Described by Gramophone as a ‘magician, bewitching our ears’, Russian-born American-based violinist Ilya Kaler has won 1st Prizes and Gold Medals at the Tchaikovsky, Sibelius and the Paganini Competitions and made many acclaimed Naxos recordings. He is an ideal soloist in Mieczysław Karłowicz’s attractive and spirited Violin Concerto. The Serenade, Karłowicz’s first orchestral work, signals the young composer’s extraordinary command of expressive ideas and opulent harmonies.

To say that Sikorski’s music is thought-inspiring is not enough. What is more important, it forces us to feel, react, vibrate. And in the case of the repertoire presented in this album, it introduces us to the very essence of the piano. Sikorski’s understanding of the instrument and its possibilities was remarkable. His sounds pierce through us. Only the composer, who fully existed within this sphere of sound, could so convincingly deal with the consequences of the sound’s harmony and repetition, its crescendo and decrescendo, its silence. Tension in Sikorski’s music results from the possibility and willingness to both reveal and conceal emotions with a single stroke of the pen. Passion expressed, passion suppressed, beauty, intensity, solitude, richness of sound and shortage are its essence. These works are beautifully presented by pianist Ezabolcs Esztenyi and the Warsaw Philharmonic Orchestra under the direction of Zsolt Nagy.

Best known today for his sumptuously Romantic symphonic poems, Mieczysław Karłowicz completed his most ambitious work, the ‘Rebirth’ Symphony, in 1903. Like Mahler’s ‘Resurrection’ Symphony which was premièred the following year, it evokes the soul’s spiritual struggle against fate from tragedy to triumph. The resplendent Prologue from Karłowicz’s music for the play The White Dove leads to a serene Intermezzo. Polish conductor Antoni Wit brings out the brooding, portentous and lyrical characteristics of his compatriot’s richly orchestrated yet seldom-heard scores.

Brahms’s first connection with choral music came in 1857, and his first appointment in Vienna, in 1863, was to conduct the Singakademie. He premièred A German Requiem in the city and wrote widely for choral forces, taking a variety of poetic source material. Begräbnisgesang (Funeral Hymn) evinces a great feeling of solemnity, whilst Schicksalslied (Song of Destiny) is an urgent, volatile work. Nänie was written as a lament for the death of the painter Anselm Feuerbach, and the Alto Rhapsody has remained one of the greatest works for contralto in the repertoire.

Leoš Janáček was an authority on his native folk-music, and the Lachian and Moravian Dances preserve and celebrate culture and traditions which were vanishing even in his own lifetime. Based on Gogol’s historical novel, Janáček’s inspired orchestral rhapsody on Taras Bulba depicts three moving and dramatic episodes in the violent life of the Cossack leader, climaxing in his stirring and triumphant prophecy of liberation. This release follows Antoni Wit’s acclaimed Warsaw recording of Janáček’s Glagolitic Mass and Sinfonietta (8.572639). Antoni Wit, one of the most highly regarded Polish conductors, studied conducting with Henryk Czyz and composition with Krzysztof Penderecki at the Academy of Music in Kraków, subsequently continuing his studies with Nadia Boulanger in Paris. In 2002 he became managing and artistic director of the Warsaw Philharmonic Orchestra.

REVIEWS:

Everything about this disc is fabulous: the performances, the coupling, and the sonics. Antoni Wit’s Taras Bulba sounds like no other. It’s full of details that you won’t have heard before, particularly in the layering of textures and shades of woodwind color. This is particularly obvious in the second movement, “The Death of Ostap”, but these personal touches never get in the way of an idiomatic, indeed visceral response to the music’s high drama. Wit builds the tension in the first movement’s successive episodes as well as anyone ever has, and releases it in a truly menacing battle sequence, with vicious contributions from the low brass. In the finale the Naxos engineers balance the organ and orchestra uncannily in the concluding apotheosis, which Wit conducts with a wholly individual combination of grandeur and serenity. It’s just plain wonderful.

Wit’s first Janácek disc contained the Glagolitic Mass and the Sinfonietta, and finding appropriate couplings for the composer’s scant orchestral output is never easy. There are the two other symphonic poems (The Ballad of Blaník and The Fiddler’s Child), some assorted overtures, the Schluck und Jau incidental music, the early works for string orchestra, and very little else. Wit’s choice of the two dance suites turns out to be an inspired decision, since they offer music that marries very well with Taras Bulba. The Lachian Dances are somewhat well known from recordings, though still a rarity in concert, but the Moravian Dances of 1891, a five-movement suite lasting about nine minutes, remains the preserve of Janácek specialists. They are delightful, and I offer a sample of No. 2 (“Kalamajka”). For the record, Wit omits the optional organ part in the Lachian Dances (the score refers to it as “inobligato”), a smart idea as the orchestration is already somewhat thick. Strongest recommendation.

– David Hurwitz, ClassicsToday.com

Each of these six orchestral works bears the imprint of Penderecki’s greatness as a composer. Fonogrammi alternates piquant sonorities, pulsating vehemence and moments of great intimacy. Intensity accompanied by neo-Romantic elements can be heard in The Awakening of Jacob whilst Anaklasis is a stunning example of juxtaposed, multiple sound patterns. De natura sonoris I explores more improvisational, jazz-influenced areas, as does the richly orchestrated Partita. The Horn Concerto, composed in 2008, offers an evocative landscape, glacial, powerful, yet wistful.

Mozart Camargo Guarnieri is universally recognised as the most important Brazilian composer after Villa-Lobos. The Six Piano Concertos, composed over a period of forty years, offer a complete panorama of Guarnieri’s stylistic evolution, in particular his blend of sophisticated compositional techniques and the improvisational character of Brazilian folk-music. The Piano Concertos Nos. 4 and 5 display a number of avant-garde features that are fundamentally different from the more nationalistic vocabulary that informs the earlier three piano concertos (Naxos 8.557666). Completed shortly after the composer’s eightieth birthday, the chamber-like, intimate Piano Concerto No. 6 returns to an earlier style.

Chopin’s youthful Piano Concerto No. 1 is dominated by the brilliant piano part that the teenage performer-composer wrote to showcase his extraordinary virtuosity. Its ravishing Romanza (‘reviving in one’s soul beautiful memories’, as the composer described it) is framed by an opening movement rich in dramatic lyricism and a vivacious Rondo. The Fantasia on Polish Airs, Op. 13 and Krakowiak are similarly vehicles for Romantic reverie and bravura which pay tribute to the music of Chopin’s homeland. Eldar Nebolsin’s recording of Liszt’s piano concertos was ranked ‘among the finest’ by Gramophone.

Goethe’s Faust exerted a powerful influence on Romantic composers, offering Robert Schumann a number of unforgettable scenes drawn mainly from the mystical second part of the epic poem which he incorporated into this immensely moving large-scale cantata. Opening with the first love scene between Gretchen and Faust and concluding with the climactic scene of Faust’s redemption, Schumann created a sweeping panorama of dramatic episodes with Mephistopheles’ trickery ultimately overcome as legions of celestial beings bear Faust’s soul to heaven.