Five of the best brass players in the world united in a chamber music ensemble: The Reinhold Friedrich Brass Quintett was founded in 2022 and presents here its first CD, UNITY.
For this brass quintet's lifelong dream, world-renowned trumpeter Reinhold Friedrich has brought together the best players in their respective fields, musicians who not only get along extremely well with one another in a musical sense but also on a personal level. In their playing, one can feel their mutual appreciation and their joy in making music together, and, coupled with their unique technical and musical skills, as well as their chamber music experience, this enables the musicians to merge into a single unit.
The players that form this top-class quintet come together from a variety of European countries: Jeroen Berwaerts hails from Belgium and as a former principal trumpeter of the NDR Symphony Orchestra is a much-sought-after soloist who now teaches at the Hanover University of Music, Drama and Media. The Dane, Lasse Mauritzen, who was knighted to the Order of Dannebrog by Queen Margarethe II, is first principal horn of the Copenhagen-based Danish Radio Symphony Orchestra (DRSO). Although Ian Bousfield is British, he now lives in Switzerland and is accustomed to performing around the world as a former principal trombonist with the Vienna Philharmonic Orchestra, as well as being a soloist and a conductor. Fundamental to the quintet is the Norwegian Thomas Røisland, who now lives in Sweden and is principal tuba in the DRSO, as well as playing in other renowned European orchestras.These five musicians are united by their desire to set new standards in brass chamber music for their audiences and to present premiere recordings and commission arrangements of classics that have not yet been recorded at a world-class level.
Leif Ove Andsnes - The Warner Classics Edition 1990-2010
WARNER CLASSICS
CD
$98.12Apr 12, 2024
Leif Ove Andsnes is a leading pianist of his time, known for his exceptional musicianship and subtil touch, his considerable technical flair being unfailingly put at the service of his interpretations. He was a pioneer for being the first home-trained superstar pianist to have emerged from Norway. This box is the story of a 20-year partnership that has yielded a rich seam of recorded treasures, first for Virgin and then for EMI. Running through this cornucopia of 34 albums (36 CDs), we find recurring themes: Grieg (Andsnes even recorded some Lyric Pieces on the composer's own piano at Troldhaugen), Nordic music in general, Schumann, Rachmaninov, Schubert.
Brahms, Janacek, Beethoven, Lutoslawski & Schumann: In Memor
Haenssler Classic
CD
$32.99Mar 01, 2024
Vol. 2 of the portrait of the exceptional cellist who died far too young. Francoise Groben's fascinating dedication to music, her large number of international concerts and her encounters with the most prominent artists of her time - that is what this collection shows par excellence.
Lutosławski: Works for Orchestra / Tetzlaff, Collon, Finnish Radio Symphony
Ondine
CD
$9.49$18.99Save 50%Nov 03, 2023
This new album continues Ondine’s award-winning series of orchestral works by Witold Lutosławski (1913–1994) together with the Finnish Radio Symphony Orchestra. The series has gathered several accolades, including a Grammy nomination, a BBC Music Magazine Awards nomination, and several recording of the month awards and best recordings of the year nominations. This album includes the composer’s early hit, his folklorish masterpiece Concerto for Orchestra, which is among his most performed compositions.
The album also includes Partita for Violin and Orchestra (with Christian Tetzlaff as soloist), a virtuosic 5-movement work which in its orchestral version is not short of a Violin Concerto. The rarity in the album is Lutosławski’s Novelette from 1979, which, although fragmentary, is already pointing toward the ideas of his 3rd Symphony.
REVIEW:
This illuminating program constitutes an ideal introduction as well as a must for the composer’s admirers. In the early Concerto for Orchestra, the orchestra plays with surging vitality, but also great delicacy. In the later works on the program, the playing is again incisive rather than heavy. This is a recording to cherish.
Roots - Pieces in Folk Style for Clarinet & Piano / Brill, Aner
Haenssler Classic
CD
$10.49$20.99Save 50%Sep 01, 2023
The starting point for the recording of the album ROOTS was a concert in which Shirley Brill performed Mieczyslaw Weinberg's Sonata for the first time and was deeply moved by its overwhelming emotional power. Being Jewish herself, she resonated deeply with the rich Klezmer folkloric elements expressed so intensely in this Sonata. This experience ignited her passion to explore the integration of national sentiments into classical music, with a particular focus on the neighbouring countries of Germany and Poland.
In ROOTS, Shirley Brill has curated a collection of pieces that demonstrate a masterful integration of folkloric elements, exuding pride in original folk music and a healthy sense of national identity. Yet, this aspect also belongs to the folklore within the music that is heard here: over the course of the 100 years in which the recorded works were composed, an excessive embrace of radical ideologies has slipped into dangerous nationalism.
Weinberg's life and his Clarinet Sonata composed in 1945 serve as a poignant reminder of the catastrophic consequences of such extremism. The range of works presented on the album ROOTS sheds light on the delicate balance between the celebration of cultural heritage (as in the music of Schumann and Lutoslawski) and the intrusion of the destructive forces of nationalism (Weinberg). ROOTS testifies to the power of music to promote unity while simultaneously cautioning us to remain vigilant against the pitfalls of extremist doctrines.
When looking at the trusting musical encounter between flute and harp, it appears that a large number of scores have been unjustly neglected. This long list of works that have been hidden in the shadows underscores the perfect match between the two instruments and lends further legitimacy to their amicable bond. The ensemble Les Connivences Sonores was born in 2014 from the meeting between two musicians with inexhaustible curiosity, Odile Renault, flute and Elodie Reibaud, harp. From their common passion is born a whole project of discovery and rediscovery of a rich and magnificent original repertoire of chamber music. At its center is quite naturally the flute and harp duo, of which Odile and Elodie explore the astonishing extent of the repertoire, which goes from the 18th century to the present day, by means of extremely organic playing. The great romantic repertoire allows them to devote themselves to the carnal and virtuoso dimension of their respective instruments. The 20th century, meanwhile, never ceases to amaze them with its diversity of languages. Contemporary creation brings them the wealth of contact with composers and all aspects of research related to creation.
Karel Ančerl: Live Recordings / Czech Philharmonic Orchestra
Supraphon
CD
$149.99Feb 11, 2022
Previously unreleased recordings by one of the great conductors of the 20th century.
Karel Ančerl. One of the most important conductors of post-war Europe. A man who survived the Nazi concentration camps and the avowed anti-Semitism of communist Czechoslovakia. An artist who, through enormous patience and dedication, built the Czech Philharmonic into a world-class orchestra and introduced it successfully at the most important concert halls.
From 2002 to 2008, Supraphon issued the highly acclaimed Ančerl Gold Edition with the bulk of his artistic legacy, containing nearly his complete studio recordings with the Czech Philharmonic on 48 albums. But that was far from everything. Hidden in the archive of Czech Radio, there is a wealth of concert recordings that gives us a more complete picture of this conductor. From that treasury, on 15 albums, Supraphon has selected repertoire of which studio recordings were not made; that repertoire covers a broad range from Mozart to works by Ančerl’s contemporaries.
The recordings include masterpieces by Dvořák (Symphonies Nos. 7 and 8, Biblical Songs) and Suk (Asrael, Ripening), music by composers admired and promoted by Ančerl (Martinu Symphony No. 1 and Kabelác Symphony No. 5), and major works of the worldwide 20th-century repertoire (Debussy, Ravel, Strauss, Prokofiev, etc.). The only exception of a “duplication” of a studio recording is Smetana’s Má vlast. This taping of a Prague Spring Festival concert in May 1968 was one of the last recordings Ančerl made before his definitive departure for Toronto. The concert recordings from the years 1949-1968 document the maturing of this remarkable artist perhaps even more clearly than his studio legacy.
REVIEW:
Performances appearing on CD for the first time include, most notably, Josef Suk’s epic Asrael symphony (1967), a recording that captures the full emotional range of what’s surely the greatest Czech symphony after Dvo∑ák. Most impressive is the impact of Suk’s vivid orchestration, the timpani and bass drum especially, and the way An∂erl charts the work’s dramatic sequence of events, its emotional extremes and tragic demeanor. Never before have I felt the ‘angel of death’ transform into the ‘angel of love’ at the end of the work as it does here. Even the memorable Václav Talich (also on Supraphon) doesn’t quite match up. The mono sound is exceptionally clear but Suk’s The Ripening, another fine performance, is offered in stereo, as is Smetana’s Má vlast (both 1968), where the vengeful third piece, about the fearsome amazon Šárka, is driven to paroxysms of rage.
Perhaps the most absorbing inclusion conceptually is Ervín Schulhoff’s musical setting of portions from the Communist Manifesto. Beyond his miraculous survival of Auschwitz (where his family was murdered), An∂erl joined the Communist Party of Czechoslovakia. Schulhoff had sent the only copy of his full score to the Leningrad Conservatory for safe keeping, but it was believed lost during the long siege of the city and the version that An∂erl conducts here (in 1962) is an orchestration by Svatopluk Havelka. Schulhoff had become convinced by the ideas coming out of the Soviet Union after working in Berlin in the 1920s and ’30s and was on the run from the Nazis in the later years of the 1930s, but was captured in 1941 and died in Wülzburg concentration camp in 1942 of tuberculosis. Whatever one’s political leanings (even in view of the subsequent Soviet invasion of An∂erl’s homeland, not to mention Ukraine at the present time), one can understand why he connected so deeply with fascism’s nemesis. The work itself resembles, on the one hand, the politically charged choral pieces of Prokofiev and Shostakovich, while on the other recalls the world of Mahler (try disc 15 track 6 from 7'25", where you can hear clear echoes of Mahler’s Sixth Symphony).
This is an extremely important set, very well transferred, superbly annotated (by Petr Kadlec) and sturdily presented. I can’t recommend it more highly than that.
Mariss Jansons was one of the most important conductors of our time, celebrated worldwide and held in the highest regard – all the more so since his unexpected death on December 1, 2019. "Mariss Jansons - The Edition," comprising 70 recordings and a box set in representative LP format, documents the final phase of his life and career: his work as chief conductor of the Symphonieorchester des Bayerischen Rundfunks and the Bavarian Radio Chorus between 2003 and 2019. Predominantly live recordings from Munich, Tokyo, Vienna, New York, Waldsassen, and the Vatican enable listeners to experience for themselves musical highlights that are as moving as they are exciting. The set contains a remarkably diverse repertoire, ranging from symphonic music and great choral works to opera, and from the First Viennese School to 20th century classical music. "Mariss Jansons - The Edition" contains works by a broad range of composers, including complete cycles of the symphonies of Beethoven, Brahms, and Mahler respectively. It is supplemented by fascinating rehearsal recordings that bear witness to Jansons's trusting artistic collaboration with the musicians in his orchestra, together with a large-format, approximately 72-page-long booklet containing background information, essays, an interview, and a detailed track listing.
Witold Lutoslawski's few surviving apprentice works are suffused with the elegance of Ravel and the lush effusiveness of Szymanowski, and this is particularly true of the early Piano Sonata, heard here in Giorgio Koukl's new and corrected edition based on the original manuscript. Further premieres include the wistful 'A Kiss of Roxanne' and the technically complex 'Invention.' Including all of the folk-music tinted pedagogical miniatures, works for piano four hands and other occasional pieces, this is the most comprehensive edition of Lutoslawski's works for solo piano ever recorded. Virginia Rossetti began her piano studies with Massimiliano Ferrati, later attending the 'Antonio Buzzola' Conservatory in Adria where she graduated with honors. In May 2013 she obtained her Master of Performing Arts with distinction at the Hochschule fur Musik in Basle and in 2014 at the Royal Flemish Conservatoire of Brussels. Since 2011 she has been the pianist of the Lunaire Piano Trio. Giorgio Koukl is a pianist/harpsichordist and composer. He studied at the State Music School and Conservatory, and the Conservatories of Zurich and Milan.
Lutoslawski: Concerto for Orchestra, Little Suite & Symphony
Alpha
CD
$20.99Mar 25, 2016
Since 2015 young conductor Krzysztof Urbanski has been the principal guest conductor of one of Germany’s leading orchestras, the NDR Symphony Orchestra in Hamburg. He is also music director of the Indianapolis Symphony Orchestra, and principal guest conductor of the Tokyo Symphony Orchestra. For this album, Urbanski conducts works of Lutoslawski. The tracklist includes his Concerto for Orchestra, Little Suite (Mala Suita), and Symphony No. 4. Lutoslawski was one of the great composers of the twentieth century. Like Stravinsky and Shostakovich, Lutoslawski reveled in the sound and textures of the full orchestra.
This is the fourth volume in Chandos’ series devoted to the music of the Polish composer Witold Lutosławski. Described by Gramophone as a ‘veritable dream team’, Edward Gardner and the BBC Symphony Orchestra perform Symphony No. 2 and the Little Suite, and are joined by Paul Watkins as the soloist in the Cello Concerto and Grave.
Lutoslawski, Nielsen, Prokofiev / Stoltzman, Leighton Smith
RCA
CD
$17.99Sep 11, 2008
Richard Stoltzman's continuing exploration of the clarinet repertoire has yielded some uniquely enjoyable concerto recordings for RCA, of which the current issue is just the latest example. The disc opens with Lutoslawski's Dance Preludes, a brilliant and lively work of highly varied moods and styles ranging from somber chant to frenzied dancing. Stoltzman sounds as comfortable in each of these witty preludes as he would playing Mozart or Gershwin.
Nielsen's concerto always has been a formidable challenge for clarinetists, and, through its discursive one-movement form, for the listener as well. Happily, Stoltzman's pointed shaping of the musical material aids in the recognition of the various melodic lines, while his freewheeling virtuosity consistently commands attention. Still, Olle Schill's stunningly recorded daredevil performance on BIS remains the Nielsen concerto of choice.
Probably the most interesting item on the program is Kent Kennan's recasting of Prokofiev's Flute Sonata as a concerto for clarinet and orchestra. Kennan succeeds admirably in approximating a real Prokofiev orchestral sound and his arrangement sheds new light on the work's subtle beauties. Indeed the finale, with its judicious use of timpani, seems to improve upon the original. Stoltzman certainly sounds convinced, and you can appreciate in his performance that sense of satisfaction at discovering a new classic. Lawrence Leighton Smith and the Warsaw Philharmonic provide handsomely played and truly collaborative accompaniments. RCA's recording is rather flat in perspective, but allows all of Stoltzman's infectious playing to be clearly heard. A desirable disc, and not just for clarinet fans. --Victor Carr Jr, ClassicsToday.com
Lutoslawski: Symphony No 2, Etc / Salonen, Los Angeles Po
Sony Masterworks
CD
$17.99Mar 12, 2008
It is Lutoslawski’s last completed work, the Fourth Symphony (1993), which most fully embodies his highly personal reinterpretation of Polish music’s romantic past. But another late piece, Chantefleurs et Chantefables (1990), offers clear evidence of how satisfying that reinterpretation could be. These ‘songflowers and songfables’ represent a refinement rather than a dilution of Lutoslawski’s hard-won modernity, and they are all the more effective for their brevity – the longest lasts less than three minutes.
That ‘hard-won modernity’ did not imply a total rejection of such traditional genres as symphony and concerto – though some would say it should have done. Certainly Lutoslawski’s Symphony No. 2 (1966-7) remains a problem-piece, mainly because the material of its first movement seems designed precisely not to generate a traditional kind of symphonic argument. The second movement has far greater breadth, but it can hardly serve to ‘explain’ the first movement in retrospect; it would be better on its own.
Twenty years later, in his Piano Concerto, Lutoslawski was more alert to the possibilities of creating a viable symphonic style out of the interaction rather than separation of lyric and dramatic materials, and although the concerto’s range of stylistic allusions can be disconcerting, a good performance can turn such ambiguities to positive ends.
This is certainly a good performance. If the recording by Krystian Zimerman, the work’s dedicatee, summons up shades of Rachmaninov, Paul Crossley’s less forceful but no less well-characterized reading seems closer to Ravel. Esa-Pekka Salonen is a sensitive accompanist, and the Sony sound is consistent with what I described, reviewing Salonen’s earlier Lutoslawski recordings (11/94), as “spacious clarity as well as spatial depth”, even if it “may not bring the orchestra far enough forward for some tastes”.
This recording of Symphony No. 2 must rank as superior to either of the composer’s, and although Dawn Upshaw is occasionally rather shrill in Chantefleurs et Chantefables the performance as a whole is well judged. As for the brief Fanfare, it has a splendidly brassy exuberance.'
Lutoslawski: Orchestral Works Vol 5 / Wit, Polish Rso
Naxos
CD
$19.99Nov 01, 1999
Volume Five pairs two relatively early works of Lutoslawski with two works of his full maturity. The 'Concerto for Orchestra' of 1955 is a brilliant example of Lutoslawski's orchestral craftsmanship. It also demonstrates that he was a great composer well before he explored the more personal idiom of his later music. Also from this period is the tiny Overture for Strings of 1949. It is a lovely work that has been completely overshadowed by the composer's first symphony as well as the more famous 'Funeral Music.' From the composer's full maturity comes his only work for chorus and orchestra, the 'Three Poems of Henri Michaux.' The score specifies that the two ensembles are only loosely coordinated, and each has its own conductor. The middle movement is a brilliant evocation of a crowd on the verge of riot. Finally there is 'Mi-Parti,' from 1976, a two-part single-movement work written for the Concertgebouw Orchestra of Amsterdam. As always in this series, the performances are completely competitive and offer much repertoire not available elsewhere--and all at a budget price.
Lutoslawski: Orchestral Works Vol 6 / Wit, Polish Rso
Naxos
CD
$19.99Apr 14, 1999
Lutoslawski was one of the great composers of the 20th century. Although he was imprisoned by the Nazis and subject to the whims of a communist government after the war, Lutoslawski's voice remained original and always provocative. This collection presents orchestral music and two song cycles from a period spanning nearly 50 years of the composer's long life. Symphony No. 1 was written during the 1940s and is scored for a large orchestra augmented by battery of percussion instruments. The symphony is a work of shifting moods, animated by colorful orchestration. When the Communists took power in Poland they demanded that composers write music based on folk-songs. Lutoslawski's 'Silesian Triptych' written in 1951, meets the party's demands but rises above the genre with its sensitive vocal writing and genial Slavic flavor. Olga Pasiecznik's warm soprano voice is perfect for the 'Silesian Triptych,' and she floats lovely pianissimo notes in the complex song cycle 'Chantefleurs et Chantefables.' The Polish National Radio Symphony Orchestra directed by Antoni Wit play this music with energy and technical proficiency.
Lutoslawski: Orchestral Works Vol 4 / Wit, Polish Rso
Naxos
CD
$13.99$19.99Save 30%Apr 23, 1998
Somewhat unusually, the fourth volume of the Naxos series of Lutoslawski orchestral recordings concentrates entirely on the music of his full maturity where the composer used brief passages of aleatoric counterpoint. As the composer stated many times, this is not improvisation: All the music is written out, but the precise coordination over a set duration is left to the moment. Thus each performance is, in its small details, literally unique. By the time of 'Livre pour orchestre,' written in 1968, Lutoslawski had begun to incorporate a certain amount of indeterminacy in all of his music. The masterful Cello Concerto, written for Rostropovich in 1970, marked Lutoslawski's mature return to concertante writing. At the great cellist's request, only musical considerations were taken into account, hence the fearsome solo part. It is one of the composer's finest works, and is very well performed here. The 'Novelette' was also written for Rostropovich, this time as conductor, as a companion piece to the Cello Concerto in 1979. Finally, from Lutoslawski's last period comes 'Chain No.3,' the last of three works all employing a similar chain method of construction. All three works reflect the increasingly refined idiom of Lutoslawski's final decades.
