French-Argentinian composer Esteban Benzecry has built up a distinctive body of work, from symphonies to works for solo piano. He stands as a worthy successor to such masters as Ginastera, Villa-Lobos and Chávez, with music that is suffused with ‘imaginary folklore’, flashes of color, fieriness and reverie. The autobiographical Violin Concerto draws on South American folk motifs and rhythms, whereas in Ciclo de canciones he explores the meeting of two cultures, Argentinian and Japanese. The breathtaking dialogues between soloist and orchestra in the Clarinet Concerto recall Andean and pre-Hispanic times.

Tamsin Waley-Cohen and Huw Watkins return with the start of a Beethoven Violin Sonata Cycle – here recording the 1st, 5th and 8th sonatas. Gramophone Magazine said “The heart gives a little leap at the prospect of...a duo as engaging and intelligent as Tamsin Waley-Cohen and Huw Watkins.” This cycle is sure to be one of the highlights of Signum’s year, as well as of Beethoven 250. Beethoven’s twelve violin sonatas add up to a comprehensive exploration of the possibilities and potential of writing for the two instruments on equal terms – possibilities that he was ideally placed to understand. The three sonatas on this recording are waypoints on a journey, crafted by a composer who was both violinist and pianist, and who never ceased exploring the practical possibilities of the instruments for which he wrote.

REVIEW:

Their complementary personalities meet most harmoniously in the Spring Sonata’s Adagio, where Watkins draws an appealing, fortepiano-like resonance from the piano and Waley-Cohen’s phrasing taps the music’s pastoral roots. Each of the three sonatas inhabits its own costume, made to measure.

–Gramophone (Editor's Choice, August 2020)

Christopher Gunning returns with recordings of his Violin Concerto, Cello Concerto and Birdflight. Not composed until 2011, Gunning’s Violin Concerto was composed after inspiration whilst the composer was out hiking in Wales. The violin is supposed to represent ducking and weaving, rather like the insects and animals found in the Welsh hills and valleys. However, despite this positive venture for the composer, the emotions of sadness and melancholy are never far from this music – feelings which never seem far from Gunning’s music. The Cello Concerto is quite different. Although composed hard on the heels of the Violin Concerto, it is generally darker though equally expressive. The third piece, Birdflight, is for the orchestra alone; a kind of tone poem. At the opening and close there is some quiet night music with spacious strings. The birds take flight but encounter a problem; a hawk is on their tail. The birds manage to hide and there is a pause. Then, when danger has passed, they take off and once again enjoy the sheer pleasure of flying.

Myroslav Skoryk is one of Ukraine’s leading composers and teachers, with a portfolio of works that include opera, a symphonic transcription of Paganini’s Caprices, and a cycle of nine violin concertos written over a 45-year span. Concerto No. 5 utilizes jazz elements and a vivid fugato, while Concerto No. 6 explores the use of sensual moods and provocative dance rhythms. Syncopation and lyricism infuse Concerto No. 7, while No. 9 is both touching and dramatic. Concerto No. 8 offers a representation of events in Chopin’s life through quotations, in combination with Skoryk’s own distinctive musical voice.

Roberto Arnoldi, a talented young violinist from Bergamo, on this album plays a mix of pieces for solo violin by contemporary composers, some of which are specifically dedicated to him. By discovering these new works by Davide Anzaghi, Fabio Vacchi, Rossella Spinosa, Giuseppe Garbarino and Natale Arnoldi (Roberto's father), the Arnoldi stretches his own abilities as well as the listener's experiences. "Side by side with my study of the great classical masterpieces for solo violin, I have always been eager to deal with contemporary compositions, stimulated as I was by the persuasion that the new techniques required for the correct interpretation of present-day pieces are an important occasion for maturing and also very useful for "going back" to confront pieces from the past." (Arnoldi)

Tasmin Little and Piers Lane complete their three-album overview of British violin sonatas with works by York Bowen, John Ireland, William Alwyn, Eric Coates, and the world premiere recording of James Francis Brown’s The Hart’s Grace. Composed for the inaugural Hertfordshire Festival of Music, the work was premiered by Tasmin in Hertford in June 2016. The central premise of The Hart’s Grace is the emotional transformation experienced by a restless observer when encountering the almost magical, elusive freedom of the deer. John Ireland composed his Second Sonata between 1915 and 1917, dedicating it to Albert Sammons who gave the premiere. Alwyn’s Sonatina dates from 1933, whilst the Coates and Bowen pieces were both composed during the Second World War (1943 and 1945 respectively). Coates’s First Meeting was commissioned by Lionel Tertis and originally conceived for viola, but it was revised for violin for its publication (in 1943).

REVIEWS:

Little brings out the Ireland's stark contrast with impressive aplomb, the wonderful emergence of the effulgent second subject from the bleaker first being one such example. Lane’s nuanced handling of the capacious accompaniment is also insightfully executed.

– Gramophone

These are dedicated and insightful performances. None of these pieces are well known, yet these gifted artists create the impression of having been playing them for years.

– The Strad

Upon hearing a chamber piece by Joseph Michl in Munich in 1772 the English composer and music historian Charles Burney wrote, ‘I hardly ever heard a composition that discovered more genius and invention.’ Even though Michl achieved success writing for the operatic stage and his contemporary reputation rested on his sacred works, the Bassoon Quartets present the epitome of urbane sophistication – elegantly constructed and full of imaginative detail – and at times resembling miniature concertos.

Ben Hoadley is one of Australasia’s finest bassoonists, performing on modern and historical instruments. He is also an award-winning composer whose works are performed and recorded internationally. Hoadley has appeared frequently as guest principal with many of the professional orchestras in both Australia and New Zealand, and as a recital and concerto soloist and chamber musician. His special interest in music by New Zealand composers has led to many collaborations in the creation of new music for bassoon. The Hall String Trio (Lara, Amalia and Callum Hall) are siblings from Auckland, New Zealand who have performed together extensively since childhood, primarily as a string quartet with their brother Elroy. Continued performances together have included duos, trios and collaborations with non-family members.

REVIEWS:

Hoadley tosses it all off flawlessly without any sense of strain, and always mindful of the prime directive to produce a smooth, seamless, and beautiful tone.

…Hoadley is companioned by three sibling Halls—Laura and Amalia, violins, and Callum, cello—who know their place in these works and play with deference to the bassoon. I would very much like to hear them in works composed for string trio, for their modest contributions in these bassoon quartets hint at an ensemble of string players that would really shine on their own.

-- Fanfare

The opportunity to celebrate, in 2020, the 250th birthday of Ludwig van Beethoven alongside the 30th anniversary of German reunification is akin to a gift for a label that has been instrumental in preserving the recording heritage of the GDR, offering as it does the opportunity for a retrospective view and assessment of the past. This series with 10 new editions from the archive of ETERNA recordings includes audio productions from the early days of the label as well as later productions from the late 80s. Partly remastered from the original tapes and provided with the original covers, these historic-legendary recordings shine in new glamour. The present volume presents sonatas for piano and violin, performed by Karl Suske and Walter Olbertz.

In her solo album TWO, violinist and violist Elisabeth Kufferath presents compositions of four contemporary composers, each represented by one work for the violin and one work for the viola. The number of correspondences one can find is striking: relationships between composers, interpreters, compositions, and instruments, stretching throughout the centuries and into our own. The more one searches, the more one can find. Elisabeth Kufferath is possible one of the very few soloists to promote the Violin and viola literature of the contemporary composers. Three of the pieces are actually written for her. Three pieces are world premiere recordings

The opportunity to celebrate, in 2020, the 250th birthday of Ludwig van Beethoven alongside the 30th anniversary of German reunification is akin to a gift for a label that has been instrumental in preserving the recording heritage of the GDR, offering as it does the opportunity for a retrospective view and assessment of the past. This series with 10 new editions from the archive of ETERNA recordings includes audio productions from the early days of the label as well as later productions from the late 80s. Partly remastered from the original tapes and provided with the original covers, these historic-legendary recordings shine in new glamour. The present volume presents the Violin Concerto performed by Karl Suske and the Gewandhausorchester Leipzig.

The creation of VIOLIN CONCERTO by Alicia Terzian marked the beginning of her 65-year (and counting) compositional career. Originally composed in 1954/55, this important piece of her repertoire was brought to life thanks to a collaboration between Navona Records and the Siberian State Symphony Orchestra. This album also features Terzian's Three Pieces, which listeners can remember from their previous Navona release, OFF THE EDGE. Like Three Pieces, Violin Concerto is a work of three movements. The first, "Allegro," establishes two contrasting themes: one that is very rhythmic, the other more lyrical in nature. The work is heard through the virtuous skill of the violin soloist, Rafael Gintoli, combines elements of the two themes, and includes Terzian’s skills with microtonalism. The second movement is based on an ancient Armenian folk melody entitled "Daughter, your mother has died." This melancholic symphonic meditation, through variations, becomes a frantic passion, concluding in an acceptant peace. The third movement, "Andante-Allegro," bursts forth with a crash of the brass section and thunder of the timpani. The movement proceeds to an allegro vivace, which drives another agile violin solo. Three Pieces, the album's second work, was composed in 1954 and is arranged for a string orchestra and inspired by different Armenian folk melodies. It has been performed on countless European stages since its creation. Both Three Pieces and Violin Concerto are included in the repertoire of important European, Asian and American orchestras. VIOLIN CONCERTO is a daring work that is at last available for listeners around the world to enjoy thanks to this new release by Navona Records. Terzian’s music is truly timeless; this is made evident by the fact that her compositions—including those performed on VIOLIN CONCERTO—move audiences as much today as they first did half a century ago.

Acclaimed English violinist Thomas Bowes seems to have a penchant for thoroughness and completion. Known and praised for his complete recording of all J. S. Bach's sonatas and partitas, the European virtuoso has now taken it upon himself to embark on another quest for totality. This time, it is the six sonatas by Belgian violinist Eug�ne Ysa�e (1858-1931), presented on Bowes' new album, EUG�NE YSA�E: SIX SONATAS FOR SOLO VIOLIN. As one would expect from Bowes, they are played to passionate perfection. Ysa�e, hailed in his time as no less than the "King of the Violin", is a formidable figure to take on for any modern musician. He was famed not only for precision but more especially for a deeply affecting, quasi-supernatural power of communication. A man of immense generosity and largeness of spirit It is difficult to imagine any violinist adequately reproducing Ysa�e's compositions and this special aura. Doubly so if one considers the background of the Six Sonatas for Violin. They were written at a crucial point late in life. Plagued by illness and doubt and finding himself increasingly cut off from playing his beloved instrument as he would wish, this deep frustration found expression in this encapsulation of his art. In short, these works - all sketched out at white heat in a 24-hour period and hair-raisingly complex and difficult for the player - are an embodiment of the man. Thankfully, Bowes not only possesses the technical mastery to command every playing requirement; he also approaches these works with a great sense of empathy towards their creator. It is this attribute which affords him the rarest of insights into Ysa�e's violinistic mastermind. In fact, Bowes plays with such zest and clarity that the listener occasionally needs to be reminded that these are indeed sonatas for solo violin, not for an ensemble of two or three musicians.

Argentine-born violinist Tomas Cotik has fully devoted himself to the study and interpretation of the Bach solo sonatas and partitas for violin. This is truly one of the greatest traversals of this transcendent music. Hailed by Michael Tilson Thomas as “An excellent violinist,” Tomas Cotik is internationally recognized as a soloist, chamber musician, and professor. A much sought-after recording artist, Dr. Cotik is currently involved in more than fourteen album recordings for Naxos and Centaur records, which have received over a hundred reviews and the highest praises from some of the best-known publications. Committed to passing on his passion for music, Dr. Cotik taught at the University of Miami, Florida International University, and West Texas A&M University. He was appointed assistant professor of violin at Portland State University in 2016.

Myroslav Skoryk, a postgraduate student of Dmitry Kabalevsky, is one of Ukraine’s leading composers and teachers. His works range from opera and ballet, a symphonic transcription of Paganini’s 24 Caprices, and his cycle of nine Violin Concertos written over a 45-year span. They draw on elements of Carpathian folklore and are saturated in expressive dialogues, lyricism and elegy while also exuding powerful intensity. Skoryk’s sensual writing is frequently contrasted with syncopated motifs, cadenzas, fugal episodes and march rhythms. This is the first of two volumes.

Also available on Blu-ray

In Shostakovich‘s Violin Concerto No. 1, the violin does not allow itself a break, continually tells its dark story, revolves around the same thoughts, jokes and mocks, stutters, gets into the vicious circle of ostinato Passacaglia bass lines, loses itself in the loneliness of the extended cadenza and again and again falls into beguilingly beautiful singing. The Stalin regime would not have missed the fact that although a great many things run in small circles here, nothing “runs smoothly”, which is why the premiere did not take place until 1955, after Stalin’s death. Peter Tchaikovsky initially thought his “Symphony of Fate” was a failure and believed himself to be at the end of his creative powers. The audience’s enthusiasm for the work grew with each performance. It was probably the composer’s nature, plagued by self-doubt, that made it almost impossible for him to develop a self-confident attitude to his own creative power. This recording of the 5th Symphony is another milestone in Andris Nelson’s Tchaikovsky cycle with the Gewandhausorchester Leipzig.

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REVIEW:

Skride's playing of the Shostakovich is extraordinarily eloquent; a gripping interpretation. Some may find Nelson's Tchaikovsky a touch mannered, but there is some nice detailing throughout.

– Pizzicato