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SaleMahler: Lieder Und Gesänge - Montanaro: Canto Di Penelope
Brilliant Classics · Feb 2017CD$13.99$6.99 -
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Schnittke: 3rd Symphony / Jurowski, Berlin Radio Symphony Orchestra
PENTATONE · Feb 2015SACD$21.99 -
Zacara da Teramo: Enigma Fortuna (Complete Works) / Pasotti, La Fonte Musica
Alpha · Aug 2021CD$40.99 -
SaleVerdi: Macbeth / Conlon, Domingo, Los Angeles Opera [Blu-ray]
Sony Masterworks · Aug 2017Blu-Ray$19.98$9.99 -
Talbot: Alice's Adventures in Wonderland, Fool's Paradise / Austin, RPO
Signum Classics · Mar 2013CD$19.99 -
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Violoncello & Harpsichord Sonatas, Vol. 1
Mahler: Lieder Und Gesänge - Montanaro: Canto Di Penelope
Un Bal: Dances for Harp solo / Christ
MASTERS SESSIONS
Revive / Ferio Saxophone Quartet
For its second album on Chandos, the young Ferio Saxophone Quartet presents a set of unique arrangements of milestones from the baroque repertoire, from Corelli via Bach to Handel. Including many premiere recordings, these fresh interpretations, full of flair and vitality, played on instruments that combine elements of brass and woodwind, bring the tunes and counterpoint to a fascinating new register. The Ferio Quartet plays with power, warmth, and dexterity. “Playing is of the highest level throughout.” (Classical Music) “Intensely musical performances… the artistry of the performances is beyond question.” (Gramophone) “The Ferio Quartet plays with a nimble technique, mature phrasing, exquisite and forceful dynamics, and excellent balance, blend, and teamwork.” (American Record Guide)
Carlos Acosta – Dances Royal Ballet Classics [blu-ray]
Also available on standard DVD
So memorably described as ‘a dancer who slashes across space faster than anyone else, who lacerates the air with shapes so clear and sharp they seem to throw off sparks’ (Independent), Carlos Acosta has been at the forefront of contemporary ballet since his arrival at the Royal Ballet in 1998. Here he sparkles in three of his most celebrated roles: the young lover Colas in the joyfully bucolic La Fille mal gardée, which received five stars from the Guardian, Times and Mail on Sunday; the innocent but doomed Romeo in Prokofiev’s sumptuously-scored adaptation of Shakespeare’s famous play; and, acting as producer and choreographer for the first time, as Basilio in Don Quixote, a production that wowed audiences thanks to its ‘intelligent’ choreography and Acosta’s ‘titanic determination, bullet-proof charisma [and] delectably trusting and playful rapport’ with co-star Marianela Núñez (Daily Telegraph). These three compelling ballets showcase Carlos Acosta’s world-class reputation as a dancer and choreographer, bolstered by outstanding co-stars and artists of the Royal Ballet. Filmed in High Definition and recorded in true Surround Sound.
CARLOS ACOSTA – Dances Royal Ballet Classics
(3 Blu-ray Disc Box Set)
Ferdinand Hérold
LA FILLE MAL GARDÉE
Lise - Marianela Nuñez
Colas - Carlos Acosta
Widow Simone - William Tuckett
Alain - Jonathan Howells
Royal Ballet
Royal Opera House Orchestra
Anthony Twiner, conductor
Frederick Ashton, choreographer
Osbert Lancaster, set designer
Sergey Prokofiev
ROMEO AND JULIET
Romeo - Carlos Acosta
Juliet - Tamara Rojo
Mercutio - José Martin
Tybalt - Thiago Soares
Nurse - Sandra Conley
Lord Capulet - Christopher Saunders
Lady Capulet - Elizabeth McGorian
Paris - David Pickering
Benvolio - Yohei Sasaki
Royal Ballet
Royal Ballet Sinfonia
Boris Gruzin, conductor
Kenneth MacMillan, choreographer
Nicholas Georgiadis, costume designer
John B. Read, lighting designer
Ludwig Minkus
DON QUIXOTE
Kitri - Marianela Nuñez
Basilio - Carlos Acosta
Don Quixote - Christopher Saunders
Sancho Panza - Philip Mosley
Lorenzo - Gary Avis
Gamache - Bennet Gartside
Espada - Ryoichi Hirano
Mercedes - Laura Morera
Royal Ballet
Royal Opera House Orchestra
Martin Yates, conductor
Carlos Acosta, choreographer (after M
arius Petipa)
Tim Hatley, set and costume designer Hugh Vanstone, lighting designer
Recorded live at the Royal Opera House, 2 February 2005 (La fille mal gardée), 2007 (Romeo and Juliet) and October 2013 (Don Quixote)
Bonus:
- Cast gallery and illustrated synopsis (La fille mal gardée)
- Interviews with cast and crew (Don Quixote)
- Introductions to Acts II and III (Don Quixote)
Picture format: 1080i High Definition
Sound format: LPCM 2.0 (all) / DTS-HD Master Audio 5.1 (Romeo and Juliet, Don Quixote) / Dolby Digital 5.1 (La fille mal gardée)
Region code: 0 (worldwide)
Menu language: English
Subtitles: French, German, Spanish, Italian (La fille mal gardée)
Running time: 6 hrs 15 mins (ballet) + 12 mins (bonus)
No. of Discs: 3 (BD 50)
Prado: Works for Violin & Cello / Baldini, Cesario
Part of the Naxos label's The Music of Brazil series. This album of works for cello and violin by José Antônio de Almeida Prado is performed by violinist Emmanuele Baldini (concertmaster of the Sâo Paolo Symphony Orchestra) and prize-winning cellist Rafael Cesario. Includes four world premiere recordings. Sinfonia dos orixás (8.574411) and the First Piano Concerto (8.574225) are also available.
REVIEW:
In the series of recordings with works by the Brazilian composer Almeida Prado, the current installment is dedicated to his works for violin, cello, or both together.
Le Livre magique de Xangô (Shango’s magic book) was composed in his postmodern phase and is aesthetically characterized by Afro-Brazilian religiosity. In Das Cirandas, he weaves in folk tunes from various regions of Brazil. Almeida Prado dedicated the lively violin sonata to his violinist-daughter. The Four Seasons was a compulsory piece for the second Brazilian music competition in 1984. Each section is conceived as a study. The Capriccio for solo violin has a lyrical nature. For the cello, Praeambulum was inspired by Antonio Meneses as an introduction to Bach’s third cello suite.
The violinist Emmanuele Baldin gives Prado’s works an exciting mixture of charming folk and modern-sounding sections. As an accomplished instrumentalist and very familiar with Brazilian music, he finds the ways and means to model the character of the pieces and exude Brazilian flair. In the Violin Sonata, the Capriccio and the Four Seasons, he is able to demonstrate his skills as a soloist, which he does convincingly.
The cellist Rafael Cesario makes his solo appearance in Praeambulum, which he also performs successfully. In Das Cirandas and Le Livre magique de Xangô, he performs his parts alongside the violinist in an appealing and confident manner.
-- Pizzicato
Tancredi
20th Century Foxtrots, Vol. 2: Germany / Wallisch
Also available: 20th Century Foxtrots, Vol. 1 and 20th Century Foxtrots, Vol. 3
The first volume in this series traced the inter-war craze for carefree dance music in Austria and the Czech Lands (see GP813). This latest album focuses on Germany where jazz-influenced music flourished from the mid-1920s onwards even in the face of some social, political and racial opposition. Cabarets and dancehalls rejected this nationalist resistance and the Weimar Republic rejoiced in a cross-pollination of symphonic jazz and Kunstjazz – a fusion of dance and classical elements. The many previously unrecorded pieces here chart the progress of this vigorous musical rejuvenation. GOTTLIEB WALLISCH has performed on stage at the world’s most prestigious concert halls and festivals: Carnegie Hall New York, Wigmore Hall in London, the Cologne Philharmonie, the Tonhalle Zurich, and the NCPA in Beijing, also the Ruhr Piano Festival, the Beethovenfest in Bonn, and the Festivals of Lucerne and Salzburg. Conductors with whom he has performed as a soloist include Sir Neville Marriner, Dennis Russell Davies, Kirill Petrenko, Martin Haselboeck and Bruno Weil. Orchestras he has performed with include the Vienna Philharmonic, Royal Liverpool Philharmonic, Frankfurt Radio Symphony, Franz Liszt Chamber Orchestra Budapest and the Stuttgart Chamber Orchestra. He has made numerous recordings for record labels, including Naxos. Gottlieb Wallisch is a Steinway Artist.
REVIEW:
One of the year’s most surprising and consistently charming recording projects continues to gather steam. The second volume of the pianist Gottlieb Wallisch’s “20th Century Foxtrots” compendium follows up on the sprightly success of the initial set.
In Wallisch’s latest batch of performances there are once again some discoveries from lesser-known artists. (Multi-movement works by Leopold Mittmann and Walter Niemann are a delight to encounter.) The new album kicks off with a spirited performance of a Paul Hindemith fox trot. And this edition also includes the world premiere recording of a piano arrangement of a “Tango” by Kurt Weill.
– New York Times (Seth Colter Walls)
Schnittke: 3rd Symphony / Jurowski, Berlin Radio Symphony Orchestra
Zacara da Teramo: Enigma Fortuna (Complete Works) / Pasotti, La Fonte Musica
In this recording entitled Enigma Fortuna, the ensemble La Fonte Musica, directed by Michele Pasotti, aims to shed light on the mysterious and eccentric personality of Antonio Zacara da Teramo (1355-1416). A contemporary of Boccaccio, Donatello and Brunelleschi, this composer from the Abruzzi region could almost be likened to a sort of musical Hieronymus Bosch, for the texts he set to music conjure up a ‘topsy-turvy universe’ where the obscene, the imaginary and the grotesque go hand in hand. In his ballata Amor ne tossa he writes ‘Let him understand me who can, for I understand myself’, foreshadowing the proud egotism of the Romantic artists who were to come 400 years after him. With this four-album set presenting the world premiere of Zacara’s complete works, La Fonte Musica offers us an initial approach to understanding his music. And thereby, through the timeless character of art, to understanding a so-called ‘renascent’ era that seems as ‘topsy-turvy’ as our own.
NUEVA TIMBA
Sorabji: 100 Transcendental Studies, Nos. 84-100 / Ullen
By far the largest collection of concert études in the known repertoire, Kaikhosru Sorabji’s set of 100 Transcendental Studies, composed between 1940 and 1944, has a total duration of more than eight hours. On five previous discs, the Swedish pianist (and neuroscientist) Fredrik Ullén has introduced the first 83 études to a wider audience, the large majority of them appearing on disc for the first time. Now, 15 years after the release of the first volume comes the final instalment, a 2-disc set with the last 17 studies. In his own liner notes, Ullén describes the experience of learning and recording the collection: ‘From the F sharp minor of Study 1 to the F sharp minor chord concluding Study 100: traversing Sorabji’s Transcendental Studies has been somewhat like joining a comet following a long eccentric orbit through pianistic outer space, and finally returning back to mother earth.’ Most of the studies are typical concert études in the sense that they essentially explore a single technical or structural idea. But especially towards the end of the cycle Sorabji includes pieces that are on a much larger scale, a tendency that culminates with the two final études. Quasi fantasia (No. 99) is a hugely expanded elaboration of J.S. Bach’s Chromatic Fantasia and is followed by the almost hour-long Coda-Finale, a quintuple fugue of staggering complexity. Besides the programme notes by Fredrik Ullén, the booklet includes texts by Kenneth Derus and Alistair Hinton who both knew the composer.
REVIEW:
Listen to the very first track, where a tango rhythm quickly devolves into a series of very tricky cross-rhythms, for an idea of the challenges facing Ullén. He has surmounted them admirably, and his deliberate approach to these pieces has paid off. He gets the attractiveness of the Studies as a way into the work of Sorabji, who has been admired by many and equally often critically dismissed. Sorabji is not for everyone, but he is for more listeners here than elsewhere.
– AllMusicGuide.com (James Manheim)
Frank: Hilos, Adagio Para Amantani, Quijotadas / Alias Chamber Ensemble

Gabriela Lena Frank is the real deal: a modern composer with a personal style, one that manages to integrate a wide range of sounds and performing techniques into a cohesive language that unapologetically includes melody and tonal harmony without ever sounding anachronistic. She clearly manages to remain true to herself, but she doesn't have to write down to her listeners in order to share her thoughts and feelings. This is just good music.
Hilos is a quartet for clarinet, violin, cello, and piano inspired by Peruvian weaving. The music is colorful, vibrant, and consistently inventive; the Latin element is pervasive, but not cheap, and not overwhelming. Danza de los Saqsampillos is an arrangement for two marimbas of an earlier piano piece, and it sounds like a blast to play; Adagio para Amantaní (for cello and piano) is a soulful meditation inspired by an island landscape in the middle of Lake Titicaca. Quijotadas is a string quartet based on Cervantes' Don Quixote. Its second movement, Sequidilla para la Mancha, has to be one of the most charming pieces of its kind since the scherzo of Ravel's Quartet, which it resembles in some ways (lots of pizzicato).
The performances, with the composer's participation where the piano joins in, and presumably her supervision where it does not, are uniformly excellent, and so are the sonics. A wonderful disc of inventive, fresh, characterful music, plain and simple.
--David Hurwitz, ClassicsToday.com
Verdi: Macbeth / Conlon, Domingo, Los Angeles Opera [Blu-ray]
This is L.A. Opera's latest production of Giuseppe Verdi's ''Macbeth'' featuring Placido Domingo in the title role alongside the Russian mezzo-soprano Ekaterina Semenchuk as Lady Macbeth. The opera is staged by Darko Tresnjak, who won a Tony Award for his direction of the Broadway music ''A Gentleman's Guide to Love and Murder.'' ''Placido Domingo commands the stage and the music he sings...He was genuinely impressive.'' (Los Angeles Times) ''When I was a young tenor, I loved playing romantic or heroic leading roles. When I began to add baritone parts to my repertoire six years ago, I was particularly interested in playing fathers, as I could draw from my own experience as a family man. Macbeth is a completely different kind of role for me. He is a murderer, but I think that he is also something of a victim, drawn into his crimes by the witches and by Lady Macbeth.'' (Placido Domingo)
History of the Russian Piano Trio, Vol. 9
Talbot: Alice's Adventures in Wonderland, Fool's Paradise / Austin, RPO
TALBOT Alice’s Adventures in Wonderland: Suite. Fool’s Paradise • Christopher Austin, cond; Royal PO • SIGNUM 327 (67:12)
James Reel in his Fanfare 34:5 review of choreographer Christopher Wheeldon’s Alice’s Adventures in Wonderland ballet on DVD hailed, as have most critics, Joby Talbot’s score as a significant triumph. I could not agree more with Reel’s assessment, and was particularly struck by his wish that Talbot had been asked to write the scores to those Harry Potter movies which John Williams had been unable to undertake. I had a similar thought as I listened to this release for the first time. Talbot’s work only peripherally sounds like Williams’s scoring for that franchise, but magic, and yearning, and menace, and whimsy (to use Reel’s descriptors) are qualities of both Harry’s and Alice’s story, and Talbot captures these qualities with skill equal to that of the illustrious American composer.
Alice was the first full-length ballet commissioned by the Royal Ballet in almost 20 years, and this almost 40-minute suite encompasses but a third of the two-hour score. It uses the same large orchestra with its huge tuned percussion section and four amplified women’s voices, and, while it follows its own music-driven dramatic arc, it is well devised to demonstrate the range of the whole. One might regret the exclusion of the caterpillar’s sensuous Indian music, which, while less distinctive than say the opening bitonal ticking-clock motif which reappears throughout the work, is still delightfully flavorful. And the contrapuntal tapping of the Mad Hatter at the tea party is certainly an integral part and should have been included here. Still that is quibbling. Talbot wisely avoids the riotous Rose Adagio parody, which depends on the visual antics, but does include the Red Queen’s manic Tango and The Croquet Match with her scordatura solo violin theme. Alice’s solo, Alice Alone , provides an expressive center to the suite, and the Cheshire Cat grins most mysteriously. Talbot ends the suite with the act I finale: the exuberance of the waltz for the Living Flowers and the innocent longing of the pas de deux for Alice and her Knave of Hearts.
The theme of longing is continued in Fool’s Paradise , another dance collaboration with Wheeldon. The score is based on Talbot’s 2002 The Dying Swan , written for piano trio to accompany the 1917 Evgenii Bauer film of the same name. The film tells the story of a ballerina admired, painted, and then strangled by a crazed artist. Wheeldon takes this in a completely different direction, assisted by Talbot’s rich orchestration for strings and piano, to suggest the shadowy atmosphere of the fairy-inhabited Athenian forest of A Midsummer Night’s Dream . The score, with its popular and classical inspirations, develops slowly over ostinatos in the manner of the minimalists. It is perhaps less compelling on its own than when accompanying the dancers, but is still lovely in the abstract, and so hauntingly evocative that it should not be hard to conjure one’s own visuals if the need is felt.
Friend, frequent collaborator, and conductor Christopher Austin did much of the orchestration of the Alice score, suggesting that he should know the music as well as anyone. So it proves here, supported by a Royal Philharmonic Orchestra exceedingly sensitive to the many demands of both scores. There are moments in fact, as in Alice’s solo, where Austin finds even more poignancy and ecstasy than Barry Wordsworth does in the fine video version. The engineering is first-rate and the program notes and pictures most supportive. This is a marvelous supplement to the video of the ballet, or the perfect introduction to Joby Talbot’s music for those uninterested in ballet…though given a chance Wheeldon and Talbot might just cure that.
FANFARE: Ronald E. Grames
Apostel: Kubiniana, 60 Schemen & 10 Variationen / Malengreau

A student of Arnold Schoenberg and Alban Berg, Hans Erich Apostel (1901-1972) was a composer who was strongly influenced by visual artists of his time. The piano works presented on this CD specifically take inspiration from the drawings of Oskar Kokoschka and Alfred Kubin. But you don’t need to know that in order to appreciate Apostel’s creativity on its own terms.
The Op. 1 Variations, recorded here for the first time, are generally sparse in texture and packed with the kind of quirky chromatic movement typical of early Ernst Krenek. Apostel’s style emerges fully formed in the 10 piano pieces collectively titled Kubiniana, composed in 1945. For instance, the fourth selection starts off with dour sustained notes in the bass register that suddenly break out into jagged lines darting upward, followed by declamatory repeated phrases and muddy bass rumbles: not a predictable moment in the course of a minute and a half. There’s a caustic march that Berg might have welcomed in Lulu, and a whimsical high-register study that one might describe as the dodecaphonic interloper that snuck into Prokofiev’s Visions Fugitives.
Sechzig Schemen Nach Zeichnungen Von Alfred Kubin comprise a continuous half-hour suite of 60 aphoristic character pieces that include marches, tangos, folk-like melodies, enigmatic clouds of clusters, and the like. Despite their brevity, these masterful miniatures flow easily from one to the next in a unified arc.
Thérèse Malengreau’s cultivated pianism serves Apostel’s sound world to a proverbial tee. She commands a luscious tone, a wide dynamic range, and a diverse palette of articulations. Furthermore, Malengreau possesses uncanny rhythmic equilibrium that manifests itself through her sense of timing and spacing. A good example of this can be found in the Marcia Moderato, which is the second of the Kubiania pieces. The attack and release of each phrase is pinpointed with the utmost care and specificity, so much so that you can hear the rests between the notes. In this sense, Steffen Schleiermacher’s interpretation on MDG sounds more generalized by comparison. BIS’s exemplary sonics plus Malengreau’s detailed and scholarly annotations add further value to a release that will readily appeal to those interested in obscure yet worthy and substantial keyboard rarities.
– ClassicsToday (Jed Distler)
Piano Music Of Rodion Shchedrin / Marina Lomazov
Two of Rodion Shchedrin's works are entitled Concerto cantabile and Concerto sotto voce. These two epithets - sotto voce and cantabile - can be applied to much of his output. He produced bright, brilliant pieces (like the justly famous Carmen-Suite ballet), or works full of daring, rough folk humor (like the popular Concerto for Orchestra Naughty Limericks). Still, the core of Shchedrin's music is dark-hued, philosophic, often religious, always thoughtful. The spiritual closeness to Bach is evident, and not only in the abundance of old-fashioned polyphony. Probably the most successful of the Soviet composers that emerged in the Fifties under the shadow of Shostakovich, Shchedrin is the one with his face turned to the past. Not technically: he knows and uses all the atonal - polytonal - dodecaphonic - aleatoric - you name it - brushes. His music rarely grips you from the first measure: it requires submergence and listening. But when you are in - you are in. And you can be sure that the experience won't leave you with disappointing emptiness: those simple, sparse, seemingly tuneless constructs are genuine, deep music. It is strange. It is Art.
More and more of Shchedrin's music is recorded in the West, but these are mostly concertos and choral works of the latest years. The more welcome is then the all-Shchedrin piano recital of pieces from his first creative period, presented so sympathetically by Marina Lomazov.
I can't say that I completely understand the logic of the Piano Sonata of 1962. The second and third movements hold very naturally together - the second is a dim, deep abyss, the third a devilish toccata, burning like black fire. Preceding these two goes a much lighter Allegro da Sonata, like an echo of Petrushka's Shrovetide Fair. It is attached, but does not seem to belong.
The ten preludes from The Polyphonic Notebook (1972, the latest composition on this disc) are very interesting and rewarding. I wish all 25 were recorded, but even the present torso is a wonderful sequence, full of delicacy and balance. This is one of Shchedrin's Bachianas. The texture is sparse - listen to the lower voices!
The earliest composition - Poem of 1954 - could be a page from Prokofiev's Romeo and Juliet. The Humoresque, similarly, may evoke Prokofiev in his more angular self. Yet its voice is not derivative, and the piece is funny and memorable. A la Albéniz is a cold-smoke tango, with enough big pauses for glances, yes and nos, and other decisions. Together, these three miniatures show how multi-faced Shchedrin's muse can be.
The four pieces arranged from The Hump-backed Horse ballet bring to the front another big love of the composer: the Russian folk culture. The music is very sincere and innocent, which suits well the fairytale subject of the ballet.
Finally comes my favorite: Two Polyphonic Pieces. The Invention is hypnotic. As it is often with Shchedrin, you cannot pinpoint exactly where the “musical experience” is coming from. It's like plain pieces of mosaic summing up into a picture. Basso Ostinato is another virtuosic toccata, a veritable tour de force, completely enthralling. There are torrents of energy, like armies clashing in the night, order and chaos in search of a resolution.
Marina Lomazov is a perfect performer for this music. She never "overcooks" it; everything that needs to be dry stays dry. Yet there is all the required energy, and maybe even more. Lomazov plays with ultimate precision, but the result is not mechanical: it is human, personal and soulful, even in the most abstract constructs. There is this "transparent virtuosity" that does not expose itself glamorously, but works for the good of the music. And she does wonders with the rhythm. I wish she considered recording Prokofiev's Sonatas.
The recording quality is very satisfactory. The liner-notes are not especially generous. Still there is enough information about the works, the composer and the performer. This disc gives a good overview of Shchedrin's directions in his earlier years, and the selections from the Polyphonic Notebook are a real teaser. It is a multi-character program, recital-like, with changing moods and styles, not a unified album. It is a great introduction to Shchedrin's piano music. It is also a great introduction to a very fine pianist, Marina Lomazov.
-- Oleg Ledeniov, MusicWeb International
Akoé - Nuevas músicas antiguas
American Classics - Piston: The Incredible Flutist, Etc
Listeners new to Piston's music would do well to audition this disc, as it includes a nice cross-section of the composer's output, from his first published work (Suite for Orchestra) to his last (Concerto for String Quartet). In between and opening this disc is the delightful ballet suite to The Incredible Flutist, a piece that features a slithering tango, a lusty Spanish waltz, and a spirited Circus March that concludes with a barking dog (a real one named Nori!). This quirky work--a sort of cross between Petrushka and Parade--alone belies the academic patina that has plagued Piston's name for decades. The fact that he wrote the leading textbook on orchestration should lead more people to think that maybe he actually knew something about it.
The dynamic Suite will excite anybody who loves Bartók, full as it is with resounding canonic brass fanfares, pounding percussion (watch out for the bass drum in the third movement), and chattering strings. Piston also had a flair for elegiac melodies, as evidenced by his soulful English horn writing (a bit aridly played and closely miked in this performance) in the Fantasy for English horn, harp, & strings, and by the slow, calmer parts for string quartet in the Concerto (especially the quixotic concluding viola solo).
Piston's orchestral expertise finds expression in the superbly crafted choral works that close this disc, works that are as buoyant as they are mysterious--and unforgettable. Of course, there are other superlative performances of these individual works (Bernstein's Incredible Flutist on Sony), but Schwarz's surveys remain essential listening for both lovers and newcomers to this great American composer.
--Michael Liebowitz, ClassicsToday.com
Tyrannide