contains four exceptional and star-studded opera and operetta recordings from the Opernhaus Zürich: Bellini’s I Capuleti e I Montecchi, Berg’s Wozzeck, Massenet’s Werther, and Lehar’s Das Land des Lachelns. Philharmonia Zurich is the orchestra of Zurich Opera. As an independent body of 116 contract players, it has existed since 1985 under the name of Zurich Opera Orchestra. It was renamed in 2012 with the appointment of director Andreas Homoki and general music director Fabio Luisi. The Choir of the Zurich Opera House, with its 60 permanent members and the participation of up to 160 performances per season, forms an essential cornerstone of the artistic ensemble at the Zurich Opera House. Under the umbrella of the most traditional Swiss opera house, it unites singers on the highest professional level, whose musical and stylistic versatility is combined with the power of acting and spontaneity. On a regular basis, the members also prove their artistic format as soloists. The choir reflects the claim and the radiance of the Zurich Opera in its international composition, which have been proven by numerous DVD recordings and were awarded the “Opera Company of the Year” in 2014.

Excerpts of reviews of previously released volumes in this set:

Berg: Wozzeck

This is a finely honed production that follows its premise to an absurdist conclusion with slick theatricality and dispassionate zeal. All sentimentalism is banished here. So, largely, is the opera’s plea for justice and compassion. It is left to Christian Gerhaher’s Wozzeck to fight that battle, which he does with formidable diction and great lyrical beauty, offering, where he can, a still centre in the tumult.

– Gramophone (DVD/Blu-ray of the Month, November 2016)

Massenet: Werther

Director Tatjana Gürbaca and designer Klaus Grünberg have transformed Massenet’s masterpiece into a compelling drama that glues you to the edge of your seat from start to finish. Flórez gives the performance of his career as a hero who knows that death is where passion is fulfilled. Anna Stéphany’s Charlotte, by turns terrified, tender and tearful, is with him all the way.

–BBC Music Magazine

Made between December 1948 and June 1950, these recordings enjoy an unusual history which is bound up with the burgeoning industry of classical music retail in the postwar era. Among the best stocked record stores in New York at that time was The Gramophone Shop on 42nd East Street, co-owned by William H. (Bill) Tyler and Joseph F. (Joe) Brogan, an Irish-American collector and dealer. Trying to rival or surpass the mail-order business of H. Royer Smith in Philadelphia, the shop issued (in 1929 and 1931) two fat paperback catalogues, The Gramophone Shop Encyclopedia of Recorded Music. Three further editions, from 1936, 1942, and 1948, remain standard reference works. The store also ran it's own mail-order business with the reputation as a specialist in rare and high-quality recordings from Europe. From that arm of the business naturally developed the store's own label, marketed as the Gramophone Shop Celebrities (GSC) series. This is the first time these recordings have been available on modern media.

Among the most significant composers of guitar duos in the early 19th century, Antoine De Lhoyer was born in September 1768 in Clermont-Ferrand. His musical talents manifested themselves from early on, and he trained in Paris. His teacher Vidal paid tribute to him as ‘the finest guitarist in Europe’. However, at the age of 20, de Lhoyer embarked on a military career as a member of the King’s Guards, shortly before the French Revolution. Life in France rapidly becoming uncongenial for someone with his loyalties, he left France in a hurry and eventually settled in Hamburg, where his compositions were first published at the turn of the 19th century. De Lhoyer’s travels were by no means over, and over the following decades he took up posts as a professional music teacher and performer in St Petersburg, Paris, Corsica, Aix-en-Provence and Alger, the new capital of the French colony in north Africa. Eventually returning to the French capital, he died there in 1852, at the age of 84. The extant duos on this album were composed between 1814 and 1826, and they comprise a substantial proportion of his total output. One would expect the style of his music to reflect the lively, cosmopolitan nature of his career, and so they do, often cast in three- and four-movement sonata forms with picturesque interpolations such as the ‘hunt’ movement of Op.35 No.2 and the graceful Sicilienne of Op.35 No.5. The eight-movement Fantasie Concertante Op.33 is like a Mozartian serenade, with a superbly flowing Andante con variazioni directly succeeded by a brief but tranquil Adagio.

Hélène Boschi’s repertoire was broad-based, ranging from the Baroque (François Couperin, Jean Philippe Rameau, Johann Sebastian Bach) to contemporary music. Her favorite composers of the Viennese Classical era were undoubtedly Joseph Haydn, Wolfgang Amadeus Mozart and Franz Schubert; strangely, it seems she left behind no Beethoven recordings. One notable fact about Boschi is that she was the first female pianist to record the works of Padre Antonio Soler (1729-1783), receiving the 1952 Grand Prix du Disque in honor of her achievement. As for the nineteenth century, her passionate readings of Schumann are of the utmost importance; but Carl Maria von Weber and Muzio Clementi also captured her attention, as did Frédéric Chopin and Emmanuel Chabrier and the Impressionists Claude Debussy and Maurice Ravel. Modern classics were also integral to her repertoire – as were the works of her immediate contemporaries. Luigi Dallapiccola dedicated his 1952 piano composition Quaderno di Annalibera to Hélène Boschi, Claude Ballif paid her that honor with his Fourth Sonata op. 31