Almara is an early music ensemble which was founded by Elisabeth Pawelke during her studies at the Schola Cantorum Basiliensis. The ensemble's musical focus is on the secular repertoire of the Middle Ages and the Renaissance. Around 1500 Hartmann Schedel (1440 - 1514) was one of the most important polymath of his time. Grown up in Nuremberg as son of a wealthy Nuremberg merchant, Schedel studied liberal arts and medicine in Leipzig and Padua from 1456 to 1566. Being a polymath and a conscientious archivist of his time Schedel collected the contemporary knowledge by compiling a vast collection of books with more than 600 volumes. One of these surviving books is the Song Book bearing Schedel's name. According to sources, Schedel showed no great interest in music. It seems that he wrote down the songs of his compendium primarily out of documentary interest and that with a lasting success as two thirds of the lyrics have been surviving for posterity until today.

During the nineteenth century Berlin quickly developed from a muddy provincial backwater into a metropolis of world rank. Things went upward at the same pace in the arts and culture, and at their summit Wilhelm Sauer built his magnificent organ, which was dedicated along with the Berlin Cathedral in 1905. Cathedral organist Andreas Sieling has mined some choice nuggets of Berlin organ music from this extremely productive period, including some premiere recordings and an old Berlin hit in a really surprising recording. Mendelssohn of course is a must. The Three Preludes and Fugues op. 37 by this composer who spent his formative years in Berlin are the oldest selections on this lovingly produced Super Audio album. Mendelssohn received instruction in organ from the St. Mary’s organist August Wilhelm Bach, who exerted unrivalled influence on Berlin’s church music over the decades. Otto Dienel was also a Bach pupil; for his popular “Organ Recitals” at midday he skillfully linked classical forms such as the chorale setting with programmatic tones. Today Franz Wagner, August Haupt, and Philipp Rüfer will hardly ring a bell, even among organ experts. However, all three were very successful during their times. Haupt’s Concert Fugue, recorded here for the first time, circulated from hand to hand as a copy until a former pupil in the United States had it published. Rüfer was also in great demand as a teacher; Karl Straube and Albert Becker numbered among his pupils. Andreas Sieling has a full musical arsenal available to him on “his” Sauer organ: 113 stops on four manuals and the pedal enable him to produce unmatched sound color. The outstandingly designed pneumatic action guarantees virtuosic playing even amid heavy-duty chords, and the velvety rich sound of this masterful instrument especially finely brings out the quality of the compositions.

The romance in music is an often-overlooked, independent genre. Vocal romanzas were popular from the 15th century onwards, with their roots in the songs of medieval troubadours. Many slow concerto movements carry the subtitle, too, with its implication of softness, gentleness and melodic beauty. But more and more composers through the 19th century grasped the possibilities of the Romance as an instrumental song without words and a form in its own right. They had before them a growing audience of non-connoisseur listeners and amateur performers who would take delight in accessible but touching music: these are the origins of the music on this album. From an extensive field, Davide Alogna has constructed a beautifully varied sequence of Romances by celebrated and lesser-known composers. The two best examples of the genre remain those composed on the cusp of the 19th century by Beethoven, though they are little heard in concert these days. Seventy years later, Saint-Saëns enriched the repertoire with his own pair of Romances, more richly expressive compared to Beethoven’s delicacy and restraint. From later still the mood changes again, with the fresh Slavonic rhythms of Dvorák’s F minor Romance, the cool beauty of Svendsen’s G major Romance and the ripe sentimentality of Bruch’s F major Romance (originally for viola and orchestra).

Having completed his studies at the Accademia Chigiana of Siena, Davide Alogna was acclaimed by his teacher Giuliano Carmignola as ‘an amazing talent’. A previous recording was praised for its virtuosity and brilliance by the Italian Musica magazine, and his partnership with the veteran pianist Bruno Canino has delighted audiences throughout Europe.

Almost 2 hours of relaxing, easy listening classical music drawn from masterpieces by the world' greatest composers.

Fernanda Jiménez Peña (1923-2006) was born in 1923 in Utrera, one of the towns located in the main cantaora region. Hailed as one of the greatest cantaoras of the last decades, Fernanda accompanies her voice of echoing sobs with gesticulation and superhuman concentration. Silence, panting, and gestures of impotence and agony transform her more inspired concerts into magnificent, liberating events laden with tragic pathos. Bernarda Jiménez Peña (1927-2009), Fernanda’s sister, is a cantaora specialised in the bulerías, which she performs with incomparable mastery. Although the bulerías have been considered as a minor form of cante, they are extremely difficult to execute due to their pulsating rhythm and the exactitude of their compás. Bernarda’s bulerías convey infinitely complex psychological states and adapt to a wide variety of melodic lines, to create a personal, disorderly and expansive mood, further enhanced through her sense of intimacy and ability to move listeners.

The great Baroque organ of the Jakobikirche in Stralsund, whose original housing we can still see today, was built by Christian Gottlieb Richter of Stettin in 1741. From 1779 until 1783, Ernst Marx from Berlin built a new instrument reusing many components from the old organ, and this happened again when Friedrich Albert Daniel Mehmel from Stralsund built another new organ from 1870 until 1877. In 1945, the Jakobikirche was hit by a bomb on the southwestern corner of the side isle. As a result of the damage, the church sanctuary could be accessed. The organ was robbed of almost all of its metal pipes and was seriously damaged in all areas. Now the Dresden-based organ workshop of Kristian Wegscheider, also of Dresden, was commissioned to build a new, three-manual organ with 51 voices, consistently using the production methods and timbral aesthetics of the 18th century. It can be said that this organ is both a new and old instrument because its conception and artisanal production of today is based on models of the best organs of the 18th century. As part of the restoration of the organ, which began in 2017 and was completed in 2020, the case was completely restored and reconstructed in its old dimensions and structure with all of the old wood carvings as well. The idea for the program of this release – the first one recorded at the new organ – was to choose repertoire of the time of Johann Sebastian Bach and the generation of his teachers and pupils especially suited to the new instrument and to present it with as many compositional forms and registers of the organ as possible. The Chorale Variations by Daniel Magnus Gronau are recorded here for the very first time.

Resonance Lines, a term borrowed loosely from physics, refers to the energy emitted or absorbed by an atom as it transitions between different energy states. This is a unique and innate quality for each type of atom that can only be measured and observed under the right enabling circumstances. An ideal artistic collaboration feels like the discovery and realization of deeply held potential for shared creativity—a sympathetic resonance or surge of energy in the colloquial sense—that is revealed when the right conditions are in place. It may feel lucky or it may feel destined, and in special cases, the “resonating” artists are able to nurture and develop their complementary qualities with lasting effect. This album is a collection of music grown of such pairings, collaborations between composers and cellists joined by shared experiences that lead to creative sparks, unique musical gestures, and new sound worlds.

REVIEW:

Despite featuring works created centuries apart, Resonance Lines is distinguished by a remarkable degree of uniformity. That’s attributable to three things in particular: first, Hannah Collins’ cello is the sole instrument involved; second, the cellist brings a deep level of conviction to all six pieces; and third, each of them makes distinct references to music from the past, a move that helps collapse temporal boundaries between the pieces and reveals how the composers built on their personal musical histories with the creation of something new. Collins also has personal connections to the material, which amplifies their resonance all the more.

Every performance on the sixty-five-minute release is so engrossing, one quickly loses sight of the fact that the recording is the product of a single person and instrument. No supplemental effects are used, and neither are they needed when Collins is involved. Solo recordings expose the performer most nakedly, but she in no way suffers as a result. One comes away from the release with a heightened appreciation for her as both cellist and collaborator.

-- Textura

One of Oscar Pettiford’s big fans was Joachim-Ernst Berendt, the jazz editor of the Südwestfunk Baden-Baden, who went straight to work organizing various studio appointments and band members for the American guest, who had decided after an All Star tour of Europe in 1958, to settle in the Old World.

In changing sessions, local talents such as the trumpeter Dusko Goykovich, the clarinetist Rolf Kühn, and the drummer Hartwig Bartz, but also established colleagues such as the saxophonist Hans Koller and the guitarist Attila Zoller, each took his place in the queue. Sometimes American colleagues such as drummer Kenny Clarke or saxophonist Lucky Thompson joined the team and formed exquisite combos that discreetly courted Pettiford. He for his part thanked them on his instrument with eloquent and inspired noblesse.

Thus, over a period of almost two years after 1958, a good dozen recordings were made, consisting mainly of standards, but also of Pettiford hits such as “Blues in the Closet”, all of which document a master of the voluminous, bebop swinging groove bass, who was silenced only by his premature death in Copenhagen on 8 September 8, 1960, as the result of a traffic accident. Oscar Pettiford thus remains a charismatic figure in the background of jazz history, whose art is always worth rediscovering.

Complete Personnel and Recording Details:

Studio Recordings, SWF Baden-Baden: 15.07.1959 (tr.1-2); 14.06.1959 (tr.3-7); 24.02.1959 (tr.8-11); 02.12.1958 (tr.12-14)

Live recordings, SWF-Jazz-Session Stadthalle Karlsruhe: 3.12.1958 (tr.15-16)

Oscar Pettiford (b, cello); Dusko Goykovich (tp) tr. 1; Lucky Thompson (ss) tr. 2; Hans Hammerschmid (p); tr. 2, 13-16; Hartwig Bartz (dr) tr. 2; Rolf Kühn (cl) tr. 3-6; Jimmy Pratt (dr) tr. 3-11; Hans Koller (ts) tr. 4, 7-15; Attila Zoller (g) tr. 8-12, 15, 16; Kenny Clarke (dr) tr. 12-16; Helmut Brandt, Helmut Reinhardt, Johnny Feigl (bs) tr. 13, 14 ; Rudi Flierl (as) tr. 13, 14.

In the post-Renaissance period, the lamento established a place for itself in both vocal and instrumental music. This grief-stricken utterance in the face of death – one’s own imminent demise, that of a loved one, a lamentation that may be either sacred or secular. The present release from Café Zimmerman presents 9 lamentos from composers such as Bach, Bernhard, Biber, Schmelzer, and more. Founded in 1999, Café Zimmermann is one of the leading Baroque ensembles in France and in the rest of Europe. Led by violinist Pablo Valetti and harpsichordist Céline Frisch, the ensemble brings together soloists who are eager to bring back to life the artistic atmosphere conveyed by Gottfried Zimmermann’s establishment in 18th century Leipzig. Café Zimmermann collaborated with artists such as Emöke Barath, Giuliano Carmignola, Rupert Charlesworth, Lorenzo Coppola, Maarten Engeltjes, Damien Guillon, Kristina Hammarström, Christian Immler, Roberta Invernizzi, Sophie Karthäuser, Gustav Leonhardt, Lenneke Ruiten, Carolyn Sampson, Andreas Staier, Dominique Visse, as well as the choirs Les Elements, Aedes, Vox Luminis and Accentus.

This is the first project in a seven-volume series exploring the ‘Sturm und Drang’ movement, which swept through all art forms in the between the early 1760s and 1780s. The purpose of this movement was to frighten and perturb through the use of wild and subjective emotional means of expression. This series of ‘Sturm und Drang’ recordings incorporates iconic compositions by Mozart, Gluck and, above all, Joseph Haydn, but it also includes largely forgotten or neglected works by less familiar names. The music featured on this disc was all composed in the 1760s. It includes ballet and opera as well as symphonies, but is drawn together by the hallmarks of the remarkably visceral and dynamic style of music that we now call ‘Sturm und Drang’.

Navona Records' exhilarating PRISMA VOL. 3-the latest in the PRISMA series-unveils the diverse faces of contemporary orchestral music. Featuring the works of seven composers, PRISMA VOL. 3 follows up the success of the first two PRISMA installments with symphonic music that is both innovative and deeply alluring. The album opens with Ascension for Solo Clarinet and String Orchestra by Ahmed Alabaca, which pairs tender yet excitable clarinet lines with the cinematic grandeur of a string orchestra. Next comes Dark Glass Sinfonia by Sarah Wallin Huff, in which crumpled dissonances flower into exuberant tonality, capitalizing on the full dynamic range of the orchestra. The Defiant Poet by Noam Faingold follows, which lovingly commemorates the outspoken Russian poet Yevgeny Yevtushenko. Then, Raisa Orshansky's Spring Fantasy explores themes of birth and renewal in nature, as inspired by another Russian poet- Alexander Blok. Next, Songs of the Seasons by Craig Morris utilizes chromaticism to evoke colorful images from nature, with all it's hope and uncertainty. The second-to-last piece on the album is Restoration by Scott Brickman, which he describes as a "symphony in one movement"; the music, with it's flirting allusions to Eastern European folk songs, celebrates Brickman's Latvian and Polish heritage. Lastly, in Prelude & Fugue for Orchestra, Audun G. Vassdal takes liberties with classical forms to create music that is at once playful and intensely evocative. The symphony orchestra is a powerful instrument; writing orchestral music presents significant obstacles and tantalizing opportunities for even the most skilled composer. In PRISMA VOL. 3, seven masters of this challenging artform rethink what a symphony orchestra is capable of, and in so doing, present their audience with a unique and gratifying musical experience.

An internationally admired jazz quartet consisting of a Dane and three Swedes plays Nordic jazz, with a lyrical expression and a living interplay. SE-Quartet gets their inspiration from many different genres, like gospel, avant-garde, soul, classical and popular music. Their music is captivating, with it's beautiful melodies and energetic beats, as well as a sensitive interaction with epic improvisations. SE-Quartet released their third album Going North, in April 2017, which now has more then 2.5 million streams on Spotify. In addition, radio stations and newspapers in Scandinavia, have highlighted the album and acclaimed SE-Quartet as it conveys an ideal. Since the beginning in 2007 SE-Quartet has performed 100 concerts in Sweden, Denmark and Norway. During the next decade SE-Quartet will hopefully reach out for the rest of the world.

This fascinating collection of rare and distinctive piano works, from the 18th century to the present, is inspired by stories of how women composers created music while meeting the expectations of family and society. Hiroko Ishimoto brings together a remarkably varied programme including works by Ana Bon who was ‘chamber music virtuosa’ at the Prussian court of King Frederick the Great, the bold harmonies of Vít?zslava Kaprálová (a student of Martin?), as well as pieces by Amy Beach based on the calls of the hermit thrush, and so much more.

In Great Britain Christmas carols are an integral part of Christmas just like plum pudding and turkey, paper crowns and mistletoe. They are sung in all big cathedrals and churches at Christmas, first and foremost in the time-honored chapel of King’s College. The Festival of Nine Lessons and Carols- a Christmas mass featuring King’s College Choir, nine short readings and, of course, carols- has been broadcast live on the radio every year since 1928 on Christmas Eve. The a cappella choir SWR Vokalensemble belongs worldwide to the best choirs, renowned mostly for its exquisite performances of modern music. This album however contains traditional, centuries old Christmas Carols, arranged by British composers like Benjamin Britten, Gustav Holst, Ralph Vaughan Williams and William Byrd, to name just a few.



REVIEW:

An entire program of English music recorded by a German choir doesn’t happen all that often, and a disc of “very English” Christmas repertoire may be rarest of all. However, the top-tier Stuttgart-based SWR Vokalensemble is one group for whom this sort of thing is not so unusual. In fact they’ve not only recorded several discs that feature works by British composers such as Britten, MacMillan, and Vaughan Williams (including his rarely recorded Mass in G minor); they’ve gone where even American choirs fear to tread, recording the complete choral works of Elliott Carter(!), ten of Ives’ Psalm settings, and a disc of American works that includes pieces by Cage, Reich, and Feldman.

 

The program itself, chosen with obvious care by one who knows his way around the repertoire, is marked by first-rate performances that stand solidly alongside similar offerings by this ensemble’s “native” British counterparts. As good as the program and performances are, potential listeners may find the disc’s curious, cursory title misleading: “Christmas Carols” does not accurately describe the program at hand. While the music is almost exclusively Christmas-themed, only perhaps three of the 19 selections (to be generous) could be labeled as “carols” in the traditional sense. Although the liner notes do include a very brief but informed history of the true carol, our attention is quickly directed to the “carol” as it’s come to be identified via inclusion in the popular annual carol service at King’s College, Cambridge: that is, virtually any choral piece—original or arrangement—with a sacred, Christmas-centered text. The programming here all makes sense when you know that conductor Marcus Creed is not only British, but was a student and former singer at King’s College.

 

Just looking at the list of composers, most of whom are as English as they come—Boris Ord, Benjamin Britten, Ralph Vaughan Williams, Gustav Holst, Herbert Howells, David Willcocks—and the works at hand, each one ingrained in the very soul of every English-speaking, Christmas-music-loving listener—sets you up for what you hope will be an hour of pure pleasure, born of the special traditions of a season that is uniquely associated with its music. And, be it from Germany or Lower Slobovia, it doesn’t matter: this program does not disappoint.

 

Whether you choose this for the iconic repertoire—Ord’s Adam Lay Ybounden; Britten’s A Hymn to the Virgin; Howells’ A Spotless Rose; Thomas Ravenscroft’s Remember O Thou Man; David Willcocks’ Tomorrow Shall Be My Dancing Day; Elisabeth Poston’s Jesus Christ the Apple Tree; Holst’s In the Bleak Midwinter—or just for the world-class singing (hopefully both!), you can be assured of a listening experience that will endure many hearings throughout the entire season—and the next. This choir knows the music well and obviously enjoys singing it, demonstrating a mastery of both language and style.

The program’s one non-English-language work is Robert Parsons’ Latin-texted Ave Maria—a most welcome inclusion of one of the 16th century’s greatest masterpieces, and a highlight of the disc. Another plus: the all-too-rare inclusion of a list of publishers of each work (choral directors, take note). Highly recommended.

– ClassicsToday.com (David Vernier)

Also available: 20th Century Foxtrots, Vol. 2 and 20th Century Foxtrots, Vol. 3

 

During the inter-war period, in the cities of the West, a younger generation found ways to enjoy life in the form of dances such as shimmies, foxtrots, tangos and Charlestons: strong rhythms that became a symbol of a carefree and decadent era. The new jazz craze took hold everywhere, and Krenek’s opera Jonny spielt auf became an overnight sensation. The inter-war Zeitgeist in Vienna and the Czech lands is reflected in a programme full of première recordings – many of which were hits in their day – rich with fashionable dynamism, syncopation and joie de vivre. Born in Vienna, Gottlieb Wallisch first appeared on the concert platform when he was seven years old, and at the age of twelve made his debut in the Golden Hall of the Vienna Musikverein. A concert directed by Yehudi Menuhin in 1996 launched Wallisch’s international career: accompanied by the Sinfonia Varsovia, the seventeen-year-old pianist performed Beethoven’s ‘Emperor’ Concerto. Since then Wallisch has received invitations to the world’s most prestigious concert halls and festivals including Carnegie Hall in New York, Wigmore Hall in London, the Cologne Philharmonie, the Tonhalle Zurich, and the NCPA in Beijing, also the Ruhr Piano Festival, the Beethovenfest in Bonn, the Festivals of Lucerne and Salzburg, December Nights in Moscow, and the Singapore Arts Festival.

-----

REVIEWS:

 

This new recording is an utterly delightful collection of Austrian and Czech foxtrots and other dance music, performed with panache and great affection. Most of the music was written in the 1920s and 1930s when the composers were prompted by publishers to write popular (and commercial) dance music. You can imagine this inventive, rhythmic, and sensuous music being played in pre-WW II Vienna and Prague dance halls and cabarets.

 

– MusicWeb International

While jazz-inspired music by the likes of Stravinsky and Weill has never been forgotten, the similar efforts of dozens of other composers from the same period have fallen into obscurity. Now some of those experiments are enjoying a fresh hearing. The German pianist Gottlieb Wallisch’s revealing and entertaining new recording is mostly made up of world-premiere recordings of these dance-oriented works, in their piano arrangements.

By grouping these works geographically, he said, he anticipates creating “an encyclopedia of music from this time.” The second volume in the series — devoted to pieces by German composers — is scheduled for release in the fall.

If you’ve heard of the Czech composer Jaromir Weinberger, it’s likely for the Polka from his opera “Schwanda the Bagpiper.” (Herbert von Karajan was a devotee of that orchestral excerpt.) But he also composed an entry in the annals of the jazz-age dance known as the shimmy, garlanding his miniature with streaks of New World suavity.

In a 1925 lecture, the Austrian composer Ernst Krenek asked aloud what the listening public wanted. “The answer,” he continued, “will perhaps be somewhat frightening: none other than dance music.” The arrangement on Mr. Wallisch’s recording was created by the composer Jeno Takacs as part of a potpourri of selections from the opera.

Jaroslav Jezek’s “Bugatti Step” was, when it was written, a calling card for its composer — including with the “jazz orchestra” that he led at the time. Mr. Wallisch’s take on the solo piano arrangement of the piece is a cut above several other contemporary performances. He has plenty of forward motion, but his way of approaching Jezek’s propulsive writing results in a smooth ride. “It’s not a Charleston or a quick-fox,” he said. “I don’t think it needs the fast-as-possible tempo.”

– New York Times

This is the second installment of the SWR CLASSIC series dedicated to Friedrich Gulda. It contains the piano concertos he recorded for the SWR between 1959 and 1962. Although most famous for his L.v. Beethoven interpretations, Friedrich Gulda also performed the music of J.S. Bach, W.A. Mozart, Schubert, Fr�d�ric Chopin, Debussy and Ravel. From the 1950's on he cultivated an interest in jazz, writing several songs and instrumental pieces himself and combining jazz and classical music in his concerts at times. In 1982, Gulda teamed up with jazz pianist Chick Corea, who found himself in between the breakup of Return to Forever and the formation of his Elektric Band. Issued on The Meeting (Philips, 1984), Gulda and Corea communicate in lengthy improvisations mixing jazz (Someday My Prince Will Come and the lesser known Miles Davis song Put Your Foot Out) and classical music (Brahms' Wiegenlied). It was this unorthodox practice that, among other things, earned him the nickname "terrorist pianist"; Friedrich Gulda had a strong dislike of authorities like the Vienna Academy, the L.v. Beethoven Ring of which he was offered in recognition of his performances but which he refused, and even faked his own death in the late 1990's, cementing his status as the enfant terrible among pianists. Nevertheless, Gulda is widely regarded as one of the most outstanding piano players of the 20th century.

This diverse programme features eight premiere recordings of Australian music for two pianists, including seven works recently commissioned by the acclaimed Viney-Grinberg duo. Demonstrating the innovative potential of this medium, these pieces range from duets on a single piano to Mill Life in which 22 pianos are overdubbed and piled on top of each other. Other highlights include Visible Weapon, pairing virtuoso velocity with electronics, and The Art of Agony – a musical picture frame for Percy Grainger’s spoken voice.

Rhythms of West Africa, tapestries of authentic African voices, Senegalese / West African blues fusion, a cappella from Southern Africa, Namibian songs on guitar, serenades from Ethiopia and more... This African compilation is a stunning journey across the continent. The songs compiled on this release have been hand-selected from Arc’s vast catalog of African music albums. Musicians include Nii Okai Tagoe, Tinyela, Modou Toure and Ramon Goose, Musa Mboob and XamXam, and many more. Details on each song, the musicians, and the albums from whence these pieces were chosen are all included in the booklet.

Track listings include: "La Jalouserie (Jealousy", by Bruce Daigrepont "Evangeline Special", by Jo-El Sonnier "The Woman I Never Got", by Charivari.

No instrument can match the violin in its ability to emulate the beauty and subtlety of the human voice. Its design is an acoustic marvel, with tonal qualities that seem limitless, turning violin makers over the centuries, such as Stradivarius and Guarneri, into household names. For the great composer-violinists represented in this programme, including Paganini, Sarasate, and Ysaye, the violin provided the ultimate means of artistic expression. It is capable of reproducing a full range of emotions, from soaring lyricism to guttural passion with nuance and sophistication. This collection brings together some of the best-loved pieces in the violin repertoire.

On Chinese Dreams pianist Lydia Maria Bader plays piano pieces by contemporary Chinese composers based on traditional folk songs as well as works by Western composers inspired by China. The music is filled with beautiful melodies, which deserve to be heard outside of China. Praised for her elegant execution, beautiful tone and remarkable virtuosity, pianist Lydia Maria Bader has been described as "one of the leading pianists of Germany" (Neue Musikzeitung). Audiences and the press alike admire her charming moderation and thematically-conceived programs, which often venture into lesser-known territories of the piano literature and reflect a deep fascination with colorful cultures. Born in Bavaria, Germany, Lydia received her first piano lessons from her father. At the age of fifteen she began her studies at the University of Music and Performing Arts Munich, first with Karl-Hermann Mrongovius, then with Michael Sch�fer after graduating from high school, under whom she received her artistic diploma. Other major influences on her artistic development include a year of study at the Conservatoire National Sup�rieur de Musique in Paris with Michel Beroff and studies at the University of Music and Performing Arts Graz, Austria, with Markus Schirmer.

To Anatolia is Turkish/American pianist Beyza Yazgan's passionately played collection of Turkish classical piano repertoire from a group of composers known as “The Turkish Five” (Cemal Resit Rey (1904-1985), Ferid Alnar (1906-1978), Ulvi Cemal Erkin (1906-1972), Adnan Saygun (1907-1991), and Necil Kazim Akses (1908-1999). The music was composed between 1931-1976 with most of the pieces inspired by Anatolian folksongs, stories, dances, dirges, and lullabies. Though the compositions were all written for piano, the colors and influences of eastern instruments are present throughout.

Classical Music

Classical Music

Richard Strauss and the Viennese Trumpet is the latest in Jonathan Freeman-Attwood's imaginative series of musical reinventions for trumpet and piano. Works by Fux, Beethoven, Schubert, Mahler, Bruckner, Webern and Zemlinsky complement the core work: a newly imagined Strauss trumpet sonata. Building on his highly successful transcriptions of sonatas by Faur�, Grieg, Mendelssohn and Schumann, Freeman-Attwood pushes the boundaries further delivering a fully-realized trumpet sonata which Strauss did not write. This innovative approach embraces various levels of transcription, transformation, realignment and composition to create a significant new contribution to the trumpet repertoire, full of the gloriously idiomatic writing for which Strauss is renowned. The material is variously drawn from the first movement of Strauss's Violin Sonata, Op. 18, a combination of both light and very significant arrangements of miscellaneous music, newly composed music, and development or transitions based on existing material within the Sonata. Pianist Chiyan Wong, who was awarded the prestigious Grand Prix du Disque by the Franz Liszt Society, accompanies Freeman-Attwood.