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PIANO CONCERTOS 1-4
DECCA Feb 1996
CD
$18.49

RACHMANINOV: THE BELLS & SYMPHONIC DANCES

LPO

Vinyl

$61.49 Aug 22, 2025

Rachminov's Symphonic Dances was one of the first four releases on the LPO Label. As a celebration of the LPO 20 Anniversariy, they are releasing a new recording of the Symphonic Dances, recorded in March of 2023, paired with Rachmaninov's The Bells. Both recordings are performed by the London Philharmonic Orchestra under the baton of our prinicpal conductor, Edward Gardner. The Bells, a choral symphony incorporates Edgar Allan Poe's namesake poem, with a traditional Georgian melody Dies Irae. Motifs of Dies Irae can also be heard in the final movement of the Symphonic Dance; where the Dies Irae theme represents Death.

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RACHMANINOV: THE BELLS & SYMPHONIC DANCES
LPO Aug 2025
Vinyl
$61.49

COMPLETE DEUTSCHE GRAMMOPHON RECORDINGS

ELOQUENCE AUSTRALIA

$14.38 May 07, 2021

Complete on CD for the first time, the Deutsche Grammophon legacy of cult violinist Johanna Martzy, and of violist Michael Mann. Five original DG albums complete on two CDs. The brilliant tone and discriminating taste of the recordings made by Johanna Martzy (1924-79) mark her out among the finest violinists of her generation. Her EMI albums, supervised by Walter Legge, were once highly prized rarities. However, her recording career began with DG, who partnered her with two of their star conductors, Ferenc Fricsay and Eugen Jochum, in concertos by Dvorak (1953) and Mozart (No 4, from 1955). She had performed the Dvorak with Fricsay in concert, and their recording preserves a harmonious meeting of two fierily temperamental artists, widely rated among the best of the non-Czech recordings of the work. Plans for Martzy to record Tchaikovsky's concerto were abandoned when Legge poached her for HMV/EMI but subsequently lost interest. We are left with a small, precious legacy which opened in 1951, in the dying days of 78rpm recording, with her most constant recital partner, Jean Antonietti, at the piano. Encore pieces by Ravel, Milhaud, Falla and Szymanowski capture her Hungarian fire but do not represent her inclination away from virtuoso repertoire and towards the great sonatas and concertos. Mozart's F major Sonata followed, and then Beethoven's Op. 30 No. 3 as a coupling for the Mozart. When Martzy's encore pieces were reissued on LP, they were coupled in original fashion with two modern viola sonatas played by Michael Mann (1919-76), son of the novelist Thomas Mann. Mann's DG recordings were completed a few months later in May 1952 with the Quatre visages of Milhaud, issued on a seven-inch 45rpm disc; with this release they reach CD for the first time. In his time Mann was recognised as a fine musician in his own right and not merely his father's son. He played in the San Francisco Symphony before teaching German literature at the University of California, Berkeley. Tully Potter provides the fascinating background note.

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COMPLETE DEUTSCHE GRAMMOPHON RECORDINGS
ELOQUENCE AUSTRALIA May 2021
CD
$14.38

Sibelius: The Tempest (Complete) / Vanska, Lahti So
BIS Oct 1992
CD
$21.99

Djansug Kakhidze: The Legacy, Vol. 2 - Tchaikovsky, Mussorgsky
Cugate Classicos Latinos Oct 2015
CD
$26.99

Schumann: Symphonic Etudes, Forest Scenes, Arabesque / Helmchen

PENTATONE

SACD

$21.99 Nov 13, 2012

SCHUMANN Waldszenen, Op. 82; Symphonische Etüden, Op. 13; Arabeske, Op. 18 • Martin Helmchen (pn) • PENTATONE 5186 452 (SACD: 60:52)

Martin Helmchen is a name which is probably new to no one: He has won numerous awards (including first prize in the Clara Haskil Competition in 2001), has worked with numerous illustrious orchestras, among them the Deutsche Sinfonie-Orchester Berlin, the Royal Flemish Philharmonic, the BBC Symphony Orchestra, the Vienna Philharmonic, and various chamber orchestras around Europe, with such master conductors as Marek Janowski, Philippe Herreweghe, Valery Gergiev, and Bernhard Klee. He has partnered in chamber music recitals with Boris Pergamenschikow, Heinrich Schiff, Gidon Kremer, Christian Tetzlaff, Daniel Hope, and Lars Vogt, among many others. He is, in other words, a fabulous instrumentalist. And that is clear from the current recital.

The opening Waldszenen is for me the highlight of the disc. Here Helmchen is calm and reserved for the most part: The Eintritt here acts as not just an entranceway into the piece, but into the program as a whole. Oddly, when comparing it to Volodos’s version on his live recital from Vienna, Volodos seems to shade more sweetly than does Helmchen, but Helmchen does not see the piece in the same way: Here he captures an amazing simplicity akin to the C-Major Prelude in Bach’s Well-Tempered Clavier Book I. His continuity of sound is entrancing. Verrufene Stelle evokes perfectly the odd, almost twisted quality of those ill-reputed places which Schumann musically describes so perfectly. Of course the highlight for most people is the strange and enigmatic Vogel als Prophet . While there is hardly a pianist out there capable of attaining the magical atmosphere of this piece as well as Alfred Cortot did, Helmchen does as admirable a job as many. The chorale-like middle section sounds as odd in this performance as it should, stopping the piece in midtrack, appearing and then disappearing just as quickly. The Symphonische Etüden, performed here with the five Anhang variations interspersed throughout the cycle, works well: The extra variations seem as though they truly belong to the cycle. It is far more satisfying to hear them this way than performed together at the conclusion of the opus proper. Here Helmchen alters his sound to fit his conception of the work. This is no longer light-hearted fare. This is as heavy and brooding as Schumann gets. And perhaps Helmchen here plays the work a bit too poised, too “normal” for my tastes. I tend to like my Schumann ever more schizophrenic in its rhythmic intricacies and eccentric in its numerous sforzandi . Helmchen plays the work a bit lighter than I would like, making it sound almost like Mendelssohn, yet there are moments when this works beautifully: Etude III and even Variation V sound as though they are lost parts of Mendelssohn’s Variations sérieuses here. The C-Major Arabeske brings us back to the light-hearted world of the opening, acting as both conclusion and encore. The pianist plays it simply: smooth, flowing, and tender. With bonus SACD quality sound, PentaTone has done it again. This one’s a keeper.

FANFARE: Scott Noriega

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Schumann: Symphonic Etudes, Forest Scenes, Arabesque / Helmchen
PENTATONE Nov 2012
SACD
$21.99

BERLIOZ: THE DAMNATION OF FAUST

LPO

$27.99 Feb 02, 2024

Hot on the heels of Principal Conductor Edward Gardner's triumph at the 2023 Gramophone Awards where Tippett's The Midsummer Marriage (LPO-0124) won the Opera Award, comes Gardner's second release on the LPO Label - Berlioz's spectacular The Damnation of Faust. Audiences have been captivated by Gardner's artistry, all ears are poised for this anticipated follow-up release. Half grand opera, half roof-raising choral-orchestral spectacular, Berlioz's The Damnation of Faust caused a scandal in 1846 when it was first performed, and with it's supernatural story and thumping good melodies, it's still one of 19th-century music's most rivetingly sinful treats. Recorded live at the Southbank Centre's Royal Festival Hall on 4 February 2023 with three-massed choruses and all-start cast, this release captures the drama of the opera. The performance and recording of The Damnation of Faust took place 4 February 4, 2023 and features an outstanding cast: Karen Cargill as Marguerite; John Irvin as Faust; Christopher Purves as Mephistopheles; and Jonathan Lemalu as Brander. Joining them is the London Philharmonic Choir, members of the London Symphony Chorus, and the London Youth Choirs.

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BERLIOZ: THE DAMNATION OF FAUST
LPO Feb 2024
CD
$27.99

Glazunov: Raymonda / Anissimov, Moscow Symphony Orchestra

Naxos

$29.99 Mar 18, 1996

Alexander Anissimov was a conductor unfamiliar to me (some may have heard his much-praised Tchaikovsky Cherevichki at Wexford). He keeps the Moscow Symphony Orchestra on their toes: the strings are keener of articulation than their Bolshoi or Kirov counterparts while balances and dynamics are all observed in an end result of greater sophistication than you might expect from this source (with handsome sound to match). Anissimov excels in the grand symphonic unfolding of the first two numbers and the two Entr’actes, over which he takes more time and care than Fedotov [conducting Kirov].

-- Gramophone [8/1996]

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Glazunov: Raymonda / Anissimov, Moscow Symphony Orchestra
Naxos Mar 1996
CD
$29.99

Penderecki: Orchestral Works Vol 4 / Antoni Wit, Polish Rso
Naxos Mar 2003
CD
$19.99

Strauss: Symphonia Domestica; Rimsky-Korsakov: Scheherazade / Mehta, LPO

LPO

$17.99 Mar 27, 2020

Recorded live in concert at Royal Festival Hall in 1988 and 1992 under the baton of Zubin Mehta, these recordings of Richard Strauss's Symphonia Domestica and Rimsky-Korsakov's Scheherazade are now available from the London Philharmonic Orchestra archives.

-----

REVIEW:

The key to appreciating the Symphonia Domestica's gentleness and its small details, as American audiences did from early on, is to simply take the work at face value, and this is accomplished admirably here by conductor Zubin Mehta. Even better, is the pairing: Rimsky-Korsakov's Scheherazade, Op. 35, might seem poles away from the Symphonia Domestica in its contrast of eastern exoticism to Strauss' bourgeois world, but Mehta asks hearers to listen again. Both works are delicately orchestrated, a bit folkish in places, and they alternate action with big melodies in a similar way, and what melodies they are. A fine pairing of favorites from the London Philharmonic's in-house label.

– All Music Guide (James Manheim)

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Strauss: Symphonia Domestica; Rimsky-Korsakov: Scheherazade / Mehta, LPO
LPO Mar 2020
CD
$17.99

Strauss: Serenade Op 7, Symphony For Winds; Dvorak / Meyer

CAvi-music

$19.99 Feb 12, 2007

R. STRAUSS Serenade for Winds. Symphonie for Winds. DVO?ÁK Serenade for Winds • Sabine Meyer Wind Ens • CAVI-MUSIC 553014 (70:14)

In the relatively insular world of classical music for wind ensemble, Mozart’s Serenade No. 10, “Gran Partita” is the towering colossus that profoundly influenced nearly all of the similar works that followed, though it must be stated that the literature for combinations of wind instruments is certainly limited. This is not a phenomenon on the level of the effect of Wagner’s Tristan und Isolde on virtually every subsequent composer who was forced to deal with it in one way or another. The three pieces on this CD are important pillars of the wind-ensemble literature of the 19th and early 20th centuries. The music of Strauss and Dvo?ák reflects the influence of Mozart, but in their own highly personal and individual ways. The Strauss pieces essentially apply bookends to his career. The Serenade, op. 7, written at the age of 16, displays the expected rich, romantic, harmonic textures and a flowing melodic line, but there are also hints of Mozart’s “Gran Partita.” Strauss was apparently not completely satisfied with the scoring of his youthful Serenade for four horns and nine other wind instruments. Following the completion of his last opera Capriccio , he returned to the wind ensemble near the end of his life and produced the unconventionally large-scaled Symphonie for Wind Instruments (also known as “Cheerful Workshops”). It is elaborately scored for 12 winds, in addition to the same four horns utilized in his youthful Serenade . The Symphonie explores many of the brilliant and characteristic wind effects that appeared in many of his major orchestral works and operas throughout his career.

Dvo?ák’s well-known Serenade is filled with references to various Bohemian dances, but the influence of Mozart is also there. This is especially apparent in the Andante, where he ingeniously metamorphoses the melodic contours and bass line of the Adagio from the “Gran Partita” into something that is all his own, as an apparent homage to Mozart. The Sabine Meyer Wind Ensemble plays the music nearly flawlessly in an affectionate but low-key sort of way. The effect is augmented by sound that is quite different from the Eastman Wind Ensemble’s demonstration recording that includes Mozart’s “Gran Partita” and Strauss’s early Serenade . As expected, Mercury gives us analytical clarity with an up front aural perspective that clearly emphasizes the subtle timbral nuances and colorations of the different wind combinations. This approach also presents a lot of clicking and clacking that will be annoying to some listeners.

This Cavi-Music CD is recorded with a more distant mid-hall perspective in what sounds like a larger hall with a darker tonal color. The instruments sound more congealed and at times slightly muffled, but there is little or no audible clicking. I prefer the Mercury approach because of its tonal and timbral accuracy, immediacy, and presence, but that is also a matter of taste. The response of many listeners to what is undoubtedly great wind music, played excellently, will be about sonority. The sound of a wind ensemble is definitely not everyone’s cup of tea. If you like it, you will undoubtedly enjoy this well-chosen and well-performed concert.

FANFARE: Arthur Lintgen

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Strauss: Serenade Op 7, Symphony For Winds; Dvorak / Meyer
CAvi-music Feb 2007
CD
$19.99

BERLIOZ: SYMPHONIE FANTASTIQUE

Oehms Classics

$9.99 ~~$19.99~~ Save 50% Jun 25, 2013

OehmsClassics is delighted to announce the future cooperation with Andres Orozco-Estrada and his Tonkunstler-Orchestra Niederosterreich. This recording of Berlioz's Symphonie fantastique, Op. 14 with the Tonkunstler Orchestra is the first CD being issued.

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BERLIOZ: SYMPHONIE FANTASTIQUE
Oehms Classics Jun 2013
CD
~~$19.99~~ $9.99

Liberation in Swing: The Octave Records Story & Complete Symphony Hall Concert [Vinyl Box Set]

MACK AVENUE RECORDS

Vinyl

$175.49 Sep 17, 2021

Looking back in order to look forward is fundamental to most art forms, maybe none more so than the profound art of jazz. In rare cases, such retrospection can reveal entirely new aspects of the art and its creator, redefining a legacy for a new generation. Such is the case with the genius of Erroll Garner. One of the most popular figures in jazz during his exceptional career, Garner’s legacy is receiving a remarkable reinvigoration through the concerted efforts of Octave Music’s Erroll Garner Project (EGP) and its partnership with Mack Avenue Music Group. Together they are celebrating the 100th anniversary of Garner’s birth with an extraordinary three-tiered release focused on Garner’s output from 1959 to 1975 and featuring a stunning 27-song previously unreleased 1959 concert recorded at Boston’s Symphony Hall.

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Liberation in Swing: The Octave Records Story & Complete Symphony Hall Concert [Vinyl Box Set]
MACK AVENUE RECORDS Sep 2021
Vinyl
$175.49

Sibelius: Lemminkäinen Suite / Osmo Vänskä, Lahti So
BIS Jun 1999
CD
$21.99

Fischer, J.C.F.: Overture (Suite), Op. 1, Nos. 4 and 7 / Mus
Antes Edition Nov 2004
CD
$24.99

S4: MOZART IN THE JUNGLE

Sony Masterworks

$11.98 Feb 16, 2018

MOZART IN THE JUNGLE SEASON 4AMAZON ORIGINAL SERIES SOUNDTRACK AVAILABLE FEBRUARY 16, 2018Including Works By David Majzlin, Nico Muhly, Laura Karpman and Caroline ShawSony Music proudly announces the release of the Mozart in the Jungle Season 4 Soundtrack from the Golden Globe- and Emmy Award-winning hit series. Based on the critically acclaimed memoir Mozart in the Jungle: Sex, Drugs & Classical Music by Blair Tindall, the Amazon Original Mozart in the Jungle draws back the curtain at the New York Symphony, where artistic dedication and creativity collide with romance and relationships.Starring Gael García Bernal (Neruda) and Lola Kirke (Gemini), Mozart in the Jungle continues the story of the talented musicians who perform and live with passion under the baton of its spirited conductor, Rodrigo. Along with Bernal and Kirke, Mozart in the Jungle also stars Saffron Burrows (Night of the Lotus), Malcolm McDowell (American Satan), Bernadette Peters (Smash), and Hannah Dunne (Caring). Season four includes guest stars Debra Monk, Masi Oka, Michael Emerson, and John Cameron Mitchell. In the upcoming season, new melodies arise as Rodrigo and Hailey take their relationship public. Hailey struggles to prove herself as a conductor, while Rodrigo fights to keep his inspiration alive. Thomas joins a start-up orchestra in Brooklyn that challenges Gloria.The fourth season features works by Emmy®-nominated composer and music producer David Majzlin, Nico Muhly, GRAMMY award and four-time Emmy-award winner Laura Karpman, as well as original works by composer and conductor Caroline Shaw, the youngest recipient of the Pulitzer Prize for music who also makes a cameo this season, among others.TRACKLIST1 Ludwig van Beethoven (arr: Laura Karpman)Thomas's Egmont for Harley, Hubcaps and OrchestraThe Hollywood Studio Orchestra2 David MajzlinAn Important Woman David Majzlin Quintet3 Anna Amalia von Sachsen-Weimar-EisenachErwin Und Elmire: Entr'acte Weimar StaatskapellePeter Gulke, conductor4 Isabella Leonarda12 Sonatas, Op. 16, Sonata Quarta: II. Presto Capella Strumentale Del Duomo Di Novara5 Nico MuhlyÉtude 3 Nadia Sirota, viola6 Ralph Vaughan WilliamsSongs of Travel: 4. Youth and Love Bryn Terfel, bass baritoneMalcolm Martineau, piano7 Maurice RavelMiroirs, M.43: IV. Alborada del gracioso Dallas Symphony OrchestraEduardo Mata, conductor8 Franz Liszt (arr: Laura Karpman)Thomas's Prometheus for Piano, Tibetan Bowls and OrchestraThe Hollywood Studio Orchestra 9 Giuseppe VerdiOverture to La forza del destinoOrchestra Filarmonica della ScalaRiccardo Muti, conductor10 Fanny Mendelssohn-HenselDie Nonne Paul Cantelon, piano11 Isabella Leonarda (arr: Dylan Neely)Sonata Prima: VI. Vivace The Hailey Rutledge Ensemble12 Caroline ShawEntr'acte (On the Sidewalk) The Hailey Rutledge EnsembleCaroline Shaw, conductor13 Georg Philipp Telemann (arr: Dylan Neely)Fantasia No. 2 for Oboe & Violin: I. Grave Keiko Tokunaga, violinArthur Sato, oboe14 Caroline ShawHi The Hailey Rutledge EnsembleCaroline Shaw, conductor15 Thomas Adès Asyla, III: Ecstasio London Symphony OrchestraThomas Adés, conductor

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S4: MOZART IN THE JUNGLE
Sony Masterworks Feb 2018
CD
$11.98

Bernstein: West Side Story / Schermerhorn, Nashville Symphony

Naxos

$19.99 Oct 01, 2002

This new West Side Story, the first American-based recording to appear since DG's star-studded 1985 composer-conducted version, blessedly avoids that earlier production's operatic pretensions, returning instead to the work's Broadway roots by using young, theatrically trained singers with some genuine acting ability. Even with that, it's probably wishful thinking to expect that this cast (fine as it is) can recreate the vibrant, raw freshness and scintillating brilliance of the original. Mike Eldred's Tony comes off best; singing with a more mature sound than Larry Kert, he nonetheless creates a sense of heightened expectancy and wonder in "Something's Coming". As Maria, Betsi Morrison struggles to maintain an authentic-sounding Puerto Rican accent, but she sings beautifully throughout, especially in "Tonight" and "I Have a Love". I'm afraid Marianne Cook's Anita is no match for Chita Rivera's, but she communicates the character's feelings convincingly enough. The remainder of the ensemble consists of good, solid, legit voices, but a lot has changed on Broadway since 1957: the overall style of singing, with its occasionally overemphatic declamation (as in "A Boy Like That" and "Cool") makes clear how years of Andrew Lloyd Webber musicals have influenced American performers.

This recording utilizes Bernstein's score in its original form, before it underwent the necessary revisions to make it more suitable to the needs of musical theater at the time. Actually, it sounds pretty much the same, the most obvious distinctions being a few missing bars near the end of the Prologue and the different vocal arrangement for "America".

Kenneth Schermerhorn was studying with Bernstein during the creation of West Side Story and briefly was considered as a possible conductor for the premiere. Finally getting his chance nearly 50 years later, Schermerhorn conducts the score with an authority and enthusiasm that reveals his intimate knowledge and personal conviction, even if at times his tempos drag (as in "I feel pretty" and "Gee Officer Krupke"), though not as much as the elderly Bernstein's. Then there's the somewhat obsessive concern with full note values at the expense of rhythmic flow (as in the "Jet Song", and in "Quintet", with its heavy articulation on the word "tonight") that occasionally robs the music of its spontaneity.

Throughout, the Nashville Symphony plays with an ideal blend of symphonic elegance and jazzy swagger that shows why this work is such a wonderful classic. Only the multimiked and obviously studio-bound recording, with its artificially close voices, slightly disappoints. Yet despite this and the above-noted concerns, this production faithfully recreates the magical and enthralling world that is West Side Story, and anyone coming to this piece afresh is in for a rare and special experience. [11/4/2002]
--Victor Carr Jr, ClassicsToday.com

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Bernstein: West Side Story / Schermerhorn, Nashville Symphony
Naxos Oct 2002
CD
$19.99

Klughardt: Lenore - Symphonic Poem, Op. 27; Gernsheim: At A Drama / Mayrhofer, Anhaltische Philharmonic

Sterling Records

$20.99 Aug 01, 2013

KLUGHARDT Symphony No. 2, “Lenore” 1. GERNSHEIM Zu einem Drama 2 • 1 Manfred Mayrhofer, 2 Klaus Arp, cond; 1 Anhaltische PO; 2 SWR Kaiserlautern SO • STERLING 10962 (51:07)

This disc is a bit of an oddity with respect to the contents. While released only in 2012 and coming to me this year, the recordings on it were made respectively on October 14, 2002 (a live concert performance of the Klughardt) and July 6, 1995 (a studio recording of the Gernsheim). No explanation is provided as to why the issuance of either item was so long delayed. At any rate, these are world premiere recordings of two works by two significant but hitherto neglected German composers of the Romantic era, whose music has only in the last decade or so become somewhat better known. As I have approvingly reviewed previously issued discs of other works by both composers in these pages, I happily return to both of them again.

In 34:5 and 36:4 I favorably reviewed CDs of chamber music by August Klughardt (1847–1902): two different recordings of his Piano Quintet, coupled respectively to ones of his String Quartet and Piano Quintet. While noting that he became an avowed disciple of the Liszt/Wagner “New German School” after meeting Liszt (an event variously dated to either 1871 or 1873 in different sources; 1871 appears to be correct), the major influences on his chamber music were Mendelssohn, Schumann, and Brahms, with some Liszt thrown in at points for good measure. By contrast, in this Symphony, Klughardt’s allegiance to Liszt and Wagner—albeit the earlier Wagner of Rienzi and the scenes of pageantry in Tannhäuser and Lohengrin —is complete and self-evident.

The “Lenore” Symphony has a decidedly complicated background story. Klughardt worked on the score between 1871 and 1873, immediately upon first meeting Liszt. At this time he also met Joachim Raff, who was likewise identified with the New German School to the extent that he approved of and wrote program music. Unaware that Raff also was working on a symphony (his No. 5) based on the poetic ballad Lenore by Gottfried August Bürger (1747–1794), Klughardt discussed the poem with Raff and played portions of his draft score for him. Raff apparently said nothing to Klughardt and proceeded to finish and premiere his own work first. When Klughardt later became aware of Raff’s Symphony, he wrote Raff a letter in which he apologized to him for poaching on the latter’s turf. Moreover, he then published his own work as a symphonic poem rather than a symphony, though he continued to number it as a symphony in his personal catalog. This in turn has led to confusion among writers as to whether Klughardt wrote six or seven symphonies. To complicate the numbering of Klughardt’s symphonies further, there are: a) an unpublished early Symphony in F Minor, performed in 1871 but then withdrawn by the composer; and b) another Symphony in F Minor, dating from 1876, that was numbered and published as his Symphony No. 2. Thus, depending on who has counted what, this “Lenore” Symphony has been variously referred to as an unnumbered symphonic poem, Symphony No. 1, or Symphony No. 2.

The “Lenore” Symphony is cast in four movements, although the second and third ones are joined together such that they form one continuous movement and effectively reduce the total to three. The music follows the plot of the poem quite closely (Klughardt prefaces each movement with a quotation from the ballad). The young maiden Lenore anxiously awaits the return of her sweetheart Wilhelm, who has been fighting as a soldier in the army of King Frederick II of Prussia in the Seven Years’ War. The war has ended and soldiers are returning, jubilant, from the battlefield. When Wilhelm fails to appear, the distraught Lenore utters a blasphemous attack upon God, which causes all to withdraw from her in horror. Deserted, she suddenly hears a knock at the house door; she opens it and to her joy Wilhelm is there, clad in armor. He tells her that he has come to take her to their wedding bed; they mount his steed and gallop off. As they ride, the increasingly agitated Lenore asks her lover a series of questions, to which she receives increasingly cryptic and ominous replies. At their destination they dismount; Wilhelm now reveals his true form as a skeleton, and escorts Lenore to their wedding bed—the grave. Her wish is fulfilled, albeit not as she had hoped.

The first movement ( Heftig bewegt —Violently turbulent) represents the anxious vigil of Lenore. It opens with a dramatic, declamatory theme on the lower strings—one which recurs throughout the entire work—that sounds startlingly like the motif that Modest Mussorgsky later created to signify the brutal boyar Ivan Khovansky in his Khovanshchina . A contrasting lyrical second theme appears occasionally; I presume that this signifies Lenore’s love. The succeeding Scherzo is dominated by a brashly vulgar and raucous march tune, accompanied by loud percussion, depicting the triumphal parade of the returning soldiers. This segues without pause into the third movement ( Langsam, aber durchaus leidenschaftlich —Slow, but passionate throughout), which depicts Lenore’s despair and her blasphemous outburst with music of a gentle, sweet melodiousness that belies the putative subject matter. The Finale ( Mässig —Moderately) opens with a dotted eighth-note theme representing Lenore’s and Wilhelm’s ride, and then at various points recalls material from the previous movements, ending with the opening theme of the first movement transformed into a peaceful close in the major key.

The first time I listened to this piece, without having read the booklet notes in order to avoid creating any a priori prejudices, I was thrown for a loop and heartily disliked it, thinking it was a piece of ramshackle incompetence because the movements did not follow standard symphonic structures such as sonata or rondo forms. The second time I listened to it, after reading the booklet notes and re-approaching it instead as an extended symphonic poem (or as a symphony after the manner of the Dante and Faust symphonies of Liszt), it began to grow on me, and after several more hearings I have come to like it a great deal, admiring its unconventional boldness. Klughardt reported to friends that Wagner, the work’s dedicatee, said to him: “After reading through your symphony I must confess that I regard you as a notably gifted person: it is no small achievement to bring such a score to this world.” However, the booklet notes for one of the Klughardt chamber music CDs I previously reviewed state that Wagner rejected the dedication with the dismissive comment that he “perceived the whole merely as a study very much in need of correction in terms of style.” Whether only one or both of these is true, I cannot ascertain; I can only say I enjoy it thoroughly.

I have sung the praises of Friedrich Gernsheim (1839–1916) on several occasions, including a review in this issue of a disc of his symphonies Nos. 1 and 3. Zu einem Drama , his one other major orchestral work apart from his four symphonies, was composed in 1902 and published in 1910. Here, Gernsheim’s oft-noted close similarity to Brahms is quite evident; indeed, this work is a step-brother of Brahms’s Tragic Overture, not only musically but also thematically in that their titles do not point to any more specific programmatic content. Gernsheim’s work has its own distinctive traits, however; it is far more ambitious in scope, lasting almost 18 minutes as opposed to about 12 for the Tragic Overture, and the orchestration is more brilliant in a way that shows Gernsheim was not impervious to the music of Wagner and Richard Strauss. Laid out in a modified sonata form with contrasting interludes, it is a work of great substance and integrity that grows upon me with each new hearing.

The Anhaltische Philharmonie is based in Dessau, the city where Klughardt spent the last two decades of his life; the Kaiserlautern Symphony is located in the city of that name in the southern Rhineland, very close to Worms where Gernsheim was born and raised. Both orchestras play very well for their respective conductors, who are able interpreters. The recorded sound for both items is excellent; the hall in Dessau obviously has first-rate acoustics. A bit oddly, in the “Lenore” Symphony the audience noise between movements is neither edited down to a seamless transition nor left intact; instead, a few seconds of noise is left after each movement, followed by the sudden break of a silent interval between CD tracks. The very informative program notes for the “Lenore” Symphony are written by Klughardt scholar Alan Krueck; those for Gernsheim’s Zu einem Drama by the noted British music critic Malcolm MacDonald. If you are someone who is interested in exploring lesser-known 19th-century orchestral repertoire, this disc provides a most inviting portal into that realm; heartily recommended.

FANFARE: James A. Altena

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Klughardt: Lenore - Symphonic Poem, Op. 27; Gernsheim: At A Drama / Mayrhofer, Anhaltische Philharmonic
Sterling Records Aug 2013
CD
$20.99

MENDELSSOHN: SYM NO.3

WARNER CLASSICS

$17.49 Jul 25, 2025

Shani retains the joy without over-forcing the music's physical impact... The Rotterdam Philharmonic possesses an appealing inner glow and warmth that radiates a strong sense of collegiate endeavour. (BBC Music Magazine) The Rotterdam Philharmonic Orchestra and it's chief conductor Lahav Shani open this Mendelssohn album with Mendelssohn's Symphony No 3, the 'Scottish', that was inspired by his first visit to Great Britain in 1829. The overture Meeresstille und gluckliche Fahrt (Calm Sea and Prosperous Voyage), first heard in 1828, was inspired by two short poems by Goethe. The album closes with 3 of Mendelssohn's Lieder ohne Worte Op.19b, orchestrated by maestro Shani.

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MENDELSSOHN: SYM NO.3
WARNER CLASSICS Jul 2025
CD
$17.49

SIBELIUS: SYM NO. 5 & STRAVINSKY: THE FIREBIRD

MUNCHNER PHILHARMONI

$17.49 Jul 15, 2022

The Munich Philharmonic and Sergiu Celibidache share an exceptional legacy. He started his work as principal conductor in 1979 and remained in this position for as long as 17 years. Sergiu Celibidache played an integral part in making the Munich Philharmonic what it is today: an orchestra of worldwide renown. On it's MPHIL label, the Munich Philharmonic is opening up it's vast archives, giving listeners the opportunity to enjoy one of the richest collections of recordings by legendary artists. Because of the Celibidache era and it's part in forming the core essence of the orchestra, the MPHIL label has placed a particular focus on archive recordings under the baton of Sergiu Celibidache. In spring 2022, it is a recording with Sergiu Celibidache with the Symphony No. In E-Flat Major Op. 82 by Jean Sibelius from 1988 as well as Igor Strawinsky's »The Firebird« from 1982. In Sibelius 5th Symphony, Thor swings his hammer, and the listener can feel cosmic forces at work in this music, something on which Sibelius himself commented when writing in 1914: "God opens the door for a moment and his orchestra is playing the Fifth Symphony." In this recording, Celibidache galvanizes the Munich Philharmonic in an interpretation of tremendous power and vision, Stravinsky's Firebird Suite is an opulent fairy tale. What makes this a great listening experience, is Celibidache's extraordinary understanding of the rhythmic dances that pulse throughout this score and the folkish elements that are spontaneously mastered. For the first time on the MPHIL label, this recording is being released digitally in mSpatial Dolby Atmos format: mSpatial, developed by msm-studios (Munich), transforms a vintage stereo recording into an authentic immersive (e.g. Dolby Atmos) listening experience. The procedure virtualizes the original hall acoustics of the recording venue, based on algorithms using on-site acoustic measurements. Sergiu Celibidache never accepted recordings of his concerts as real, valid music. For him, music only happened in the very moment in time when it was performed, and only for the audience present in the concert hall during that concert. The late Maestro's postulation of simultaneous time is lost forever. However, mSpatial gets the listener closer than ever to the second aspect of his credo by creating a virtual immersive acoustic in the listener's environment, which is true to the original acoustic experience in the concert hall where the performance happened.

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SIBELIUS: SYM NO. 5 & STRAVINSKY: THE FIREBIRD
MUNCHNER PHILHARMONI Jul 2022
CD
$17.49

C. Schumann & Chaminade: Concerti & Piano Works - Donna Voce

Music and Arts Programs of America

$16.99 Feb 07, 2025

Ukrainian-American pianist Anna Shelest continues her exploration of works by women composers in Donna Voce Volume 3 - Clara Schumann & Cecile Chaminade: Concerti & Piano Works. Featured are Clara Schumann's Piano Concerto in A Minor, Op. 7 and Cecile Chaminade's Concertstuck for Piano and Orchestra, Op. 40 with Neeme Jarvi conducting the Estonian National Symphony Orchestra. Anna Shelest also performs works for solo piano by each composer and is joined by her husband Dmitri Shelest in Chaminade's Pieces Romantiques, Op. 55 for piano four hands. Featuring Clara Schumann's Piano Concerto in A Minor, Op. 7 and Cecile Chaminade's Concertstuck for Piano and Orchestra, Op. 40 with Neeme Jarvi conducting the Estonian National Symphony Orchestra. Anna Shelest also performs works for solo piano by each composer and is joined by her husband Dmitri Shelest in Chaminade's Pieces Romantiques, Op. 55 for piano four hands.

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C. Schumann & Chaminade: Concerti & Piano Works - Donna Voce
Music and Arts Programs of America Feb 2025
CD
$16.99

Sibelius Edition Vol 8 - Orchestral Music

BIS

$59.99 Apr 01, 2009

Click here to view all 13 volumes of The Sibelius Edition

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SIBELIUS Orchestral Works • Osmo Vänskä, cond; 1 Neemi Järvi, cond; 2 Jaakko Kuusisto (vn); 4 cond; 3 Leonidas Kavakos (vn); 5 Dong-Suk Kang (vn); 6 Marko Ylönen (vc); 7 Lahti SO; 1,3 Gothenburg SO 2 • BIS 1921 (6 CDs: 420:41)

Overture in E. 1 Scène de ballet. 1 Karelia: Complete music; 1 Overture; 2 Suite. 1 Impromptu. 2 Presto. 1 Press Celebrations Music. 1 Menuetto. 1 Coronation March. 1 March of the Pori Regiment. 1 Overture in a. 1 Romance in C. 1 Cortège. 1 Pan and Echo. 1 The Countess’s Portrait. 1 Violin Concerto: (1903–04); 1 (1905). 5 Rakastava. 1 2 Serenades. 2,6 2 Serious Melodies (2 versions). 1,2,6,7 6 Humoresques. 2,6 Academic March. 2 March of the Finnish Jäger Battalion. 1 3 Pieces, op. 96. 1 Suite mignonne. 1 Suite champêtre. 1 Suite caractèristique. 1 Morceau romantique. 1 Suite for Violin and Strings. 1,6 Andante festivo. 1 Processional. 1 Preliminary and alternative versions 1,3,4

Sibelius wrote a colossal amount of music for the orchestra. Already issued in BIS’s Sibelius Edition are boxes devoted to the tone poems (Vol. 1), theater music (Vol. 5, including the full scores plus the suites drawn from the composer’s incidental music), and voice and orchestra (Vol. 3); still to come, of course, is the volume of symphonies (Vol. 12, projected). That makes 21 or 22 well-filled CDs. Then there’s the present set, Vol. 8, which consists of everything else: works for violin and orchestra (about two CDs), music for patriotic pageants (one-and-a-half discs), and various occasional pieces, suites, and other works that don’t fit any of the above categories. The Sibelius quote with which annotator and project advisor, Andrew Barnett, begins his program notes could well serve as an epigram for the entire project: “I am myself a man of the orchestra. You must judge me from my orchestral works.”

Most of the contents of this set were first issued on single CDs: the Karelia music on BIS 915, the Press Celebrations Music on 1115, the two versions of the Violin Concerto on 500, the remaining works for violin and orchestra on 472, and various smaller works on 1265, 1445, 1485, and 1565. Items appearing here for the first time are the Karelia Suite, Menuetto, Romance, March of the Finnish Jäger Battalion , the three French-titled Suites, opp. 98 and 100, and the Processional , as well as several preliminary and alternative versions.

The sheer quantity of material here makes it most practical to discuss the works by category. Along with the Violin Concerto, the most important music in this set is that provided by Sibelius for two patriotic pageants during the Russian crackdown of the 1890s. Thinly disguised as benefits, the first in 1893 for education in the Viipuri district, the second in 1899 for the Press Pension Fund (the Russians had banned a Finnish newspaper), the Karelia and Press Celebrations pageants in reality served as nationalist rallies. The Karelia music, written the year after Kullervo and only two years after Sibelius’s first orchestral works, consisted of an Overture and music for eight tableaux; the Eighth Tableau quotes the song that would later become Finland’s national anthem. The Overture was published independently as op. 10, and three of the eight tableaux were adapted to form the Karelia Suite , op. 11. The remaining music—the entire score totals 50 minutes—is well worth hearing; particularly striking are the runic singing of Tableau 1 and the “siege” music of Tableau 6. In the runic singing, I prefer the earthy female voices used in Tuomas Ollila’s recording for Ondine to the bland baritones used here; otherwise, Vänskä’s version is more compelling. BIS includes Järvi’s energetic 1982 recording of the Overture (to avoid redundancy, one supposes), but gives the Suite in a new recording by Vänskä. I’m not sure why: there are plenty of fine recordings of the Suite already, and Sibelius collectors serious enough to consider this volume doubtless already have their favorite versions; mine is the RCA/Decca recording by Alexander Gibson, not currently available.

The Press Celebrations Music is almost as extensive, comprising a prelude and music for six tableaux; the final movement, “Finland Awakes,” with a new ending, became Finlandia , published as op. 26/7 in the expectation that the entire score would follow. In fact, only three other tableaux were published in revised form as Scènes historiques I , op. 25. The various stages of revision of Finlandia can be heard in Vol. 1 of the Edition; in the original, instead of the familiar apotheosis of the hymn tune, the ending consists of a series of bombastic fanfares. The Press Celebrations score is also included on the Ondine disc, but Vänskä is the clear winner.

The other major work here, of course, is the Violin Concerto. Kavakos and Vänskä give a compelling performance of the familiar 1905 revised version; it’s a performance of extremes, with the many technical challenges met head-on and the more lyrical music played with great sensitivity. Fans of Oistrakh on the one hand or Heifetz on the other won’t want to discard their favorites, but Kavakos offers yet another good option. The real story, though, is the 1991 version of Sibelius’s original score by the same artists; I believe it remains the only recording of the 1903–04 version. The comparison is intriguing; longtime Fanfare subscribers can find David K. Nelson’s detailed review in 14:6. It is impossible to discuss the two versions at length here, but two points should be made: first, the original is both longer and more difficult, including several fascinating passages that were later cut; second, as is almost invariably true, Sibelius’s final thoughts are his best. The revised version eliminates some interesting digressions and much extraneous detail, making it more cohesive and giving it more impact. The original version is still well worth hearing, not only because the comparison is so interesting, but also because it does include a good deal of music later eliminated. The two versions were originally issued in tandem, but here the original version is placed in an “appendix” on the last disc of the set, along with early or alternative versions of other works.

Kang and Järvi give sympathetic readings of the Two Serenades and the Serious Melodies ; the latter are also given, in the appendix, in Sibelius’s cello version by Ylönen and Vänskä. Only the Humoresques are a bit of a letdown. These superb pieces, written in 1917–18 when Sibelius was working on the Fifth Symphony under horrible conditions, are technically demanding and musically complex; they should be far better known, but their format—six short pieces totaling about 20 minutes—seems to have no niche in today’s concert programs. Kang and Järvi are less volatile, less exciting than Aaron Rosand on an ancient Vox LP. I have not heard the recordings of the violin-and-orchestra works by Tetzlaff or Kuusisto; Robert Maxham gave the former a mostly favorable review in 26:6, but the latter does not appear in the Fanfare Archive.

The many other pieces in this set can be addressed only briefly. Sibelius’s first orchestral works were the Overture in E Major and the Scène de ballet , both written in 1891; in 31:1, I preferred Järvi to Vänskä in the former, the reverse in the latter. The Overture in A Minor was written to fill out the program for the premiere of the Second Symphony; supposedly it was composed in a single evening. It certainly is far thinner in substance than the Symphony; its introduction, striking in its use of the trumpets, fails to go anywhere. The well-known Romance in C Major is given a rather perfunctory reading; Pan and Echo , a “Dance Intermezzo” sometimes grouped with the tone poems, is a striking miniature.

Rakastava (“The Lover”), a three-movement work for string orchestra with triangle and timpani written in 1911, the time of the Fourth Symphony, is a small masterpiece. It actually grew out of a much earlier choral work (thus perhaps explaining the anomalous opus number 11), and it was revised in 1912, Sibelius being dissatisfied with the arrangement. Again the final version is far superior to the earlier one, included in the appendix. Vänskä gives a sympathetic account.

Most of the remaining works are of minor importance; the Three Pieces , op. 96, and the three suites that followed, written between 1919 and 1922, are all essentially salon music; the Suite for Violin and String Orchestra, written in 1929 and thus one of Sibelius’s final compositions, is likewise not consequential. The Andante festivo , a 1938 arrangement of a work composed in 1922 for string quartet, is notable not only for its noble formality, but also because the recording of Sibelius’s live broadcast for the New York World’s Fair is the only surviving document of his conducting. That recording shows that almost everyone, including Vänskä, takes the piece too quickly; Vänskä’s version here has a timing of 5:10 versus Sibelius’s 6:55. Finally, the Processional is an arrangement of one of several songs Sibelius wrote for the Finnish Masonic lodge in 1927, again making it one of his last works.

The contents of this set range from some of Sibelius’s finest, most important works to some of the least significant products of his mature years. If you don’t have the single CD of the two versions of the Violin Concerto, or either of the pageant scores, or if you absolutely must have every scrap of orchestral music he created, this set’s for you. Collectors who have been acquiring each volume of the Edition as it is released will find this one of the more rewarding ones. Essential for Sibelians.

FANFARE: Richard A. Kaplan

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Sibelius Edition Vol 8 - Orchestral Music
BIS Apr 2009
CD
$59.99

Vivaldi: The Four Seasons / Bosgraaf, Ensemble Cordevento

Brilliant Classics

$13.99 Jan 28, 2014

Vivaldi's Four Seasons is one of the world's most popular and widely recorded collections of music, a set that instantly became an international hit after it was first published at part of the composer's Op.8 in 1725. No doubt it was its imitative directness -- extra musical occurrences/phenomena evoked in an extremely suggestive manner and even written into the score, such as 'the barking dog' or 'the drunkards' sleep' etc. -- that caused such as sensation in its time, effortlessly bridging the gap between the salons of the highborn and the alehouses of the lowly. Today nothing has changed: the concertos are performed both by great violin virtuosos and famous hard rockers; they are works that are constantly being presented in new guises through the re-imagining and re-working of the musical score.

Such is the standpoint adopted on this recording by Erik Bosgraaf, who has chosen here to adapt the violin part for recorder, explaining how 'the violin part can be played on the recorder with surprising ease, without many changes. In some ways it works even better than concertos Vivaldi wrote specifically for the recorder!' Years ago Bosgraaf performed The Four Seasons with a symphony orchestra; for the present album, however, he wanted to approach his ideal as closely as possible using Cordevento, a small baroque ensemble he founded himself, knowing all the musicians through and through. Bosgraaf's aim is to make the four legendary concertos sound as if they had been written for the recorder in the first place -- and the results are laudable, with the contrasts between the wind instrument and the accompanying strings revealing previously unheard stratifications and details. As the soloist himself puts it, 'Listen to Vivaldi with fresh ears and enjoy!'

Other information:
- Recorded 25--28 June 2013, Kruiskerk Burgum, The Netherlands.
- Erik Bosgraaf is considered one of the most innovative and versatile recorder players of his generation. His concerts are happenings, and offer fascinating combinations of classical and experimental music. His importance for the emancipation of the recorder (still often considered a stuffy and even childish instrument) is enormous.
- Bosgraaf's version of Vivaldi's Four Seasons (of course originally for violin and orchestra) is not a mere transcription for another instrument, but a recreation of a work of startling originality and power: listen to the furioso rendering of the Summer Storm!
- Bosgraaf's earlier recordings for Brilliant Classics have met with enthusiastic acclaim in the international press; this new album will strengthen his reputation as one of today's most fascinating out-of-the-box artists.
- Contains detailed notes in English, German and Dutch on the music and matters of interpretation.
- Contains the Four Seasons' sonnets.

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Vivaldi: The Four Seasons / Bosgraaf, Ensemble Cordevento
Brilliant Classics Jan 2014
CD
$13.99

Schubert: 4 Sonatas for Violin & Piano / Valova, Häkkinen

Brilliant Classics

$6.99 ~~$13.99~~ Save 50% Oct 22, 2021

The Bulgarian violinist Zefira Valova graduated from the National Music Academy of her native Sofia, Bulgaria, before specializing in Baroque violin studies with Lucy van Dael. While still based in her homeland, having founded Bulgaria’s only annual early-music festival (Sofia Baroque Arts Festival) she is a frequent soloist with and guest leader of the Helsinki Baroque Orchestra under its founder-director Aapo Häkkinen, who swaps the conductor’s platform on this occasion for a seat at a gentle, plangent-sounding fortepiano from 1820 of Viennese manufacture – ideally suited to the repertoire at hand. Together they make a lively and sympathetic partnership, informed by playing these youthful works in concert. Franz Schubert (1797-1828) was just 19 years old when he wrote a trio of sonatas in the spring of 1816, but he already had four symphonies under his belt as well as masterpieces of song such as Gretchen am Spinnrade and Erlkönig. Like so much of his music, they were only published after his death, when they were given both a misleading opus number (Op.137) and even title, for the diminutive ‘sonatina’ nomenclature shows little respect for both the scale of Schubert’s imagination and handling of form. On a technical level, the trio of pieces lies within the ambit of amateur players of both instruments, though more demanding for the pianist. This relative ease of execution need not obscure the rapturous melodies of the second work in the collection, D385, or its deeply felt harmonies, which culminate in an elegiac finale. Cast in the turbulent Erlkönig key of G minor, D408 turns the listener’s ear towards Beethoven, though the concise opening melody clearly speaks with Schubert’s voice. However, all three of these ‘sonatinas’ are somewhat overshadowed by the Sonata D574 from the summer of the following year, 1817, which ranks among the most inspired productions of even Schubert’s prodigious youth.

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Schubert: 4 Sonatas for Violin & Piano / Valova, Häkkinen
Brilliant Classics Oct 2021
CD
~~$13.99~~ $6.99

Schneider: 4 Flute Sonatas

Brilliant Classics

$14.99 Oct 10, 2025

World premiere recordings of beguiling flute sonatas written on the cusp of the early-Romantic era in Germany. Almost completely forgotten in our own time, Johann Christian Friedrich Schneider (1786-1853) once enjoyed substantial fame as a pianist, composer, teacher and musical organiser. He was born in 1786, 16 years after Beethoven, in the same year as Weber and the Brothers Grimm, and received his first musical education from his father. His talent was evident from an early age, as he learnt the piano and several other instruments. Breitkopf & Hartel published his Op.1, a set of piano sonatas, in 1804; he went to study in Leipzig, where he became organist of the Thomaskirche, and settled there for his 20s, giving the local premiere of Beethoven's 'Emperor' Concerto in 1811. A standard German work of reference from 1838 cites Schneider 'among the living German masters of music'. From the evidence of these four sonatas for flute and piano, it is hard to see why his name should have so comprehensively vanished from view. Schneider composed the first of them, his Op.18, in 1808, and it follows the same Classical exemplar as Beethoven's first eight violin sonatas, and all of Mozart's in being written for a pianist with an accompanying melody instrument rather than the other way around. Over the course of the following three sonatas, the flautist becomes more independent, and his Op.61 Sonata of 1827 requires a virtuoso. Schneider wrote the first three sonatas in a four-movement form, breaking ground in this way by elevating the flute sonata from it's previous association with pretty variation sets and pot-pourris of operatic themes. This originality extends to the finales of all four sonatas - notably the Second, which is cast in G minor against the prevailing G major tonality (foreshadowing in this way the 'Italian' Symphony of Mendelssohn). In his booklet essay for this new recording, the flautist Daniele Ruggeri pays tribute to the 'simple but bewitching' trios of each sonata, and to Schneider's 'profound understanding of the expressive character of the different registers of the flute' in the slow movements. Based in Venice, Ruggeri has played across the world and recorded for many major labels. With this album of Schneider he revives an unjustly neglected contemporary of Beethoven and Schubert, and does so on an instrument of the period. - Johann Christian Friedrich Schneider was a German composer, conductor, organist, and pianist of the early Romantic period. Born in Saxony, he was a highly respected musician during his lifetime, known for his contributions to church music, orchestral works, and chamber compositions. He earned his place in history as the pianist premiering Beethoven's 5th piano concerto. - Schneider's flute sonatas are elegant and expressive works that reflect the stylistic transition from the Classical to the Romantic era. Blending lyrical melodies with intricate harmonic textures, the sonatas are technically challenging and musically rewarding for performers. The flute sonatas follow the traditional sonata form, typically structured in three or four movements, combining virtuosic passages with expressive slow sections. - Played by Italian flutist Daniele Ruggieri and pianist Luigi Caselli.

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Schneider: 4 Flute Sonatas
Brilliant Classics Oct 2025
CD
$14.99

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