These seldom-heard Schubert lieder- setting verses by German poets including Schiller and Goethe- reflect the Romantic era’s artistic obsession with the classical myths and literature of ancient Greece. The resulting songs and duets reveal levels of fantasy and nobility rarely found among Schubert’s nearly 700 lieder. As performed by renowned artists soprano Susanna Phillips, bass-baritone Shenyang, and pianist Brian Zeger, these memorable pieces will come as a revelation to lieder fans. Listeners who revisit the “lost world” of Greek antiquity in this recording will revel in its deep, three-dimensional splendor: the combined genius of Schubert, two legendary poets, and three marvelous musicians.

The powerful and amazingly varied music of Czech composer Erwin Schulhoff, whose art was suppressed by the Nazi regime and who died in captivity in 1942, is given stirring performances by brilliant young players from the Colburn School, Los Angeles’ elite conservatory. James Conlon, world-renowned conductor and LA Opera music director, leads the RVC Ensemble in Schulhoff’s Piano Concerto, Op. 43, with Dominic Cheli as soloist. Four other pieces — all strong and unique —complete the album’s offerings, which span the years between 1923 and 1937. Cheli and violinist Adam Millstein are particularly outstanding contributors.

While Schulhoff’s music has been gradually emerging from near-total obscurity in recent years, Shapeshifter is especially notable as the first album-length example of his works being taken up by American musicians of classical’s ascendant “next generation.” We at Delos hope the album sparks increased interest in Schulhoff among younger players and their audiences. The project is intimately connected to the Ziering-Conlon Initiative for Recovered Voices, which encourages greater awareness and more frequent performances of music by composers whose careers and lives were disrupted or ended during the years of the Nazi regime in Europe. The Recovered Voices initiative was established at the Colburn School in 2013.

REVIEWS:

The Piano Concerto is a unified work with integrity and a strict formal structure. In each of the three movements, it explores romanticism with a touch of impressionism, and nods to modernism and jazz. The latter is particularly prominent in the Allegro alla jazz finale, where Schulhoff calls for an 18-piece percussion section that includes cog rattle, cowbell, sleigh bells, castanets, tambourine and siren. Foxtrot and Romany music lead towards a riotous conclusion, but not before a magical sostenuto section.

The Five Pieces for string quartet, dedicated to Darius Milhaud, can be construed as a “dance suite” which nods towards the Baroque models. A work of this vitality ought to be in the standard repertoire of all string quartet ensembles.

In the Suite for piano left hand, the listener is left marveling at the technical brilliance of the soloist being able to play this music with his left hand alone. At nearly 19 minutes, it is too long for an encore, but it does deserve its place in the recital room.

In the period when Schulhoff wrote the Violin Sonata No. 2, he was often influenced by jazz. Yet, it is Bartók and Berg that are the obvious models here. Adam Millstein and Dominic Cheli’s performance points up the virtuosity and brilliance of the piece.

The final number is Susi. This short “cocktail bar” piano piece is a sheer delight. It would seem to be a transcription of a song. Written when Schulhoff was exploring Socialist Realism and implementing the diktats of Marxist ideology, it is surely decadent. But one must recall that he was also earning money as “one half of a piano duo”. Susi is full of nostalgia and, possibly, regret.

I have noted the superb performances of all this music. The outstanding liner notes include biographical information, analysis, and details of the performers. The recording reflects the vibrancy of this repertoire.

This disc makes a great introduction to the achievement of an unjustifiably less well-known composer, although in recent years his music has been making a comeback on the recording scene. This release is worth the price for the stunning performance of the Concerto alone. Everything else is a wonderful bonus. I need to hear more of Erwin Schulhoff’s music.

-- MusicWeb International

This album offers mainly chamber music, but with the concerto for piano and small orchestra also a work in larger instrumentation. The album, performed by instrumentalists and thus also soloists of the Colburn School, not only demonstrates Schulhoff’s versatility, but above all his variability in the use of means, such as jazz and other influences, as well as his humor, for example when he forces the waltz into a limping march beat and at the same time still mixes the waltz of high society with a Ländler. Illuminating is also the versatility of styles and characters in the 5 Pieces for string quartet, which shows the alert mind of this composer. These works, especially from the period after his return to Prague in 1923, also provide an opportunity to perceive the energy of this idiosyncratic musical voice.

The young artists specialize in the music of ostracized musicians of the last century. The coordinating hand is James Conlon, tireless despite his numerous activities, who also successfully conducted the concert.

In addition to the above-mentioned aspects, it is noticeable in all performances that the musicians wonderfully succeed in extracting the vibrant energy from the music and transforming it into rousing sounds. Each piece sounds like a freshly created work.

-- Pizzicato

This release—the Taylor Festival Choir’s second album for Delos—features original Christmas works by two distinguished American composers: Brian Galante, whose choral works and arrangements have met with worldwide acclaim; and the late, great Stephen Paulus, whose many choral and orchestral compositions have been performed by America’s leading choirs and orchestras. The two multi-movement works presented in this album—Galante’s So Hallow’d the Time and Paulus’s Christmas Dances—are heard here in world premiere recordings. Based in Charleston, SC, the Taylor Festival Choir (Robert Taylor, founder and conductor) has gained international recognition since its inception in 2001 as one of America’s finest professional choral ensembles; and proudly claims Brian Galante as its regular Composer-in-Residence. They deliver truly transcendental performances in this lovely recording.

Nina Kotova astounds listeners with this dazzling album for cello alone. “Solo Cello,” her third album for Delos, reveals her spectacular technique, heartfelt passion and profound comprehension of the extraordinary program she has chosen.

Along with a brilliant rendition of J. S. Bach’s C Major Suite for Solo Cello, the Baroque era is represented by Handel and Marin Marais, both with musical fireworks that leave the listener breathless. Works from the 20th century include Hindemith’s Sonata for Solo Cello (four of the five movements were written in one night!); Alfred Schnittke’s haunting tribute to a cellist, Klingende Buchstaben (Sounding Letters); and Gaspar Cassadó’s charming and challenging Suite per Violoncello Solo.

The repertoire for this album is a fascinating combination of well-known and little-known compositions for solo cello. The two transcriptions (of works by Marais and Handel) sound like they were written for solo cello.

REVIEW:

There is an attractive gutsiness to the tone of Nina Kotova’s cello playing...it is a beautiful sound but one with the tinge of a life lived to it. Her manner of playing is similarly unabashed. If anything, her passionate, unbridled playing steps up a gear in Hindemith’s bristling Cello Sonata. I have always downgraded Hindemith as a bit dry, one for the musicologists. Not a chance with Kotova’s feverish advocacy.

...I found the sound a real pleasure. With a lot of cello writing concentrated on the upper strings, it is nice to hear the depths of the instrument’s sound so ripely presented.

I have a suspicion that this recording reflects a regular concert programme of Kotova’s. The way the pieces work together has the feel of practical experience and, unlike many recital discs which hang together on account of a clever idea or theme, this one makes good musical sense and sends the listener home (so to speak) satisfied. This is the sound of a seasoned musical talent in her absolute prime playing with confidence, sensitivity and flair in carefully and imaginatively chosen repertoire that suits her musical personality perfectly. What more could a listener ask for?

-- MusicWeb International

In this, the 2011 Latin Grammy‐winning Brazilian Guitar Quartet’s sixth Delos album, the ensemble pays homage to its rich and varied heritage as exemplified by the music of Spain – which, in turn, gave rise to Latin American music. + The album’s eighteen bewitching selections – mostly dances – are derived primarily from piano works by six of the best-known 20th century Spanish composers. + The BGQ offer the richest sonic depth and range of any guitar quartet thanks to the use of two eight‐string guitars.

Distinguished cellist Andrew Smith’s interest in Spanish music was awakened by his collaboration with Spanish pianist and conductor Alfredo Oyaguez Montero beginning in 1999. This artistic partnership led to a program of all-Spanish works, which they have performed to great acclaim on tour worldwide. The album features music by several of Spain’s greatest composers, including Manuel de Falla, Enrique Granados, Joaquin Turina, and Xavier Montsalvatge. Perhaps less familiar is Gaspar Cassado, who-after the great Pablo Casals (his teacher)- was Spain’s most famous 20th century cellist. Prime examples of both his original compositions and his many arrangements are heard here, along with a lovely folk song transcription from Casals. This glowing release promises to be a rare treat for cello fans and Spanish music aficionados alike- and will convincingly demonstrate the cello’s affinity with the unique spirit and piquant flavors of the Spanish musical idiom.