Label: NMA 5
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ARNOLD SCHOENBERG: Vier Lieder, Op. 2; RICHARD STRAUSS: From Op. 39: Leises Lied
RICHARD WAGNER: Fünf Gedichte von Mathilde Wesendonck
HUGO WOLF: Four Mignon-Lieder
MAX REGER: From Op. 76 Schlichte Weisen: Maria Wiegnelied; Mausefangen; Zum Schlafen

SoLveig Kringelborn, soprano; Malcolm Martineau, piano
They have performed them in concert for many years. But now Solveig Kringelborn and Malcolm Martineau have finally released their CD with German lieder. The lineup includes songs by Arnold Schoenberg, Richard Strauss, Richard Wagner, Hugo Wolf and Max Reger – some of the foremost German composers, in other words. It is above all this musical landscape that Solveig Kringelborn has frequented during the past number of years. Kringelborn made such an impression as Eva in Richard Wagner’s “Meistersinger von Nurnberg”, that the New York Times wrote in conjunction with her performance at the Metropolitan Opera: “To hear her sing is like having a bird warm in one’s hand”.
SACD/Hybrid

Label: TALENT SACD 70
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Concerto for Piano and Orchestra No. 2, Op. 38; Quintet for Piano and String Quartet, Op. 64

Diane Andersen, piano
Danel Quartet
Staatliches Philharmonie Orchester Halle/Hans Rotman
Diane Andersen is Honorary Professor of the "Conservatoire Royal de Musique" of Bruxelles and Mons (Belgium). She is a very sought after teacher and is frequently invited for conferences and master classes the world over. Her students are prize winners in international competitions and/or teaching in the highest institutions in Belgium and abroad. Diane Andersen is an esteemed jury member in main international competitions. President of "EPTA-BELGIUM W-B" (European Piano Teacher's Association) EPTA Vice president Honorary Member of the "BEETHOVEN Piano Society of EUROPE"

Label: TALENT SACD 90
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Concertino for Oboe, 2 Horns and Strings in A major, Op. 15 "Idillio"; Suite-Concertino for Bassoon and 2 Horns in F major, Op. 16; Concertino for English horn and strings, Op. 34.

Piet van Bockstal, oboe; Luc Loubry, bassoon.
Westsachisches Symphonie Orchester/Hans Rotman
Piet Van Bockstal (b. 1963) studied at the Royal Academy in Brussels and obtained first price oboe, english horn, solfège, transposition and chamber music and higher certificate oboe with great distinction in the class of Paul Dombrecht. He continued studying with Hansjörg Schellenberger (Berliner Philharmoniker), John Anderson (Philharmonia Orchestra London) and others. He was a laureate in several national and international contests: the Tenuto-concours, the Orpheus contest for contemporary music, the trumpet concours in Eindhoven, the CERA-price Youth and Music Flanders (as best young performer). Luc Loubry (b. 1954) finished his studies at the Royal Flemish Music Conservatoire in 1975 with special distinction. In 1980 he won the second prize of the Concours International d'Exécution musicale in Geneva. He played in the former symphony orchestra of Belgian Radio, and since 1976 has been principal bassoon with the Belgian National Orchestra and plays with several chamber music ensembles.
Read Musicweb International Review

Label: MUSICAPHON SACD 56886
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WOLFGANG AMADEUS MOZART: Bassoon Concerto in B flat major KV 191; Violin Concerto No. 1 in B flat major KV 207
JOSEPH HAYDN: Symphony A (Hob.I:107); Symphony B (Hob.I:108)

Sergio Azzolini, bassoon; Freidemann Wezel, violin and director
Ensemble “Il capriccio”
The works selected for inclusion here each share a common feature; they represent the earliest efforts by two foremost masters of the Classical period in the genre of Concerto and Symphony. We have here two of Mozart’s earliest essays in solo concerto form, while from Haydn, whose prodigious output of symphonies number from 1 to 104, there are an additional early pair that have come to light in comparatively recent times. A special feature of these performances is that a bassoon has been used to double the bass-line throughout – and that uniquely it is from this instrument that they are all directed. These days many recordings that purport to have been made on ‘original instruments’ have in fact been made on modern reproductions. On this record we can savour the sound of an authentic ‘period’ instrument built around the turn of the 18th and 19th century by Kaspar Tauber (1758 - 1831), a distinguished maker active in Vienna from before 1794; some thirty of his bassoons and contrabassoons are preserved today. These performances will be found to demonstrate how the addition of a ‘period’ bassoon to the orchestral tutti will unobtrusively lend a subtle element of body and clarity to the bass line.

Label: GLOSSA SACD 922204
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Symphony No. 1 in A flat major, Op. 55; The Kingdom, Op. 51: Prelude

Flemish Radio Orchestra/Martyn Brabbins
Elgar on Glossa? And why not, when it brings together one of the UK’s leading conducting talents in Romantic music, Martyn Brabbins with the committed advocacy of an orchestra rising superbly to the technical challenges of the First Symphony with both spontaneity and energy: the Flemish Radio Orchestra, who here make there second appearance on the label. Brabbins is an ideal director to be at the helm of a work that sits comfortably in the Late Romantic European tradition of orchestral music and for marshalling the forces which can shed new light on a work from outside the grand performing practice of the British orchestras. In this 150th anniversary year of Edward Elgar’s birth it is surely right – as well as artistically exciting – to hear how musicians from outside the UK approach one of the masterpieces of the composer, the son of a piano-tuner and born in the village of Broadheath outside Worcester in England. Indeed, Colin Anderson’s perceptive booklet article has more to say on the positioning of Elgar in the general scheme of European musical history. To accompany the First Symphony conductor and orchestra have added an engaging rendition of the Prelude to The Kingdom, Elgar’s oratorio, completed in 1906, two years before he finished his First Symphony; both mature statements from Britain’s finest.

Label: COVIELLO SACD 40801
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Rundfunkchor Berlin/Stefan Parkman
The distinguished German composer and pedagogue, Ernst Pepping, began to study composition at the Berlin Hochschule für Musik with Walter Gmeindl. In 1934 Ernst Pepping was appointed professor of music theory and composition at the Protestant Kirchenmusikschule of the Johannes-Stift in Berlin-Spandau. From 1935 to 1938 he lectured at the Berlin Hochschule für Musik. In 1947 (or 1953) he was nominated Professor for Church Music and, being appointed as professor of composition at the Berlin Hochschule für Musik, held his lectures until 1968. Ernst Pepping is regarded as one of the most important Protestant composers mainly for sacred music of our time. By virtue of his lifelong association with Lutheran Church culture, Pepping acquired a profound understanding of German polyphonic music, both sacred and secular. He wrote a-cappella masses and motets. He was a significant composer of German chorales (for example the Spandauer Chorbuch) but also selected secular vocal works, a considerable quantity of organ music as well as compositions for orchestra (including 3 notable symphonies) and chamber music works. A neo-Baroque penchant is discernible in all of his works.

Label: CYBELE SACD 160403
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Six Bagatelles, Op. 5 (1938); Huit inventions pour piano (1937); Ciaccona dei tempi di guerra (1943); Short piano piece (1951); Fünf Bagatellen für Klavier

Thomas Gunther, piano

Erich Itor Kahn was born on July 23, 1905 in Rimbach (Odenwald). He went to the piano pedagogue Paul Franzen in Frankfurt, first privately and then as his pupil at the Hoch'schen Conservatory, where he also received instruction in composition from Waldemar von Bausznern and subsequently from Bernard Sekles. Starting in 1919, Erich Itor Kahn began to give piano recitals in which he played the works of Bach, Beethoven, Schumann and Brahms as well as contemporary composers such as Debussy and Ravel and also later his own compositions. In 1928, after concluding his studies, he was engaged by Hans Rosbaud as pianist, harpsichordist, composer and arranger at Southwest German Radio Service, i.e. Radio Frankfurt. Kahn became Rosbaud's most important employee and among the various duties he assumed was attending to the needs of the composers who Rosbaud invited to attend performances of their works, such as for example Igor Stravinsky, Anton Webern, Bela Bartók, Albert Roussel and in particular Arnold Schoenberg. On January 29, 1930, Kahn played Schoenberg's Klavierstücke op. 23 and the premiere of op. 33a, as well as accompanying the singer Anna Valle in "The Book of Hanging Gardens". Schoenberg gave the performance enthusiastic applaus. When Schoenberg held a lecture on his Variations for Orchestra, op. 31 at Radio Frankfurt, it was Kahn who played the musical examples at the piano.

Label: ARS PRODUKTION SACD 38004
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From Holberg-Suite, Op. 40: Praludium, Sarabande, Gavotte, Air & Rigaudon
From “Lyric Pieces”: Abend im Hochgebirge, Op. 68/4; Zug der Zwerge, Op. 54/3; Hochzeitstag auf Troldhaugen, Op. 65/6 & An der Wiege, Op. 68/5
Sonata in E minor, Op. 7
Peer-Gynt-Suite No. 1, Op. 46

Martin Schmeding, organ
Few composers attained during their lifetime a popularity comparable to that of Edvard Grieg. Numerous arrangements of his most famous works, for example the “Peer Gynt Suite” or the “Lyric Pieces”, have made his music accessible to a large audience. Despite this general recognition Grieg was plagued throughout his life by self-doubts. He found it difficult to accept that his genius and creativity lay in small forms, written in a classical-romantic musical language coloured by Norwegian influences and skilfully exploited, rather than in symphonic dimensions. On top of these musical difficulties came problems with his health and his private life. Moulded by a conservative bourgeois family and a conventional musical education at the Leipzig Conservatory, Grieg rejected a revolutionary attitude to musical development, such as can be found for example in the compositions of his contemporary Richard Strauss. He nevertheless found in his central works his very own formal and sonorous solutions. Grieg saw himself – contrary to great masters like Bach, Mozart and Beethoven – as a composer of his time writing for the contemporary audience. The constant popularity of some of his works surely testifies with hindsight to the quality of his inspiration and lets the epithet “Master of the Miniature” appear in a positive light. Because of the secular content of most of the works by Edvard Grieg, an arrangement for organ does not at first suggest itself. Nevertheless the musical structure and extremely varied coloration of numerous pieces make them adequately portrayable, with great technical and sonorous charm, by the “King of the instruments”. - Martin Schmeding

Label: NEOS SACD 10803
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Das erschwiegene Wort!... ausgeweitet… for solo percussion and orchestra (1993/1994)

Yuko Suzuki, percussion
SWR Sinfonieorchester Baden-Baden un Freiburg/Olaf Henzold
Interferenza mente sovrapposizione for violoncello, orchestra and live electronics (1988 – 1990)

Werner F. Selge, cello
SWR Sinfonieorchester Baden-Baden un Freiburg/Lothar Zarosek
Experimentalstudio des SWR

Label: STERLING SACD 1084
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EYVIND ALNAES (1872 – 1932)
Symphony No. 1 in C minor, Op. 7
Symphony No. 2 in D major, Op. 43

Latvian National Symphony Orchestra/Terje Mikkelsen
Eyvind Alnæs' place in the history of Norwegian music has first and foremost been secured by his many beautiful songs. The two symphonies presented to a modern audience for the first time on this disc will compel us to re-evaluating our image of the composer.
WORLD PREMIERE RECORDINGS!!!