SACD
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Label: ACCENT SACD 24179 Our Price: $24.25 Quantity in Basket: none Concerto in E major RV 269 (Spring); Concerto in G minor RV 315 (Summer); Concerto in F major RV 293 (Autumn); Concerto in F minor RV (Winter); Concerto in D major for Cello, String & B.C. RV 403; Sonata in D minor, Op. 1 No. 12 RV 63 “La Follia” TRUE HISTORICAL PERFORMANCES Based on his elaborate research, Sigiswald Kuijken made two important discoveries: first, in the 18th Century many cello parts were actually meant to be performed on the violoncello da spalla, the little sister of the violoncello, which was played like a violin or viola. Second, that multiple casting of strings was rather the exception than the rule for Vivaldi. Kuijken follows both with this recording and the result seems to prove him right. |
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Label: ARS PRODUKTION SACD 38041 Our Price: $24.25 Quantity in Basket: none SAMUEL BARBER (1910 – 1981): Agnus Dei: AARON COPLAND (1900 – 1990): Four Motets; ERIC WHITACRE (*1970): Lux Aurumque; Cloudburst; Water Night; PAUL J. CHRISTIANSEN (1937 – 1986): My song in the night; UWE UNGERER (*1969): The Rose; MOSES GEORGE HOGAN (1957 – 2003): The Battle of Jericho; I’m Gonna Sing ‘Til The Spirit Moves In My Heart; Elijah Rock; MORTEN JOHANNES LAURIDSEN (*1943): Sa Nuit d’Été; Sonet de la Noche; Sure On This Shining Night; CHARLES IVES (1874 – 1954): Lord God, Thy Sea is Mighty; Crossing The Bar; Variations on ‘America’ There are almost a hundred years between the dates of birth of Charles Ives, 1874, and Eric Whitacre, born 1970, the youngest composer in this Kaleidoscope of American choral music. If someone takes a look at the standard works in music literature, there is hardly any American choral music to be found. The American works that can be perceived as approaching the traditions of western music do not appear to interest the specialist world in Europe. The story in concert halls and churches – as well as in recording studios – is quite different, however. Through the founding of many choirs, gospels and spirituals are more popular than ever and, on the programs of classical a cappella choirs, the works of Morten Lauridsen or Samuel Barber have already become classics. The Amadeus Choir is an ensemble of some 50 singers and was founded by Karl-Friedrich Beringer, conductor of the Windsbacher Knabenchor since 1978. In June 2001 Nicol Matt became musical director of the choir. The performance of world-reknown a cappella choir pieces and of choir-orchestra programs with famous solo singers and orchestras in conjunction with its high artistic and technical level made the Amadeus choir well known. |
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Label: ARS PRODUKTION SACD 38086 Our Price: $24.25 Quantity in Basket: none PETER ILYICH TCHAIKOVSKY (1840 – 1893): Nutcracker Suite, Op. 71; GUSTAV LEWIN (1869 – 1938): Nun ist sie endlich kommen (“Weihnachtslied”); SIGISMUND SCHNEIDER (1897 – 1957): Weihnachtsmarsch (1924); ARNOLD SCHOENBERG (1874 – 1951): “Weihnachtsmusik” (Es ist ein Rose entsprungen, arr. 1921); JOHANN SEBASTIAN BACH (1685 – 1750)/SIGFRID KARG-ELERT (1877 – 1933): Aria “Mein glaubes Herze”; ADOLF SCHREINER (1791 – 1864): Paraphrase on “Silent Nicht”; WILHELM BERGER (1861 – 1911): Weihnachtslied Op. 52 no 4 “Von Himmel in die tiefsten Klüfte”; ARNOLD MENDELSSOHN (1855 – 1933): Weihnachtslied “Markt und Strassen steh’n verlassen”; WILHELM LINDEMANN (1882 – 1941): “Eine Muh, eine Mäh…” [Character Piece]; JONNY HEYKENS (1884 – 1945): Ave Maria; JEAN DASTY: Ave Maria; SIEGFRIED WAGNER (1861 – 1911): Weihnachtslied “Was soll das bedeuten”; RICHARD EILENBERG (1848 – 1921): “Norwegische Renntierpost” [Character Piece]; ÉMILE WALDTEUFEL (1837 – 1915): Les Patineurs; ENGELBERT HUMPERDINCK (1854 – 1924): Hänsel und Grete - Overture |
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Label: BIS SACD 1566 Our Price: $19.25 Quantity in Basket: none Symphony No.6 in D major, Op.60 (1880); Symphony No.9 in E minor, ‘From the New World’, Op.95 (1892–93) In 'Opening Doors', their exploration of the limits of what a chamber orchestra is traditionally expected to perform, Thomas Dausgaard and the Swedish Chamber Orchestra have already made a case for playing Schumann with smaller forces than usual (BIS-SACD-1519). The results clearly pleased the reviewer who wrote that the team 'with this wonderful recording catapults into the top of the list of exceptional Schumann interpreters, and also proves itself a very promising proponent of a successful reinterpretation of the Romantic orchestral repertoire' (klassik.com). Dausgaard's vision was also commended in International Record Review where the performances were deemed to 'have an insight and authority to rank with the finest', while the reviewer in The Sunday Times remarked that 'the playing throughout is first-rate, with often dazzling, thrilling faster movements, but also some beautifully shaped, tender slower music, and a real feeling for the emotional extremes that are at the heart of Schumann’s art.' The ongoing 'Opening Doors' series will ultimately include a complete Schumann Symphony cycle, but on the present disc Dausgaard and his orchestra have elected to take on one of the absolute mainstays of the Romantic repertoire for symphony orchestra: Dvorak's Symphony No. 9 'From the New World', here coupled with the composer's Sixth Symphony. On the evidence of the previous disc it is fair to expect some cobwebs to be blown away - in the same Hybrid SACD Surround Sound that was so roundly praised last time around. |
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Label: BIS SACD 1568 Our Price: $19.25 Quantity in Basket: none Étude, Op.8 No.12; Sonata No.2 (Sonate-Fantaisie), Op.19; Sonata No.5, Op.53; Étude from Three Pieces, Op.2; Four Mazurkas from Op.3; Nuances from Four Pieces, Op.56; Poème from Two Pieces, Op.59; Sonata No.9, ‘Messe noire’, Op.68; Valse, Op.38 ‘Oh, how easy it is to become possessed by Scriabin, one of the most enigmatic and controversial and artistic personalities of all time’ – this is how Yevgeny Sudbin begins his own liner notes to this disc. He continues: ‘Scriabin was not only the first to introduce madness into music; he also managed to synthesize it into an infectious virus that is entirely music-borne and affects the psyche in a highly irrational way.’ The Scriabin virus has certainly affected Sudbin, with audible results in this program which combines some of the visionary composer’s earliest works (an Étude from 1887, four Mazurkas from 1889), with the delirious Fifth Sonata and Sonata No.9, nick-named ‘Messe noire’. Less than three years have passed since Yevgeny Sudbin’s remarkable début on disc: a Scarlatti recital which caused reviewers to compare the then 25-year old pianist favorably to Horowitz and Pletnev. The following Rachmaninov disc caused Piano Magazine (UK) to describe him as ‘a major, world-class artist – a fearless technician with an all-encompassing command of his instrument; a musical dramatist of exceptional acumen and sophistication; a poet who moves seamlessly between unbridled rhetoric and extreme intimacy; a stylist who catches the particular spirit of everything he plays...’ |
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Label: BIS SACD 1595 Our Price: $19.25 Quantity in Basket: none Scottish Tunes: Lord Aboynes welcome or Cumbernault house; Waly waly; Clout the Cauldron; Lochaber; Fy gar rub her o’er with straw; Busk ye busk ye Bonny Bride; The Flowers of the Forrest; Dumbarton’s drums; Logan Water Sonatas JOHN STANLEY (1712 – 1786): Solo IV in B minor from Op.4, for flute and basso continuo; GEORG FRIEDRICH HANDEL (1685 – 1759): Sonata in B minor for flute and basso continuo, HWV376; Minuetto from Sonata in E minor, HWV375; FRANCESCO GEMINIANI (1687 – 1762): Sonata in C major for cello and basso continuo, Op.5 No.3; JOHAN HELMICH ROMAN (1694 – 1758): Sonata X in E minor for flute and basso continuo, BeRI 210 Parnassus Avenue: Dan Laurin, recorder; David Tayler, archlute, theorbo, baroque guitar; Hanneke van Proosdij, harpsichord, recorder ; Tanya Tomkins, cello; William Skeen, cello London in the early 1700s offered a dazzling mix of virtually every European musical style. This bustling environment attracted both students of music (such as the young Swedish composer Roman) and established musicians, eager to make their mark – Handel and Geminiani being two of the brightest shining stars. But new influences did not only come from across the Channel. The recent union between England and Scotland led to an increased cultural exchange, and English audiences were entranced by the rhythms and colors of the traditional tunes of Scotland. Various collections, such as the settings by the recorder virtuoso Francesco Barsanti, were published and even Handel could not resist a few turns at the hornpipe in his Water Music. This state of affairs is reflected in the present mix of four baroque sonatas, by composers associated with London in various ways, and nine Scottish tunes in arrangements based on the Barsanti settings. This imaginative program is characteristic of the approach adopted by Parnassus Avenue, an ensemble which is constantly challenging ‘baroque standards’: according to Parnassus Avenue there is no ‘early’ music, just a never-ending ‘now’. In lending a John Stanley Adagio the same melancholy expressivity as the mournful Waly waly, and applying the same virtuosity to the hypnotic Clout the Cauldron as to a Handel Allegro, Dan Laurin and his colleagues also demonstrate that there are no genres, only one seamless musical whole. Corelli & Co, the group’s previous CD on BIS, was hailed as ‘a truly inspirational disc for anyone who regards the baroque original as a starting point for individual expression’ in Early Music Review. Chances are that many will receive just as much inspiration from this new disc. |
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Label: BIS SACD 1605 Our Price: $19.25 Quantity in Basket: none The Four Seasons (La Primavera · L’Estate · L’Autunno · L’Inverno); Concerto in D major for strings, RV124; Concerto in G major for recorder and strings, RV437; Concerto in C minor for recorder and strings, RV 441 Arte dei Suonatori Dan Laurin has made a name for himself as an intrepid musician who never hesitates to venture into uncharted territory, as testified by his numerous recordings of contemporary recorder works, as well as by his monumental achievement in recording the complete (10 hours!) 17th century Der Fluyten Lust-hof by Jacob van Eyck. As he now turns to one of the most recorded works in Western music, his approach is as fresh and original as ever. With the aid of the highly praised Polish ensemble Arte dei Suonatori, Laurin gives us Vivaldi’s humming insects, pounding summer rain and drunken village revels in a way we’ve never before heard them. The sweltering heat of summer and the excitement of the hunt - in which the recorder takes the part of the hunted animal - are almost tangible in a recording of unusual directness, whether experienced in the Surround or stereo versions. Laurin and Arte dei Suonatori have met before on disc, with electrifying result, performing works by Telemann (BIS 1185) in a manner that one critic found almost dangerously addictive. Here the team reunites in a program in which The Seasons is complemented by three other Vivaldi concertos, including the recorder concerto above all others: Concerto in C minor, RV 441. A previous recording of this work by Dan Laurin was hailed by the critic in Fono Forum with the following words: ‘Laurin’s tremendous technique transcends the perceived limitations of the recorder, and lets the music speak much more eloquently than we have been accustomed to’ - a description which is as relevant to the present disc |
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Label: BIS SACD 1644 Our Price: $19.25 Quantity in Basket: none MICHAEL DAUGHERTY (*1954): Sunset Strip; JOHN WILLIAMS (*1932): Escapades for alto saxophone and orchestra; NED ROREM (*1923): Lions (A Dream) for jazz quartet and orchestra; CHRISTOPHER ROUSE (*1949): Friandises North Carolina Symphony/Grant Llewellyn Composed between 1963 and 2005 these four works form a spectrum that demonstrates a tendency among composers of American concert music to draw from a wide range of musical streams – classical, popular, folk and jazz – in order to reach out to their listeners. Ned Rorem himself has said of Lions that it ‘opens into a room of adolescence where I discovered music, the sounds of my time … recorded screams of Varèse and Milhaud, tangos of Ravel and Stravinsky, blues of Mildred Bailey and Billie Holiday.’ Michael Daugherty found his inspiration for Sunset Strip when considering the famous Los Angeles street from the 1950s until today: ‘its beatnik hangouts, nightclubs, private eye offices, tattoo parlors, Mexican restaurants, discos, billboards, parking lots, gas stations, burlesque halls and jazz lounges … I frame and re-frame the sounds of these worlds as they come into view, vanish and reappear in fragmented orchestrations, melodies and counterpoints.’ Escapades by John Williams is derived from the composer’s score for the film Catch Me If You Can, set in the 1960s, and Williams has said about it that ‘it seemed to me that I might evoke the atmosphere of that time by writing a sort of impressionistic memoir of the progressive jazz movement that was then so popular.’ Although it was composed as a ballet score, Christopher Rouse’s Friandises is possibly the least depictive of these pieces. It too is rooted in a specific musical context, however, and the composer has described it as “akin to a Baroque French suite”, its five movements including both a Sicilienne and a Sarabande. “The finale”, Rouse continues, “is a lighthearted Galop meant to end the work with a large dose of razzle-dazzle.” This colorful program is performed by the North Carolina Symphony on their first BIS recording, conducted by Grant Llewellyn and with solo appearances by the celebrated jazz saxophonist Branford Marsalis and his quartet. |
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Label: BIS SACD 1746 Our Price: $19.25 Quantity in Basket: none SYMPHONY NO.4 in E Flat Major ‘ROMANTIC’ (1888 version) Symphony No.4 in E-flat major has belonged to Anton Bruckner's most popular works ever since its first performance, in Vienna 1881, when the composer was reportedly called out to take a bow after each movement. It is often called the ‘Romantic', a nickname that Bruckner himself used, most probably in reference to the literary genre of the medieval romance, rather than to the concept of romantic love. Indeed, Bruckner is claimed to have provided a sort of programme to the work, setting the scene for its opening as follows: ‘Medieval town – first daylight – on proud chargers knights sally forth ... the wonder of nature surrounds them ...' What was performed in Vienna in 1881 was a second, revised version of the symphony, which had actually already seen first light in 1874. In spite of the success of the revised version, further revisions took place before publication, resulting in the so-called ‘1888 version' recorded here. Although this remained the preferred version for several decades, it later became discredited, as it was assumed that the revisions it contained were the product of others than the composer himself. The rehabilitation of the 1888 version is to a large extent due to the efforts of the musicologist Benjamin Korstvedt, who in 2004 prepared the first modern edition of the 1888 version for the Bruckner Collected Works edition. In his liner notes to the present disc, Korstvedt discusses this background, giving a number of interesting illustrations of the differences between editions. It has been said that Bruckner took Beethoven's Symphony No.9 as the starting point for his symphonies. It therefore seems logical that Osmo Vänskä and his Minnesota Orchestra have chosen to record this work after their acclaimed cycle of Beethoven's symphonies. Re-released as a boxed set in 2009, the Beethoven recordings were described as ‘unquestionably one the great Beethoven cycles' on website ClassicsToday.com and ‘unswervingly rewarding' in Classic FM Magazine, while the reviewer in American Record Guide found it ‘hard to think of a more distinguished Beethoven cycle by an American orchestra since the legendary Toscanini traversal of 1939. |
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Label: COVIELLO CLASSICS SACD 30914 Our Price: $24.25 Quantity in Basket: none ANTON BRUCKNER (1824 – 1896) Symphony No. 6 in A major, WAB 106 In 2002 German-Brazilian conductor Marcus Bosch (b. 1969) was appointed General Music Director of the city of Aachen, which has a great tradition of conductors with predecessors like Fritz Busch, Herbert von Karajan and Wolfgang Sawallisch. Bosch appeared also as guest conductor at Teatro Filarmonico Verona, Orchestre National de Belgique, Deutsche Kammerphilharmonie Bremen, MDR Sinfonieorchester, Deutsches Symphonie Orchester Berlin, Sächsische Staatskapelle Dresden, and Orchestra Nazionale della RAI Torino. Marcus Bosch and the Aachen Symphony Orchestra continue their extremely successful series of Bruckner recordings with the Sixth Symphony. Bruckner himself considered this symphony to be his "boldest symphony". |
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Label: COVIELLO SACD 30509 Our Price: $24.75 Quantity in Basket: none Symphony No. 5 in B flat major In its final shape the Fifth Symphony can be viewed as an attempt by Anton Bruckner to demonstrate his technical abilities in a largely conceived form. So it was that Bruckner referred to the work as "my contrapuntal master-piece. Still, he was never to hear the work performed. At first glance it is evident that Bruckner employed the classical four movement form for his Fifth Symphony. Unusually the introduction does not serve to prepare thematic material to come; instead the material of the introduction appears often in the course of the movement. A peculiar restraint is evident in the first three movements of the symphony, and the tonal emphasis is weaker than in comparable movements of other Bruckner symphonies. As in the example of Mozart’s "Jupiter", the whole work revolves around the last movement, the longest of the piece, the luminosity of which is not allowed to be undermined by reaching the high point too soon. Bruckner begins this Finale with a short reprise of the themes from the slow introduction and the first and second movements, following the model of Beethoven’s Ninth Symphony. Then a broadly conceived fugue unfolds, the theme of which was previously played by the clarinet interwoven with the themes of the first movement. Bruckner's mastery goes beyond combining both fugues into a double fugue and the trumping of the Mozart model in complexity and enormity. More important is that the contrapuntal arts, as masterfully as they are applied, never become merely a goal in themselves, but serve to reveal the musical meaning of the first movement themes only at their reappearance in the Finale. All is here tied together, each musical idea pervades the others, and the beginning is seen retrospectively in a whole new light. Bruckner binds and unbinds themes and motifs within and between all four movements with a degree of rigour that even he never managed to achieve again. |
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Label: COVIELLO SACD 30614 Our Price: $24.75 Quantity in Basket: none Symphony Orchestra Aachen/Marcus Bosch (Live Recording) “Mr. Bruckner kills father and mother under the conviction it would have to be that way.” Anton Bruckner often had to listen to similar slander like this one from the review of his Third Symphony by the Vienna newspaper Wiener Abendpost. During its debut performance in December 1877, the disgusted audience left the hall in droves. It was said to be too bulky and that the confronted sound blocks worked against all listening habits. In this concert, a revised version was played according to Bruckner's not entirely correct idea of the audience's taste. The original version from 1874 he never was to hear at all. The radicalness of his Third Symphony, though, becomes especially clear in its original version that follows in the series of internationally reputed Bruckner interpretations played by the Symphony Orchestra Aachen and conducted by Marcus Bosch. |
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Label: COVIELLO SACD 30711 Our Price: $24.75 Quantity in Basket: none Symphony No. 9 in D minor with Finale (WORLD PREMIERE RECORDING of the completed performing version by Samale, Phillips, Cohr & Mazzuca, 1983-2007) His ninth symphony was somewhat of a complicated birth: Bruckner recoiled from its completion for years. Only very late in life, by now suffering from severe illness, did he continue his work with great enthusiasm. However, he could not complete the finale and the detailed drafts were already scattered to the four winds shortly after his death. In 1983, a team of composers, conductors and musicologists, namely Nicola Samale, Giuseppe Mazzuca, John Philips and Benjamin-Gunnar Cohrs, began to put the various original sources of the fragment in order. And now the time has come: The finale can be heard in a complete version for the first time. The virtuoso recording with Marcus Bosch and the sinfonieorchester Aachen on this striking SACD proves that for once, too many cooks have not spoilt the broth. |
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Label: COVIELLO SACD 30814 Our Price: $24.25 Quantity in Basket: none Symphony No. 4 in E flat major, WAB 104 "Romantic" (Original version from 1874) Sinfonieorchester Aachen/Marcus Bosch Live recording "Since, from a spiritual perspective, the current world situation is weakness, I seek refuge in strength and write powerful music." Anton Bruckner said this while working on his Fourth Symphony, which he himself titled "Romantic." The key musical symbol of this escape into the counter world of music, which Bruckner saw as romantic, is the horn, the instrument which represents yearning for nature and faraway places and plays a central role as solo instrument in the Fourth Symphony. Marcus Bosch and the Aachen Symphony Orchestra continue their extremely successful series of Bruckner recordings with his most popular and accessible symphony. They do not play the revised version performed almost exclusively today, but the original version from 1874. Glaring discontinuities, abrupt general pauses, the "organlike" sonorities in Bruckner's orchestral style – all these characteristic features of the work stand out much more clearly in this original version. |
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Label: FARAO SACD 108044 Our Price: $19.25 Quantity in Basket: none Verklarte Nact (Transfigured Night); Chamber Symphony No. 1 |
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