{"title":"Weekend Spotlight: Dazzling Orchestral","description":"\u003cp style=\"text-align: center;\" class=\"isSelectedEnd\"\u003eThis \u003cstrong\u003eWeekend Spotlight\u003c\/strong\u003e features \u003cstrong\u003ethree dazzling new orchestral releases\u003c\/strong\u003e showcasing the power, color, and brilliance of the orchestra, alongside \u003cstrong\u003e200 stellar orchestral recordings \u003c\/strong\u003eat \u003cstrong\u003e50% OFF\u003c\/strong\u003e in a specially curated collection!\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan\u003eDiscover outstanding new performances from\u003cem\u003e Orchestra Sinfonica Nazionale della RAI, Symphonieorchester des Bayerischen Rundfunks, \u003c\/em\u003eand the\u003cem\u003e \u003c\/em\u003e\u003cem\u003eLondon Philharmonic Orchestra \u003c\/em\u003ebringing fresh interpretations of works by \u003cstrong\u003eBarber, Respighi, \u003c\/strong\u003eand\u003cstrong\u003e Haydn\u003c\/strong\u003e. Then explore an expanded selection of iconic orchestral recordings—all at \u003cstrong\u003ehalf price\u003c\/strong\u003e for a limited time!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan\u003eSale prices will appear on the product pages before an item is placed in the shopping cart.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan\u003eShop these great deals before they end on \u003cstrong\u003eMonday, July 20th at 9:00am ET.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"nystroem-sinfonia-espressiva-sinfonia-seria-paavo-jarvi-225312","title":"Nystroem: Sinfonia Espressiva, Sinfonia Seria \/ Paavo Järvi","description":"REVIEWS:\u003cbr\u003eFanfare (5-6\/98, p.173) - \"The Swede Gösta Nystroem (1890-1966) is one of those undemonstrative composers whose quiet sobriety might lead the inattentive to pass him by unwittingly. But in his understated way Nystroem is a master, and BIS's ongoing series of recordings with Paavo Järvi in Malmö is something that deserves enthusiastic support...\"\u003cbr\u003eBBC Music (3\/98, p.59) - Performance: 4 (out of 5), Sound: 5 (out of 5) - \"...the Malmö Symphony Orchestra reveals its greatest strength in a richness of string tone....Paavo Järvi keep[s] tight control on the music's sometimes diffuse dramatic flow...\"","brand":"BIS","offers":[{"title":"CD","offer_id":44626347327722,"sku":"7318590007822","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2262975.jpg?v=1778321224"},{"product_id":"j-strauss-jr-famous-overtures-walter-slovak-165277","title":"J. Strauss Jr.: Famous Overtures \/ Walter, Slovak State","description":"The waltzes of Johann Strauss II (‘The Waltz King’) remain de rigueur concert fare for the annual New Year’s Eve celebrations occurring throughout the world. 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Bookending this nine-track Naxos CD overture selection conducted by Alfred Walter are the openers to Die Fledermaus and Die Zigeunerbaron, with the Eine Nacht in Venedig overture among the seven additional Viennese delights on offer.","brand":"Naxos","offers":[{"title":"CD","offer_id":44625272635626,"sku":"730099493628","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/263656.jpg?v=1778382242"},{"product_id":"liszt-symphonic-poems-michael-halasz-new-zealand-234450","title":"Liszt: Symphonic Poems \/ Michael Halász, New Zealand So","description":"REVIEWS:\u003cbr\u003eBBC Music (3\/98, p.72) - Performance: 3 (out of 5), Sound: 3 (out of 5) - \"Liszt's symphonic poems call for performances that blend flamboyance and exalted lyricism - or, in other words, that revel in Romantic empathy....Fortunately, Michael Halász and the New Zealand Symphony offer real performances rather than unimaginative run-throughs....The orchestra...plays with considerable fire in extrovert passages...\"","brand":"Naxos","offers":[{"title":"CD","offer_id":44625220894954,"sku":"730099435529","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/209862.jpg?v=1778347115"},{"product_id":"smetana-ma-vlast-jarvi-detroit-symphony-orchestra-243295","title":"Smetana: Má Vlast \/ Järvi, Detroit Symphony Orchestra","description":"\u003cp\u003eRecorded in: Orchestra Hall, Detroit 28-29 January 1993, 26-27 March 1994 \u0026amp; 23 May 1994 Producer(s) Brian Couzens Charles Greenwell Leslie B. 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Oliver Davis graduated from the Royal Academy of Music in 1994 and has since composed numerous concertos, ballet scores, albums, soundtracks and television scores working with many of the major London orchestras. Davis’ debut album Flight, recorded by the London Symphony Orchestra with soloist Kerenza Peacock, was released in March 2015 and quickly rose to number 2 in the UK Specialist Classical Charts with 5 star reviews in both the UK and US. In addition it was chosen as Featured Album of the Week on Classic FM and was broadcast daily on the station. 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Like most of the composer's works “ABSOLUTIO“ unfolds from a simple but strict formal principle, in this case a three-note chord. Later, a spiral-like, whirling construction of ever-increasing gravitational pull arises, with the remote outlines of a ‘sonata form’. \"abgesang\", in turn, has very personal references to the composer's past. The work sets to music a symmetrically constructed poem by his former piano teacher Mátyás Molcer, which describes an autumnal cemetery landscape. It was written in 1995 when the composer's homeland, the former Yugoslavia, was in civil war. In \"da ispravitsja \/ gebetsraum mit nachtwache\" the composer goes back even further in his memories and deals with the cultural heritage of his homeland, with the music and liturgy of the Serbian Orthodox church. Using his characteristic, electronically inspired means such as reverberation, resonance and echo, he creates a dark, church-like acoustic space in this work.\u003c\/p\u003e","brand":"Wergo","offers":[{"title":"CD","offer_id":46012563325162,"sku":"4010228644227","price":9.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4387454-3295069.jpg?v=1778206018"},{"product_id":"klenau-orchestral-works-747313694426","title":"Klenau: Orchestral Works \/ Graf, Singapore Symphony","description":"\u003cp\u003eThis album provides a peek into Paul von Klenau's vast collection of music created during World War II where he produced works, almost obsessively, until his passing in 1946. The album includes world premiere recordings of Klenau's Violin Concerto, Piano Concerto, and Symphony No. 8, showcasing his mastery of both tonal and atonal sonorities, his distinctive introspective style, and his exceptional talent for venturing into uncharted musical realms.\u003c\/p\u003e","brand":"Dacapo Classical","offers":[{"title":"CD","offer_id":46012624339178,"sku":"747313694426","price":8.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4201669-2979259.jpg?v=1778206867"},{"product_id":"enna-violin-concerto-symphony-no-2-bogota","title":"Enna: Violin Concerto; Symphony No. 2 \/ Gustafsson, Bogotá Philharmonic","description":"\u003cp\u003eOn this newest endeavour, the Bogotá Philharmonic Orchestra, under the direction of Joachim Gustafsson, turns its attention towards Danish composer August Enna (1859–1939) with renderings of two of his charming orchestral works. 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McGill, Barton Pine, Alsop, ORF VRSO","description":"\u003cp\u003e\u003cspan\u003eClarinetist Anthony McGill and violinist Rachel Barton Pine are featured soloists on a new recording of two concertos composed in response to societal injustices by Syrian composer Malek Jandali, performed by the ORF Vienna Radio Symphony Orchestra and led by Marin Alsop, a champion of the composer’s work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMalek Jandali, called “deeply enigmatic” by Gramophone, has been praised for writing “heart-rending melodies, lush orchestration, clever transitions and creative textures” (American Record Guide). His repertoire, which ranges from chamber music to large scale orchestral works, integrates Middle-Eastern modes into Western classical forms and harmony. Rachel Barton Pine, “an exciting, boundary-defying performer” (The Washington Post), performs Jandali’s Concerto for Violin and Orchestra (2014), a work that honors “all women who thrive with courage” according to the composer. Jandali’s concerto is in recognition of the women of Syria, continuing his aim to preserve the cultural heritage of his homeland.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Violin Concerto incorporates Syrian melodies and idioms into Jandali’s Western-inspired harmonies and forms. Jandali calls upon an array of Syrian and Arabic music forms and folk melodies including multiple sama’i and bashraf (instrumental pieces), and longa (dances), from different maqam (modes). He also makes use of the oud (Arabic lute) in his symphonic scoring to infuse the work with the authentic sound and feeling of Syria. A particularly notable sama’i inspired by traditional Syrian folk music from the area along the Silk Road Is used for a “Women’s Theme.” This theme is representative of the folk music that is a source of comfort and healing for unjustly detained, peaceful Syrian activists and other women and mothers living in fear.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJandali’s Concerto for Clarinet and Orchestra (2021) is dedicated to its performer Anthony McGill (“the total package… stylish, passionate and limitlessly fluent on the clarinet,” \u003cem\u003eBachtrack\u003c\/em\u003e), “in memory of all victims of injustice.” McGill says of the work, ”In the midst of the pain and the violence and injustice in the world all we are left with is the ability to pour our hearts and our souls into something more beautiful, into something more powerful, so it can communicate throughout all time and live on.” Like all of Jandali’s works, the clarinet concerto is infused with ancient themes from Jandali’s homeland as a means of preservation. Jandali explores variations on themes from old and traditional Syrian musical forms and modalities, with striking musical effects and wide ranging highs and lows in the orchestral writing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cem\u003eWatch our Live Roundtable with Marin Alsop, Malek Jandali and Anthony McGill!\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cdiv style=\"width: 100%; height: 0px; position: relative; padding-bottom: 56.25%;\"\u003e\u003ciframe style=\"width: 100%; height: 100%; position: absolute; left: 0px; top: 0px; overflow: hidden;\" title=\"Embed\" height=\"100%\" width=\"100%\" src=\"https:\/\/streamyard.com\/e\/fzhbnpct2z5n\" allowfullscreen=\"\" recording=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/div\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe soloists shine, and Alsop and her Vienna Radio Symphony Orchestra accompany them faithfully through every mood.\u003c\/p\u003e\n\u003cp\u003eJandali’s Violin Concerto has a long and thoughtful opening moment, an introspective middle section and a dancelike finale. He uses the Arabic oud in conversation with the violin, as plaintive voices crying out with dignity and restraint. (Kudos to oud soloist Bassam Halaka.) And maybe that buoyant feeling in the finale represents not exuberance but defiance, as a protest against suppression.\u003c\/p\u003e\n\u003cp\u003eThe 25-minute clarinet concerto operates mostly on a mysterious plane, one we associate more obviously with Arabic elements. Some of the subtle, sinuous playing and percussive rhythms would not be out of place in a good Hollywood soundtrack – that’s a compliment – as Jandali slowly brings us into his sound world.\u003c\/p\u003e\n\u003cp\u003e-- WDAV (Classical Public Radio, 89.9FM, Lawrence Toppman)\u003c\/p\u003e","brand":"Cedille","offers":[{"title":"CD","offer_id":46012647538922,"sku":"735131922029","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4201654-2974511_3a63a0f8-888d-4661-99fe-e6175491924f.jpg?v=1778206077"},{"product_id":"dependent-arising-shostakovich-maneein-barton-pine-munoz-rsno","title":"Dependent Arising - Shostakovich \u0026 Maneein: Violin Concertos \/ Barton Pine, Muñoz, RSNO","description":"\u003cp\u003eViolinist Rachel Barton Pine’s 26th recording for Cedille Records, Dependent Arising, reveals surprising confluences between classical and heavy metal music by pairing Shostakovich’s Violin Concerto No. 1 in A minor, Op. 77 with Earl Maneein’s “Dependent Arising” — Concerto for Violin and Orchestra, performed with the Royal Scottish National Orchestra under the baton of Tito Muñoz.\u003c\/p\u003e\n\u003cp\u003eKnown for her virtuosity, expressive playing, and extensive repertoire, Pine discovered her love for heavy metal as a teenager, and later performed at rock radio stations where she would intersperse covers of songs by Black Sabbath, AC\/DC, and Metallica with works by Paganini and Ysaÿe. The album explores connections between modern classical music and heavy metal and showcases Pine’s unique journey with these two seemingly disparate genres.\u003c\/p\u003e\n\u003cp\u003eNow a staple of the classical concerto repertory, Shostakovich’s emotionally charged Violin Concerto No. 1 also holds a special place among metal enthusiasts, with its diverse movements ranging from haunting Nocturne to relentless Burlesque. Earl Maneein’s “Dependent Arising” pushes the boundaries of traditional concerto composition and draws inspiration from the Western European classical music tradition, the world of “Extreme Metal,” and the composer’s practice as a Buddhist. Maneein ia also an acclaimed violinist and composer known for his unique and innovative fusion of western classical music, heavy metal, and hardcore punk,\u003c\/p\u003e\n\u003cp\u003eThe album was produced by the Grammy-winning team of James Ginsburg and engineer Bill Maylone, with session engineering by the RSNO’s Hedd Morfett-Jones. It was recorded January 7–8, 2022 at Scotland’s Studio, Glasgow.\u003c\/p\u003e","brand":"Cedille","offers":[{"title":"CD","offer_id":46012649898218,"sku":"735131922326","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4226828-3132056.jpg?v=1778234229"},{"product_id":"festive-sounds-inkinen","title":"Festive Sounds \/ Inkinen, German Radio Philharmonic","description":"\u003cp\u003eFor many people Christmas time has come when the broadcasting stations start playing the specific music everybody knows and hears each year. 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Stöhr writes in a musical language somewhere between Bruckner, Mahler and his exact Viennese contemporary Franz Schmidt – but it is a voice increasingly readily recognised as his own.\u003c\/p\u003e","brand":"Toccata","offers":[{"title":"CD","offer_id":46012712583402,"sku":"5060113444721","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4218788-3014553.jpg?v=1778201986"},{"product_id":"scott-orchestral-music-vol-3-5060113447005","title":"Scott: Orchestral Music, Vol. 3","description":"\u003cp\u003eDerek Scott, born in Birmingham in 1950, has an international reputation as an historian of the British music hall and other forms of light entertainment. But he is an outstanding composer in his own right – a master craftsman and natural tunesmith, who manages to unite good humour, unerring technique and deep feeling in music of immediate appeal. Although the works recorded here represent his most recent harvest of orchestral music, for many of them he revisited material composed earlier in his career, using it as the basis for a series of new scores, some exhibiting a very English sense of whimsy, others concerned with deeper matters – one, indeed, inspired by the war in Ukraine.\u003c\/p\u003e","brand":"Toccata","offers":[{"title":"CD","offer_id":46012790112490,"sku":"5060113447005","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4389431-3299569.jpg?v=1778224649"},{"product_id":"shostakovich-concerto-for-piano-trumpet-string-orchestra-no-1-c-minor-op-35-symphony-no-9-in-e-flat-major-op-70","title":"Shostakovich: Concerto for Piano, Trumpet, \u0026 Strings; Symphony no. 9 \/ Läubin, Bronfman, Jansons, BRSO","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Increasingly, Shostakovich's music is captivating people all over the world and appealing to their deepest emotions. Almost like no other, it bears witness to a traumatic political epoch while remaining a timeless expression of existential human feeling and experience. For me personally,\" said conductor Mariss Jansons, who died two years ago, \"Shostakovich is one of the most serious and sincere composers of them all.\" Now BR-KLASSIK is releasing two more outstanding performances by this important Soviet-Russian composer: his impressive Concerto for Piano, Trumpet and String Orchestra, and his Ninth Symphony - performed live by the Symphonieorchester des Bayerischen Rundfunks under its long-time principal conductor Mariss Jansons. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eShostakovich's (first) piano concerto features impressive pianistic virtuosity, bold experimentation, satire, and caricatures of different musical styles. The composer wrote it in the summer of 1933, only a few weeks after the completion of his opera \"Lady Macbeth of Mtsensk\". This concerto in particular demonstrates the immense versatility and magnificent talent of the still carefree 26-year-old Shostakovich. He blends a wealth of musical thoughts and ideas into a colorful and fascinating kaleidoscope. Despite the wealth of different stimuli, the concerto does not seem chaotic or overloaded: the young composer effortlessly maintains the balance. Shostakovich performed a similar balancing act between creative work and conformity to the state in his Ninth Symphony, which premiered on November 3, 1945. Instead of the expected heroic, regime-conformist orchestral thunder along the lines of his Seventh Symphony, the \"Leningrad”, the music heard here was playful, without pathos, somewhat witty, full of allusions – yet something did not seem quite right. This musical conundrum, full of ironic refractions and caricatures of melodramatic and triumphant music, was recognized by the censors as a masquerade, yet one that was not easily decipherable.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eI don’t think of any first-rate recording as needless, and this release, despite its short timing, features two excellent performances, even though Yefim Bronfman already has a recording of Shostakovich’s Piano Concerto No. 1 on Sony. That version, from 1999 with Esa-Pekka Salonen and the LA Phil, is nimble and quick, and it finds Bronfman more scintillating than he is in Munich in 2012. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe new Symphony No. 9, BRSO version is a live account from Vienna’s Musikverein in 2011, and in every way it is splendid. Superb recorded sound captures every detail and instrumental color in the score, and the orchestra shows off its world-class status. Jansons’s touch is light and lively, giving the symphony an irresistible buoyancy. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThanks to some highly individual solo playing from the BRSO’s first desks, which expressively ranges from soulful melancholy to dizzying brilliance, this concert performance displays great emotional variety, including wit and suspense. I can warmly recommend it as one of Jansons’s best efforts in Shostakovich, and you can bypass the stingy timing of the CD by resorting to digital downloads and streams.\u003c\/p\u003e\n\u003cp\u003eThis CD is extracted from BR Klassik’s 68-disc Jansons Edition. Final applause is briefly included.\u003c\/p\u003e\n\u003cp\u003e-- Fanfare\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012792111338,"sku":"4035719002027","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4057317-2790497.jpg?v=1778269072"},{"product_id":"mahler-symphony-no-7-haitink-bavarian-radio-symphony-orchestra","title":"Mahler: Symphony No. 7 \/ Haitink, Bavarian Radio Symphony","description":"\u003cp\u003eThe Dutch conductor Bernard Haitink and the Bavarian Radio Symphony Orchestra were linked by a long and intensive artistic collaboration, brought to an abrupt end by his death in October 2021. BR-KLASSIK now presents outstanding and as yet unreleased live recordings of concerts from the past years. This recording of Mahler's Seventh Symphony documents concerts from February 2011 in Munich.\u003c\/p\u003e\n\u003cp\u003eAs an interpreter of the symphonic repertoire, and especially that of the German-Austrian late Romantic period, Haitink was held in high esteem worldwide. With him, the symphonies of Gustav Mahler were always in the best of hands. His driving principle was to take the sound architecture of a musical composition with its many-layered interweavings and render it transparently audible; extreme sensitivity of sound was paired with a clearly structured interpretation of the score.\u003c\/p\u003e\n\u003cp\u003eA valid recording of Mahler's Seventh Symphony places the highest demands on the skills of the conductor as well as on the virtuosity of each individual orchestral musician. Only under such circumstances can the highly complex individual voices merge to form a magnificent whole – an undertaking that achieves breathtaking effects time and again. A conductor is required here who unites the ensemble of individual, soloist-level musicians with an overarching musical concept. 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Honegger's mingling at the outer edges of the \"Les Six\" group of composers and his admiration, in this sense contradictory, of German music, including Wagner, gives his works peculiar piquancy.","brand":"SWR","offers":[{"title":"CD","offer_id":46012844769514,"sku":"4010276028055","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3011861.jpg?v=1778302814"},{"product_id":"shostakovich-symphonies-nos-9-and-15","title":"Shostakovich: Symphonies Nos. 9 and 15","description":"Prior to becoming Principle Guest Conductor of the Stuttgart Radio Symphony Orchestra, Andrey Boreyko served as chief conductor of the Hamburg Symphony Orchestra from and is currently in the same position with the Dusseldorf Symphony Orchestra. In his first recording for Henssler CLASSIC, Maestro Boreyko delivered what has come to be regarded as one of the definitive recordings of Shostakovich's difficult and emotionally searing Fourth Symphony. For this new release, Boreyko returns with what will surely become benchmark versions of two equally difficult Shostakovich scores.","brand":"SWR","offers":[{"title":"CD","offer_id":46012851323114,"sku":"4010276025061","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1973844.jpg?v=1778316113"},{"product_id":"mozart-w-a-symphonies-essential-vol-4-nos-22-33","title":"Mozart, W.A.: Symphonies (Essential), Vol. 4  - Nos. 22, 33,","description":"Classical Music","brand":"SWR","offers":[{"title":"CD","offer_id":46012851749098,"sku":"4010276020349","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1368175.jpg?v=1778328763"},{"product_id":"schoenberg-six-a-cappella-mixed-choruses-etc-213960","title":"Schoenberg: Six A Cappella Mixed Choruses, Etc \/ Craft","description":"\u003cimg src=\"\/graphics\/p10s10.gif\"\u003e\u003cbr\u003e  Arnold Schoenberg's a cappella folksong settings are among his least-appreciated--and most easily listenable--works, excellent examples of his pre-12-tone harmonic style, with masterfully crafted polyphonic textures. For one thing, they're rarely heard, and although not especially a breeze to sing, they're effectively and soundly written--Schein uns, du liebe Sonne being the standout among the six works. The Op. 10 string quartet performed here is its original 1908 version rather than the one for string orchestra that the composer produced in 1929. It's craggy and difficult--but also offers a multitude of lyrical and beautiful moments that the Fred Sherry String Quartet fully exploits. Soprano Jennifer Welch-Babidge adds poignancy, sensitivity, and knowing style to the solos in the final two movements, using her thoughtful inflection to capture the music's colorful, moody impressionistic elements.\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e The 1934 Suite in G for String Orchestra is another gem--solidly tonal yet occasionally stretching the boundaries of traditional harmony, rich in melodic ideas and exciting rhythmic touches. Its five movements demand the highest level of technique from the players, even though it originally was written for developing student musicians. Again, this outstanding piece is rarely played or recorded, but this first-rate performance by Robert Craft's Twentieth Century Classics Ensemble is all you will need. The same goes for the rest of the program--and Naxos' engineering, from London's Abbey Road studios (choral works) and New York's premiere chamber-music recording venue, the American Academy of Arts and Letters, matches the disc's fine musical values. Informative notes by Craft, along with texts and translations for the vocal works, crown this much-needed addition to the Schoenberg catalog. [1\/5\/2006]\u003cbr\u003e --David Vernier, ClassicsToday.com","brand":"Naxos","offers":[{"title":"CD","offer_id":46012858204394,"sku":"747313252121","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/784319.jpg?v=1778189905"},{"product_id":"korngold-much-ado-about-nothing-op-11-72800","title":"Korngold: Much Ado About Nothing \/ Mauceri, UNC School of the Arts Symphony","description":"\u003cp\u003eKorngold’s music for Shakespeare’s comedy Much Ado about Nothing, premiered in Vienna in 1920, enjoyed instant success and soon spread around the world. But the music has not been heard as Korngold intended since the 1st production. For this recording, made in conjunction with a staged US premiere, Korngold’s complete score was reconstructed from the original Viennese materials and is played here by the chamber-orchestral forces for which it was written.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eThis is indeed a worthy and welcome addition to the Korngold discography. At long last we have a further complete performance of the composer’s delightful incidental music to Shakespeare’s comedy. It joins the sequence recorded by Ondine with John Storgards conducting. The music was first performed in Vienna’s Schönbrunn Palace when Korngold was just 21. It was very successful and the composer would later go on to adapt the music for various chamber ensembles and as an orchestral suite. Now we have the music as it was performed at Schönbrunn together with choice dramatic overlays including Balthasar’s Song, ‘Sigh no more, ladies, sigh no more; Men were deceivers ever’, Beatrice’s soliloquy as she yields to love, and the two sets of lovers’ happy uniting in the final wedding scene.\u003c\/p\u003e\n\u003cp\u003eThe orchestra is the same size and specification as that at Schönbrunn with a string quartet rather than a string section so that proper balances with all the other instruments can be assured. With the string quartet are: solo flute\/piccolo, oboe, clarinet, bassoon, trumpet and trombone with two horns, a piano, harmonium, harp and three percussionists plus solo timpanist. The original parts were available so that each player could replicate the bowings and articulations used in Vienna. Furthermore, all the composer’s own recordings of the work were made available too, so questions of tempo and portamento could be addressed. Conductor John Mauceri was a very apt choice for he has had much experience conducting Korngold and is a stalwart champion of film music, an asset that might well be regarded as not being far removed from the spirit of this work – in fact the March of the Watch could be considered a pre-echo of Korngold’s Sherwood Forest scenes from his The Adventures of Robin Hood. Mauceri also contributes the erudite notes for this album.\u003c\/p\u003e\n\u003cp\u003eKorngold’s conception works very well in his chosen ensemble. It points up the comedy and irony such as that in March of the Watch and in the dreamy romanticism of the Garden Music. All those intimate glistening string-harp-and-harmonium figures, and rippling piano arpeggios, suggest birdsong and flowers nodding in zephyr breezes. It’s all in gentle romantic waltz time, plus the contrastingly intense almost Mahlerian Funeral Music. Although I would have thought it unnecessary, five of the pieces that have dialogue are repeated again in purely instrumental dress.\u003c\/p\u003e\n\u003cp\u003eThere have been a number of recordings of Korngold’s purely orchestral suite from Much Ado About Nothing. Of these I would unhesitatingly recommend Caspar Richter’s 2002 reading originally released on CD DCA 1131. This is not only because it included, for the first time, the enchanting Garden Music but also for the other items on this album which had great appeal especially Korngold’s divine Abschiedlieder Songs  (Songs of Farewell). A delight for committed Korngold fans.\u003c\/p\u003e\n\u003cp\u003e-- MusicWeb International (Aan Lace)\u003c\/p\u003e","brand":"Toccata","offers":[{"title":"CD","offer_id":46012858335466,"sku":"5060113441607","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2165754.jpg?v=1778295545"},{"product_id":"classics-for-the-people-vol-2-5028421949352","title":"Classics For The People, Vol. 2","description":"Every now and again a piece of music comes along that captures the public’s attention and imagination on account of the enjoyment or interest we continue to derive from it upon repeated listening, and is catapulted into the classical canon where it assumes the status of a permanent fixture. +\nSuch is the case regarding the pieces brought together on this CD album: ‘chart-topping’ tunes that are among classical music’s most loved and celebrated works. + The set traces over 200 years of Western musical composition to present a program diverse in both style and mood and never fails to entertain.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012859777258,"sku":"5028421949352","price":8.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2797067.jpg?v=1778284705"},{"product_id":"schumann-strauss-volkmann-bruch-daniel-muller-schott-101302","title":"Schumann, Strauss, Volkmann, Bruch \/ Daniel Muller-schott","description":"\"Daniel Müller-Schott['s] Schumann rates right up there with the best (in my book Du Pré and Starker) while the inclusion of Robert Volkmann’s concerto was a stroke of genius, a wonderful work of great appeal that has only two other recordings available, for reasons unknown. Volkmann (1815–83) writes a piece that is different from Schumann in several important ways, especially the more prominent role given to the solo instrument, and his harmony is somewhat more advanced as well, probably from the influence of Liszt, who supported him, though Schumann and Mendelssohn were primary mentors. The work deserves a much wider audience.\u003cbr\u003e  \u003cbr\u003e Bruch’s Kol Nidrei has remained one of his most popular works, its pathetic and melancholy nature due to the source material, an ancient Hebrew song of repentance and the middle section of “Oh Weep for Those That Wept in Babel’s Stream.” It has never left the repertoire since it was created, and Müller-Schott performs it with a wistful sadness that will not fail to leave anyone unmoved. The Strauss tidbit here is his Romance, written when he was all of 19, and only published in 1987; yet it enjoyed many performances in the immediate years after it saw the light of day. It makes a fine and enjoyable filler that has been recorded a number of times, none better than here.\u003cbr\u003e  \u003cbr\u003e The NDR players are in top form and Eschenbach’s accompaniment is first-rate, rounding off an exceptional release of high desirability.\" \u003cb\u003e\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cb\u003e FANFARE: Steven E. Ritter \u003c\/b\u003e\u003cbr\u003e","brand":"Orfeo","offers":[{"title":"CD","offer_id":46012863414506,"sku":"4011790781129","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1720219.jpg?v=1778378545"},{"product_id":"hummel-piano-concerto-in-f-etc-howard-221626","title":"Hummel: Piano Concerti in F \u0026 A; Theme \u0026 Variations \/ Shelley, London Mozart Players","description":"Classical Music","brand":"Chandos","offers":[{"title":"CD","offer_id":46012864397546,"sku":"095115988626","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/353409.jpg?v=1778184929"},{"product_id":"ravel-orchestral-works-vol-3","title":"Ravel: Orchestral Works, Vol. 3","description":"This third installment in a series documenting the works of Maurice Ravel includes his longest work, Daphnis et Chloe, as well as Valses nobles et sentimentales. The works are performed here by the Stuttgart Radio Symphony Orchestra (SWR). Founded in 1945, the ensemble is one of the most significant musical ambassadors for Germany. The SWR Vokalensemble Stuttgart are also counted among the top ensembles in Germany. They frequently perform concerts on their home stages, and are often invited abroad.","brand":"SWR","offers":[{"title":"CD","offer_id":46012865544426,"sku":"747313900480","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3085853.jpg?v=1778257968"},{"product_id":"swedish-string-music-7318590011812","title":"Swedish String Music","description":"Classical Music","brand":"BIS","offers":[{"title":"CD","offer_id":46012873146602,"sku":"7318590011812","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2263285.jpg?v=1778295745"},{"product_id":"strauss-symphonia-domestica-die-liebe-der-danae-symphoni","title":"Strauss: Symphonia domestica - Die Liebe der Danae: Symphoni","description":"Richard Strauss's orchestral music includes several works with autobiographical significance, including Ein Heldenleben (Naxos 8.554417). Scored for large symphony orchestra, the Symphonia domestic depicts the joys and worries of married life with Strauss, his wife, child and other family members deftly portrayed in a variety of situations, including a 'cheerful quarrel' in which the father has the last word! The Symphonic Fragment from the opera Die Liebe der Danae, based on mythic themes, was arranged by one of Strauss's great champions, conductor Clemens Krauss.","brand":"Naxos","offers":[{"title":"CD","offer_id":46012874162410,"sku":"747313121670","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2042951.jpg?v=1778316283"},{"product_id":"tchaikovsky-piano-concerto-no-1-suite-no-4-095115669624","title":"Tchaikovsky: Piano Concerto No. 1; Suite No. 4 \/ Philharmonia Orchestra","description":"Classical Music","brand":"Chandos","offers":[{"title":"CD","offer_id":46012876325098,"sku":"095115669624","price":3.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/668125.jpg?v=1778343316"},{"product_id":"brusa-orchestral-works-vol-3-95673","title":"Brusa: Orchestral Works, Vol 3 \/ Rustioni, RSNO","description":"This is the third volume in the series of orchestral music by Milanese-born Elisabetta Brusa (b. 1954). Sharing its neo-tonal language with her Nittemero Symphony, which can be heard  \u003ca href=\"album.jsp?album_id=55129\"\u003ehere\u003c\/a\u003e, the imposing, vividly immediate and approachable Symphony No. 1 is her first work for large orchestra. The symphonic poem Merlin evokes the great magician of legend through rich orchestral colors and powerful rhythms. Volume 2, described by Gramophone magazine as ‘a collection not to be missed’, can be heard  \u003ca href=\"album.jsp?album_id=59334\"\u003ehere\u003c\/a\u003e.","brand":"Naxos","offers":[{"title":"CD","offer_id":46012876357866,"sku":"747313343775","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2862140.jpg?v=1778308441"},{"product_id":"mahler-symphony-no-4-fassung-erwin-stein","title":"Mahler: Symphony No. 4 (Fassung Erwin Stein)","description":"This release is Erwin Stein's chamber arrangement of Gustav Mahler's Symphony No. 4. In 1921, Arnold Schoenberg organized a series of private concerts, performed by small ensembles. Schoenberg and Stein combined their ingenuity and created \"sophisticated versions\" of important orchestral works. These arrangements were usually for a few woodwinds, a string quintet, percussion and piano. Stein also added a harmonium, which was quite rare at the time but the organ adds a unique timbre to this arrangement.","brand":"CAvi-music","offers":[{"title":"CD","offer_id":46012880781546,"sku":"4260085533343","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3822484-3141499.jpg?v=1778257888"},{"product_id":"tchaikovsky-the-masterworks","title":"Tchaikovsky: The Masterworks","description":"Tchaikovsky: The Masterworks","brand":"Urania Records","offers":[{"title":"CD","offer_id":46012886810858,"sku":"8051776572453","price":21.48,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2817721.jpg?v=1778245517"},{"product_id":"standford-symphony-no-1-cello-concerto-prelude-235198","title":"Standford: Symphony No. 1, Cello Concerto \u0026 Prelude to a Fantasy \/ Wallfisch, Lloyd-Jones, RSNO","description":"Patric Standford wrote in a wide variety of forms, from large-scale orchestral and choral music to a cappella, chamber and instrumental pieces. While teaching at the Guildhall School of Music in London he won several major international composition prizes. The First Symphony, each movement of which is named after a season, grew from a string piece conceived as a memorial for the conductor Sir John Barbirolli. Dedicated to and premièred by the soloist on this recording, Raphael Wallfisch, the powerful Cello Concerto is built around a theme from the fifth movement, Ihr habt nun Traurigkeit (You now are sorrowful) of Brahms’ German Requiem.","brand":"Naxos","offers":[{"title":"CD","offer_id":46012895985898,"sku":"747313135677","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2839301.jpg?v=1778302897"},{"product_id":"bruckner-symphony-no-26","title":"Bruckner: Symphony No. 6","description":"Classical Music","brand":"Oehms Classics","offers":[{"title":"CD","offer_id":46012897689834,"sku":"4260034864047","price":7.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1890345_aaad4872-ed96-49ca-9642-d6814b4d4d24.jpg?v=1778329015"},{"product_id":"holiday-classics-gerard-schwarz-seattle-symphony-orchestra-95634","title":"Holiday Classics \/ Gerard Schwarz, Seattle Symphony Orchestra","description":"\u003cp\u003eSeattle Symphony’s first holiday album embraces works composed specifically for Christmas as well as other pieces that convey a universal message of peace, love and hope—the essence of humanity’s highest aspirations. Music Director Gerard Schwarz asked two composers, the Symphony’s Composer in Residence Samuel Jones and Seattle Symphony Principal Oboe Ben Hausmann, to “make the music their own” by scoring several of the pieces to retain the unaffected simplicity of these well-known Christmas and concert works. Schwarz joined them in this task, arranging or editing several of the pieces, with the resulting works celebrating the remarkable artistry of the musicians of the Orchestra. In these new settings, recorded entirely in Benaroya Hall, the music emerges with honest, untarnished beauty.\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46012910928106,"sku":"747313267378","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1769796.jpg?v=1778332318"},{"product_id":"les-ballets-russes-vol-4-tchaikovsky-stravinsky-237198","title":"Les Ballets Russes Vol 4 - Tchaikovsky, Stravinsky \/ Ahronovitch, Wakasugi, Bour, Et Al","description":"Classical Music","brand":"SWR","offers":[{"title":"CD","offer_id":46012913025258,"sku":"4010276021889","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1471793_a941f6bd-5688-4114-94b0-deb62bef4c77.jpg?v=1778337124"},{"product_id":"bruckner-symphony-no-9-original-1894-version-ed-l-nowa","title":"Bruckner: Symphony No. 9 (original 1894 version, ed. L. Nowa","description":"Classical Music","brand":"SWR","offers":[{"title":"CD","offer_id":46012913156330,"sku":"4010276024095","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1948660.jpg?v=1778253771"},{"product_id":"fuchs-serenades-nos-1-2-christian-ludwig-235243","title":"Fuchs: Serenades Nos. 1 \u0026 2 \/ Christian Ludwig, Cologne Chamber Orchestra","description":"\u003cimg src=\"\/graphics\/p10s10.gif\"\u003e\u003cbr\u003e  Robert Fuchs (1847-1927) is best known today as the composition teacher of Mahler, Sibelius, Enesco, Korngold, Schreker, Zemlinsky, and just about everyone else who happened to be at the Vienna Conservatory from the late 19th century onward. As a composer he earned the respect of Brahms, probably because Brahms didn't feel threatened by him, and was totally forgotten after his death. During his lifetime he was best known for his string serenades, two of which feature on this recording, along with the late (and quite substantial) Andante and Capriccio Op. 63.\u003cbr\u003e  \u003cbr\u003e Let's get straight to the point: the music is wonderful--gracious, tuneful, not a note too long, and an unalloyed delight from first note to last. Yes, it's not \"heavy\" or \"serious\", but really, who cares? If you like Dvorák's or Tchaikovsky's string serenades, or Grieg's Holberg Suite, or Sibelius' Valse triste, then you are going to love this disc. The performances are perfect: flowing, rhythmically clean and snappy, immaculately tuned, and affectionately phrased. It just doesn't get any better, and the sonics are pristine. The Viennese, of course, have always been suckers for light music, but that only made them particularly discerning. They went crazy for Fuchs. Check out this disc and find out why.\u003cbr\u003e  \u003cbr\u003e --David Hurwitz, ClassicsToday.com\u003cbr\u003e  \u003cbr\u003e ---------------\u003cbr\u003e  \u003cbr\u003e  \u003ctitle\u003e3513020.az_FUCHS_Serenades_1_D.html\u003c\/title\u003e  \u003cmeta http-equiv=\"Content-Type\" content=\"text\/html; charset=utf-8\"\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eFUCHS \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003eSerenades: No. 1 in D; No. 2 in C. \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eAndante grazioso and Capriccio \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Christian Ludwig, cond; Cologne CO \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e NAXOS 8.572222 (53:52) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eHis friends called him “Serenaden-Fuchs” (Serenading Fox), a pun on his name, while the sparingly complimentary Brahms praised him as a “splendid musician.” He was Robert Fuchs (1847–1927), an Austrian composer and professor of theory and composition at the Vienna Conservatory whose students comprised an extraordinary roll-call of up-and-coming talents: Enescu, Korngold, Mahler, Melartin, Sibelius, Schmidt, Schreker, Wolf, and Zemlinsky. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eAs a musical genre the serenade found itself largely neglected after Mozart, at least until Brahms revived it with his two symphonic-scaled serenades in the late 1850s. Despite Mozart’s lending a greater gravity to the form, especially with his so-called “Gran Partita,” the genre continued to carry the stigma of its 18th-century antecedent as a type of lightweight, summer’s eve, \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eal fresco \u003c\/span\u003e \u003cspan\u003eentertainment, at a time when Austro-German Romanticism in particular saw itself as cultural custodian of the serious and the profound. Thus, even after Brahms’s two mid 19th-century examples, it would be another 25 years before composers would enrich the repertoire with serenades that, in content and dimensions, resembled symphonies or symphonic suites in all but name. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eWhen Fuchs came to compose his First Serenade in 1874, his main models were the two efforts by Brahms and the three serenades by Robert Volkmann (1869–70). But by the time he got around to composing his fifth and final serenade in 1894, many masterly and magnificent serenades had already made their way into the world: Dvo?ák (1878), Tchaikovsky (1880), Strauss (1882), Wolf (1887), Suk (1892), and Elgar (1892), and not long after, Reinecke (1898); Dohnányi (1902), Sinding (1902 and 1909), Reger (several between 1904 and 1906), and Stenhammar (1913) would add to the growing list. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eIf the serenades had been Fuchs’s only contribution to music, it might explain why he virtually vanished from the mainstream almost immediately after his death, even though he’d been highly regarded in his own day. But the fact is that Fuchs worked in all the major musical media and his output, which included symphonies, concertos, a large volume of chamber works, three masses, and two operas, was considerable and diverse. And all of it—at least the works I’ve heard—is nothing but expertly crafted and melodically inspired. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eOf Fuchs’s five serenades, the first three are scored for strings only and the fourth adds only two horns to the string ensemble. In the string-only pieces, however, textural richness is achieved through division of parts, so that for much of the time we are hearing six or even seven voices. Sometimes the violas play divided parts; other times, first or second violins are divided; and still other times violins and violas are divided at the same time. This lends both breadth and depth to the writing, allowing for greater fullness and luminosity to the sound as well as greater flexibility to the interplay of voices as they overlap and weave around each other. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eAs I said, if the serenades were Fuchs’s sole contribution to music, his disappearance from the scene might not be so surprising, for I will be the first to admit that these are not the stuff great reputations are made of. They were popular in their day precisely because they \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003ewere\u003c\/span\u003e \u003cspan\u003e the popular music of the day. As one listens to these serenades, especially their fast-paced movements, it’s easy to discern how Fuchs’s style was influenced by the polkas and quadrilles of Johann Strauss Jr., another composer, by the way, much admired by Brahms. So associating Fuchs with this type of crowd-pleasing entertainment music is not to denigrate him as a composer. His symphonies, concertos, and chamber works tell us that he was a man of both talent and substance. His serenades are tuneful, occasionally touching, and always enjoyable, reminding me in ways of some of Grieg’s orchestral music, like the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eLyric Suite. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eIn checking all of the usual mail-order sources, I was surprised to find no complete collection of Fuchs’s five serenades. In fact, you would have to hunt down some fairly obscure labels featuring some fairly provincial ensembles to find recordings of Nos. 3 and 5, not to mention other versions besides this one of Nos. 1 and 2. And I had no luck at all finding even a single recording of No. 4. I guess I hadn’t realized when I began this review just how far Fuchs’s serenades had fallen on hard times, for the rest of his output in general is reasonably well represented on disc. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eAndante grazioso and Capriccio\u003c\/span\u003e \u003cspan\u003e that concludes the disc is no insignificant filler. At 17 and a half minutes, it’s longer than the Serenade No. 2, and, written in 1900, it’s a work postdating the last of the composer’s serenades. Harmonically more advanced and complex, and emotionally darker than the serenades, the piece, suggests note author Anthony Short, is an example of Fuchs the teacher being influenced by his students, namely Sibelius. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eOne can only hope that this new recording of the first two serenades with the Cologne Chamber Orchestra directed by Christian Ludwig is the first in a survey that will bring us the remaining three, for in every respect the performances and recording are excellent. Strongly recommended. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Jerry Dubins \u003c\/span\u003e\u003cbr\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46012914303210,"sku":"747313222278","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1813522.jpg?v=1778316811"},{"product_id":"liszt-symphonic-poems-michael-halasz-new-zealand-170871","title":"Liszt: Symphonic Poems \/ Michael Halász, New Zealand So","description":"This third volume of Naxos' ongoing series of Liszt tone poems under Michael Halász is easily the best so far. These pieces have such a bad reputation today that I suspect listeners may be surprised to discover that they contain quite a bit of really attractive music. Festklänge begins with one of Liszt's most arresting ideas, remarkably modern in character with harmony that doesn't have to be chromatic to sound interesting. Halász and the New Zealand Symphony deliver a sparkling performance, impulsive and rhythmically taut, and the work sounds much shorter than its 18-minute length might suggest. That is no mean achievement in music that admittedly has structural issues and tends to drag in less enthusiastic hands.\u003cbr\u003e  \u003cbr\u003e \u003cbr\u003e Ce qu'on entend sur la montagne also goes very well. The natural sonics capture the atmospheric opening (with its then-novel bass drum rolls) very effectively. If you know your Sibelius, you will recognize these first few minutes as the conceptual forebear of the Finnish composer's En Saga. Yes, the work's various sections tend to lie side by side rather than flow inevitably into one another, but it's a lovely piece that doesn't deserve its current neglect in the concert hall. Hunnenschlacht is just plain fun: a noisy battle followed by an organ-led apotheosis. Once again Halász and company deliver the goods, with fine playing and a vivid sense of drama. Also, to their credit, they don't linger over the less-interesting music representing the \"good guys\". In short, these are intelligent and effective performances that deliver maximum bang for your buck. Give them a shot.\u003cbr\u003e --David Hurwitz, ClassicsToday.com","brand":"Naxos","offers":[{"title":"CD","offer_id":46012917383402,"sku":"747313284627","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/941902.jpg?v=1778334928"},{"product_id":"elgar-an-introduction-to-095115202128","title":"Elgar (An Introduction to)","description":"Classical Music","brand":"Chandos","offers":[{"title":"CD","offer_id":46012918563050,"sku":"095115202128","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/954880.jpg?v=1778335252"},{"product_id":"haydn-symphonies-88-101-104-mcgegan-philharmonia-96574","title":"Haydn: Symphonies 88, 101 \u0026 104 \/ McGegan, Philharmonia Baroque","description":"There are no finer period-instrument Haydn symphony performances available than these. Using a nearly 50-piece orchestra (thank God!), McGegan captures the music's full grandeur as well as its intimacy. These players sound like a real orchestra, a group with a corporate identity, an attractive ensemble sonority, superb wind soloists, and, miracle of miracles, period strings that don't sound like a den of dying cats. McGegan's phrasing of the \"clock\" theme in the eponymous symphony's second movement is a model of stylishness and wit--listen and I dare you not to smile. \u003cbr\u003e  \u003cbr\u003e His pacing throughout is ideal; allegros are swift but not so much as to blur characterful detail. The minuets are perfect; trumpets and drums cut through the texture without turning crude; tuttis really fill the acoustic space, and the dynamic range is aptly wide. No performance of these works follows Haydn's dynamic markings literally, but McGegan's adjustments flow with the music and invariably come across as natural--check out the finale of the \"London\" Symphony for some particularly telling examples.\u003cbr\u003e  \u003cbr\u003e The live sonics are generally very good, particularly given the fact that the recordings were made over a three-year period (2007-9). In Symphony No. 88 close miking makes the sound a touch rough in places, and I could do without the applause at the end of each work, but the audience otherwise is extremely well-behaved and extraneous performance noises are happily quite minimal. We need Haydn recordings like this: warm, humorous, affecting, yet fully cognizant of period scholarship and style. They are far too rare.\u003cbr\u003e  \u003cbr\u003e – David Hurwitz, ClassicsToday.com\u003cbr\u003e  \u003cbr\u003e  \u003ctitle\u003e3523540.az_HAYDN_Symphonies_104.html\u003c\/title\u003e  \u003cmeta http-equiv=\"Content-Type\" content=\"text\/html; charset=utf-8\"\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eHAYDN \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003eSymphonies: No. 104, \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e“London”;\u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003e No. 88; No. 101, \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e“Clock” \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eNicholas McGegan, cond; Philharmonia Baroque O \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e PHILHARMONIA BAROQUE PBP-02 (75:16) Live: Berkeley, CA 2\/10–11\/2007, 11\/15–16\/2008; 9\/12–13\/2009 \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eNicholas McGegan and his San Francisco period-instrument ensemble are renowned for their many Handel recordings, but they play music of all eras. This is the first Haydn I’ve heard from them. This 2007 performance of the “London” Symphony is marvelous: The opening Adagio-Allegro brims over with high spirits, highlighted by blazing brass and pounding timpani; the Menuet has grace as well as bounce (McGegan does not play \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eda capo\u003c\/span\u003e \u003cspan\u003e repeats), and the Trio has a delicious lilt, with the merest hint of a \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eluftpause\u003c\/span\u003e \u003cspan\u003e in measure three. The finale is somewhat rough and ready, but its \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eSpiritoso\u003c\/span\u003e \u003cspan\u003e direction is fully realized. Comparisons with other performances do reveal a few shortcomings. As used to be the case in period ensembles, violins are rather dull; those in Richard Hickox’s Collegium Musicum 90 are clean and bright. Hickox’s forces are also better balanced and recorded (by Chandos); McGegan’s woodwinds are often drowned out by screaming trumpets. However, the Hickox has nowhere near the drive and élan of this performance. Nor can McGegan’s strings match the crisp attacks and phenomenal execution of either Colin Davis’s Concertgebouw or Leonard Bernstein’s New York Philharmonic. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe opening Allegro of No. 88 goes beautifully; the movement has no trumpets or timpani. Violins are brighter in 2008, as is the recorded sound. The Largo, however, is a disaster. Bassoons are weak; even when the pair shares the solo line, they are nearly inaudible. Taken even faster (5:30) than the impatient George Szell (5:53), this performance totally misses the movement’s calm beauty. Largos are always difficult; holding the line at a very slow tempo takes enormous concentration and ensemble discipline. Hermann Scherchen almost manages, at a lumbering 10:04; Bernstein’s 7:04 is ideal, in a uniquely lovely rendering. McGegan’s Menuet is back on track; his slow Allegretto works well. The Allegro con spirito finale, again reasonably paced, is also a success—until the coda. In this live performance, McGegan (adrenaline kicking in?) ups the tempo at the last minute, and the final three chords are smudged. Bernstein opts for a ludicrously fast tempo; his virtuoso ensemble pulls it off. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe “Clock” gets a fine performance at mostly consensus tempos; the 2009 sound (they were all at the same site, the First Congregational Church in Berkeley) is more reverberant than before but very well balanced. The Andante is too fast; is McGegan, like Szell, allergic to slow music? The bassoons revive here, but oboe and flute are a bit sour together. Menuet and Finale are magnificent; the wrong-note trumpet joke sounds cleanly, the clarinet-brightened score resounds, and this time the final three chords are crisp. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eGood period performances of late Haydn symphonies have been hard to come by. This disc ranks among the best. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: James H. North \u003c\/span\u003e\u003cbr\u003e  \"...Nicholas McGegan has been honing the San Francisco-based period-instrument Philharmonia Baroque Orchestra for some 25 years. Nor are performances of Haydn’s music in period style anything new. But seldom have his elemental dynamic contrasts sounded so properly in proportion or so mercurial, with the 50 or so players able to play out lustily in fortes and pull back quickly to quieter modes, whether playful, subtle or mysterious...The recordings, made at the First Congregational Church in Berkeley, Calif., from 2007 to 2009, were beautifully produced and engineered by David v. R. Bowles...The release of cumulative excitement at the end of each [symphony] is of a kind that tends to happen only in live circumstances.\" \u003cbr\u003e  \u003cbr\u003e - James R. Oestreich, The New York Times [June 24, 2011]\u003cbr\u003e","brand":"Philharmonia Baroque Productions","offers":[{"title":"CD","offer_id":46012922233066,"sku":"852188003027","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1853739.jpg?v=1778315443"},{"product_id":"hallowed-ground","title":"Hallowed Ground","description":"In conceiving his inaugural season as Music Director of the Cincinnati Symphony, Louis Langtree wanted to celebrate the Orchestra’s rich tradition of excellence and its legacy of introducing the world to new works.  Aaron Copland’s Lincoln Portrait had its world premiere performance by the Cincinnati Symphony at Music Hall in 1942.  November of 2013 marked the 150th anniversary of Abraham Lincoln’s Gettysburg Address.  Those powerful words were delivered here by legendary author, poet, activist and humanitarian Dr. Maya Angelou, a mere seven months before her recent passing at the age of 86; Hallowed Ground is dedicated in her memory.  Hallowed Ground also features live recordings of two new works commissioned by the Orchestra for the MusicNOW Festival in March of 2014.  Nico Muhly’s Pleasure Ground is a musical portrait of the iconic landscape architect and designer Frederick Law Olmsted and David Lang’s mountain is a musical portrait of composer Aaron Copland, who had a strong connection with the Cincinnati Symphony.  Both these pieces and the Orchestra’s overall collaboration with the MusicNOW Festival represent a true spirit of innovation in Cincinnati, and affirm this as a place of experimentation.","brand":"Fanfare Cincinnati","offers":[{"title":"CD","offer_id":46012926656746,"sku":"870362000037","price":9.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2754073.jpg?v=1778289232"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/collections\/3_85071279-48a2-41b9-a52b-3452e77824b7.png?v=1784134294","url":"https:\/\/arkivmusic.com\/collections\/weekend-spotlight-dazzling-orchestral.oembed?page=3","provider":"ArkivMusic","version":"1.0","type":"link"}