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.

... flawless, exciting... we have music that unfolds comfortably, but there's enough to arouse curiosity without scaring anyone off. It will not alienate stodgy blue-hair types, but it will still satisfy those who crave creative new music. Thus has American Record Guide responded to the music of New York-based composer Sean Hickey, who reappears with new, engaging, and beautifully crafted concertos in his premiere Delos recording. Renowned cellist Dmitry Kouzov and vaunted clarinet virtuoso Alexander Fiterstein shine with St. Petersburg orchestras under Maestro Vladimir Lande.

The Spiritual Revival Choir of Moscow was created in 1992, at the end of the Soviet era, a time when religious freedom was once again permitted in Russia. The choir's repertoire includes music of the renaissance, baroque, classical and romantic periods, as well as music by contemporary composers such as Alfred Schnittke. 'Serene Ecstasy' features the choir in sacred music by Russian composers from the 19th and 20th centuries.
The choir opens the program with "The Russian Soil," a hymn dedicated to Russian saints that is memorable for its rhythmic drive and exalted tone. Two sacred pieces by Tchaikovsky are marked by drama and, in "Eucharist" from the 'Liturgy of St. John Chrysostom,' a sense of joy. The group's lush tonal quality is ideal in Ippolitov-Ivanov's pacific "Praise the Lord, O My Soul."
This recording consistently impresses with its excellent singing and fascinating repertoire; surely it's an ideal recording for all lovers of sacred music.

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

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Dmitry Kouzov is one of his generation's leading cello virtuosos. From his earliest years Kouzov was surrounded by musicians with direct personal connections to Shostakovich, making the master's music an inseparable part of his musical being. That immersion, along with the partnership with the St. Petersburg State Symphony and Lande, make for an insightful and moving reading.

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1. Adeste fidelis (O Come All Ye Faithful) (arr. D. Willcocks)
2. What Child is This?
3. Ding Dong Merrily on High
4. Sing we to this merry company
5. The Sussex Mummers' Christmas Carol (arr. M. Allen)
6. The Little Road to Bethlehem
7. The Holly and the Ivy (arr. J. Rutter): The holy and the ivy
8. Carol of the Bells (arr. P. Wilhousky)
9. God rest you merry, gentlemen
10. The First Nowell
11. The Carol of the Angels
12. I saw three ships
13. Come, love we God
14. Torches, Op. 7a
15. Wexford Carol
16. Angels we have heard on high
17. Away in a manger (arr. J. Van)
18. Good King Wenceslas
19. Sussex Carol
20. A Merry Christmas
21. O Holy Night (Cantique de Noel) (arr. J. Rutter)
22. Hark! The Herald Angels Sing

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.

In addition to being the Metropolitan Opera Orchestra's principal flutist, Iceland native Stef�n Ragnar H�skuldsson has forged a distinguished simultaneous career as a soloist and chamber musician. On this, his debut solo CD he offers an impressive and varied program of classic works for flute and piano by mainstream composers, plus a haunting unaccompanied flute novelty composed by a fellow Icelander. Michael McHale, with whom Mr. H�skuldsson collaborates, is one of Ireland's leading all-around pianists. "Stef�n Ragnar H�skuldsson played with agility and warmth" - New York Times.

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

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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.

Spring Forward, the delightful title work by multi-talented Peter Schickele, is a gift to the composer/ humorist’s many worldwide fans. This touching Suite represents a culmination of sorts “after a lifetime of entering sketches for such a piece into my notebooks,” Schickele writes in his entertaining program notes. Richard Danielpour’s moving Clarinet Quintet (“The Last Jew in Hamadan”) was composed with Danielpour’s memories of his childhood in Iran in mind. (The members of his family who escaped the country were the lucky ones.) Aaron Jay Kernis’ intriguing Perpetual Chaconne reflects his fascination with the variety of approaches composers have used to develop and vary their ideas over the ages.

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REVIEW:

It was a surprise to learn that Peter Schickele was 79 when he wrote Spring Forward. It sounds very much what you would expect from a young composer, so Schickele is obviously still young at heart. He is also a humourist, and that also shows in this truly magical and delightful quintet.

The quintet is in five movements, each an absolute delight. Once you know about Schickele’s humourist side, you can see where the fun he injects into the composition comes from. He is clearly a worthy successor to both Gerard Hoffnung and Victor Borge.

Richard Danielpour is an extremely thoughtful tunesmith with some truly original ideas. This quintet is no exception, with its intriguing subtitle The Last Jew in Hamadan. Hamadan is a town in Iran where the composer’s father and maternal grandfather were born. It once had a sizeable Jewish population, and is in fact the biblical city of Esther. But over time that population has shrunk so much that once — on reading in the New York Times that there were but 13 Jews still living there — Richard Danielpour realised that there would soon be none at all left. Hence his telling title.

There is a sad and fragile beauty in this music that is infectious, along with a sense of regret that things have changed so much for the worse since 1979. The music peters out as if all energy has been lost.

Aaron Jay Kernis's quintet begins lyrically enough but soon becomes full of nervous energy and restlessness, which slows down when the theme seems to have become worn out. It then gathers a new momentum. Its lyricism returns for much of this second period but eventually the fractious nature resumes. The theme appears as a fragmented entity which then once again seems to run out of steam in the quintet’s closing minutes, and the work fades away to a whispered ending. I wish my musical understanding was sufficient to discuss the technical side but I can say that I enjoyed it, and always applaud composers who continue to explore new ways of expression.

All three quintets are performed by three extremely talented ensembles. The unifying element is David Shifrin as clarinettist. This hugely experienced performer rises to every challenge in these three quite different works, and everyone involved in the entire project deserves accolades for their performances. This is a disc that challenges the listener to give the closest attention to the music but pays off in a rewarding experience of three composers all of whom have produced thoroughly engaging and contrasting works.

– MusicWeb International (Steve Arloff)

The legendary late American organist, composer, and pedagogue McNeil Robinson was especially prized for his skill at improvisation: a rare discipline largely restricted to European masters of the organ. Many distinguished composers of his day—including Marcel Dupré, Ned Rorem, Lukas Fossand Vincent Persichetti—were his regular collaborators, providing thematic materials for his peerless improvisatory events. Robinson himself regarded this revelatory March 21, 2006 performance of improvisations on the fourteen Stations of the Cross—a treasured ritual of sacred Christian liturgy—as the finest of his improvisatory efforts. His dying wish was to have it released to the musical public as the pinnacle of his storied legacy, hence this marvelous live recording of the event.

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While greatly revered in Russia, the profound and beautiful music of neo-romantic composer Georgy Sviridov (1915-1998) is hardly known beyond his homeland's borders. His predominantly vocal output reflects his strong affinity for many of the finest Russian poets, who inspired him to compose highly idiomatic music to match the emotional intensity and expressive passion of their verses. Thus did Sergei Yesenin's vivid and moving poetry spark the creation of the stunning twelve-song cycle Russia Cast Adrift. Legendary baritone Dmitri Hvorostovsky developed especially strong personal and artistic bonds with Sviridov in the composer's final years, compelling Sviridov to composer specifically for him. Dmitri infuses Sviridov's songs with the same emotional intensity, musical insight and sheer vocal glory that have distinguished his many earlier Delos releases. Joining Dmitri in this world premiere recording of the orchestral version are his long-time collaborators Constantine Orbelian, conducting the St. Petersburg State Symphony Orchestra, and the Russian folk music ensemble Style of Five.

It’s not often that one hears recorded organ transcriptions of major works originally composed for symphony orchestra. But that’s what we get here, in a transcendental program of orchestral favorites played to breathtaking perfection by Thomas Murray, an internationally renowned organist and Yale professor.

Murray is the latest in a long line of top-ranked players who have made outstanding solo recordings in keeping with Delos’s long-standing tradition of legendary organ albums. He is held in particularly high regard among his fellow virtuosos for his mastery of the grand “symphonic style” of organ playing.

Fans of great orchestral classics will immediately recognize both of the works featured here: Edvard Grieg’s ever-popular Holberg Suite and Ce?sar Franck’s monumental Symphony in D Minor – in stunning transcriptions for organ: the instrument best suited to recreate an orchestra’s power, nuance, and variety of sonorities. Murray plays the magnificent Schoenstein Gloria Dei Organ, St. Martin’s Episcopal Church, Houston, Texas.

Continuing his long tradition of outstanding recordings with Delos, organist Thomas Murray presents this album of symphonic masterworks by Edvard Grieg and Cesar Franck. These outstanding arrangements of orchestral classics are performed beautifully on the organ- the instrument best suited to reconstruct the orchestra’s variances, nuances, and power. “…consummate skill and artistry in treating the organ as a great orchestra.” (High Fidelity)

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REVIEW:

The playing of Thomas Murray is faultless; his clear belief in these arrangements carries them through coupled with his sensible choices of tempo and his clear understanding of the Franck Symphony’s musical processes. Sonically, the disc is a treat.

– Fanfare

Philharmonia of Russia conducted by Constantine Orbelian. Great scenes from 'Queen of Spades' captures the essence of the opera in a one-CD version with scenes chosen to represent the music, drama and characterization that make the opera memorable. Amelia Haygood, Delos label founder & Executive Producer: "I've loved 'Queen of Spades' for most of my life, and have long thought it should be up there among the all-time favorites. So it's a deep joy for me to present the drama and poignancy of Tchaikovsky's music at the high artistic level our singers, conductor and orchestra have achieved here. Unlike 'highlights' excerpts, or a collection of arias, this 'Great Scenes' version is meant to preserve the flow of the opera's story of love, obsession and madness. "