Samuel Barber

The three works for violin and orchestra gathered here testify both to the versatility of Vadim Gluzman as a performer and to the richness and variety of the influences at play in American music during the 20th century. Like the text by Plato which inspired it, Bernstein's Serenade, from 1954, is a series of statements in praise of love. Musically it is typical of its maker, with allusions both to his own music and to works by Bartók, Mendelssohn and Stravinsky, and with a hint of jazz in the finale. Composed some thirty years earlier, Ernest Bloch's Baal Shem turns to the Jewish culture of Eastern Europe, dealing specifically with aspects of the Chassidic movement. Its second movement, Nigun (Improvisation) is probably Bloch's most famous work for the violin, an attempt to recreate the ecstasy generated by fervent religious singing. Samuel Barber, on the other hand, was deeply fascinated by the music of J.S. Bach and Brahms, although this is not always obvious in his music. His Violin Concerto, which he began to compose in Switzerland in 1939, while war was breaking out in Europe, has been described as having 'a chastened and aristocratic classic style'. That violinist Vadim Gluzman possesses the musical convictions and the supreme command of his instrument to do justice to all of these works will be clear to anyone who has encountered his previous concerto disc, with works by Tchaikovsky and Glazunov. The recipient of numerous distinctions, it was glowingly reviewed, for instance in International Record Review: 'The variety of tone, lithe, sinuous and febrile ... is truly exceptional.' Gluzman is here supported by the São Paulo Symphony Orchestra (OSESP) under John Neschling, a team that has demonstrated its versatility on a number of recordings ranging from Villa-Lobos' Choros to Liszt's piano concertos.

A brand new release from Dame Felicity Lott, with Graham Johnson at the piano.

Described as “The Queen of English Classical”, here Felicity Lott, known as “Flott” to her friends”, performs a selection of lighter repertoire, from Cole Porter to Ivor Novello, Coward, Barber and Berlin.

Well-known and loved the world over for her musicality, beautiful tone, easy ascents into the upper register, and superb delivery, here Dame Felicity is expertly accompanied by Graham Johnson, who also provides us with extensive and well-written booklet notes.

Some of the most celebrated recordings from Harry Christophers and his award-winning ensemble. Equally appealing to fans of The Sixteen and those who are new to the group, this disc provides a definitive collection of familiar classics and lesser-known treasures.

This new recording by the Atlanta Symphony Orchestra conducted by Robert Spano bears the title “Transmigration”, and is a collection of hymns and requiems for those we wish to honour and remember.

The featured pieces are Samuel Barber’s universal expressions of loss, “Adagio for Strings” and the vocal transcription “Agnus Dei”, John Corigliano’s “Elegy” to lost youth, Jennifer Higdon’s setting of poetry about Abraham Lincoln, “Dooryard Bloom”, and John Adams’s reflection of personal grief for the victims of the World Trade Centre tragedy on September 11, 2001, “On the Transmigration of Souls”. The ASO is joined on this piece by the Gwinnett Young singers and the soloist in “Dooryard Bloom” is the baritone Nmon Ford.

Robert Spano is recognised internationally as one of the brightest and most imaginative conductors of his generation. His achievements include a 2005 Grammy Award (“Best Choral Album”) for Berlioz’s Requiem and two 2003 Grammy Awards (“Best Classical Album” and “Best Choral Album”) for Vaughan Williams’s A Sea Symphony.

Nathan Gunn was born in 1970 at South Bend, Indiana. He has appeared in many of the world's well-known opera houses including the Metropolitan Opera, Royal Opera House, Covent Garden, Paris Opera, Bayerische Staatsoper, Glyndebourne Festival and the Theatre Royal de la Monnaie in Brussels.

The music here runs the entire gamut of American song, from folksong arrangements to familiar art songs, from crossover ballads and patriotic anthems. Well-known names from more serious music such as Ives, Copland, Barber and Rorem share company with composers of more popular repertoire such as Bolcom, Gorney and Scheer.

Gunn sings everything with a seemingly endless flow of gorgeous sound; he is sensitive to the words and changing moods, and above all, shows an evident love of the music.

Kate Royal’s second recording for EMI Classics is Midsummer Night, an atmospheric recital collection focusing on female characters in 20th century opera and operetta, reflecting their pain and ecstasy in love. The programme ranges from well known turn-of-the-century works by Dvorák (Song to the Moon from Rusalka) and Lehár (Vilja from The Merry Widow) to Midsummer Night, from the English composer William Alwyn’s opera Miss Julie. Edward Gardner conducts the English National Opera Orchestra with guest appearances by Thomas Allen, Andrew Staples and the Crouch End Festival Chorus.

"[My] Inspiration for this album began with Benjamin Britten's The Turn of the Screw and the Governess - my first major role in a 20th century opera,” said Kate Royal. “The music got under my skin in a way I had not experienced before. Britten's vocal writing is immediate and naturally dramatic. His harmonic world seeps into the subconscious underpinning the character as a fully formed human being rather than a romantic stereotype. So, with the Governess’s Tower Scene as a starting point, I went in search of other arias that shared this combination of intensity and abandon. These are worlds in which the heroines are laid bare, vulnerable in their journey towards emotional fulfilment … women lost in love [or] trapped in a deeper trance-like state as they wrestle with their unsated desires. … Alongside some of the century's seminal works I [was] also delighted to discover what I believe to be some hidden gems for the soprano voice."

Stephen Johns, Vice President of A&R, EMI Classics, has also commented on the choice of repertoire, "The selection of songs for this recital is illuminated by their composers’ reactions to the changing musical scenes of the 20th century. All the arias were written after 1900, but each composer has found a different and unique way of coping with the transition into the century. Some are still firmly rooted in the lush harmonies of the 19th century like Dvorák and Korngold; some even clinging onto the innocence of the past world, such as Léhar. Others are experimenting with newer harmonies - the exoticism of early Stravinsky, and the aching beauty of Walton and Alwyn's music. Still others find new life in the old harmonic structures - Britten and Floyd. What binds them together, in a programme that coincidentally emphasises the nocturnal, the close of the day, is a desire to allow the soprano voice fully to express beauty in melody ….”

Among the lesser known arias on Kate Royal’s CD are those from operas by the English composer William Alwyn and American composers Bernard Herrmann and Carlisle Floyd: William Alwyn (1905-1985) based his only major opera, Miss Julie, on August Strindberg’s tense and intimate drama of class and sexual relations from 1888. Composed between 1973 and 1976, Miss Julie was premiered on BBC Radio in 1977, but has had only one semi-professional stage production, in Copenhagen in 1991; Bernard Herrmann’s many film scores, notably his collaborations with Orson Welles (Citizen Kane), Alfred Hitchcock (Psycho) and Martin Scorsese (Taxi Driver), have diverted attention from his other musical achievements. He was particularly proud of Wuthering Heights, his major opera to a libretto by Lucille Fletcher (his first wife), based on Emily Brontë’s novel. Herrmann (1911-1975) composed it between 1943 and 1951, but the opera was not staged until 1982, seven years after his death; The American composer Carlisle Floyd (b 1926), whose own version of Wuthering Heights was premiered in 1958, has produced a steady stream of operas over a period of fifty years, a couple of which have become staples of the American repertoire. His greatest success has been Susannah, based on the story in the Apocrypha of Susannah and the Elders translated to a contemporary Bible-belt setting. First staged at Florida University in 1955, the opera has been performed predominantly by American companies, notably the Metropolitan Opera in 1999.

"She is a natural communicator, has all the ingredients for an important career – musicality, a lyric soprano of rare loveliness, a poised and dignified manner and looks gorgeous too" The Sunday Times

Variations on America presents a programme that includes both the well-known works of the American organ repertoire alongside pieces that are welcome discoveries for the listener.

Copland’s The Preamble (For a Solemn Occasion) and Charles Ives’s Variations on America are two large works that are well known in the organ repertoire. Ives’ Variations on America is accompanied by two fugues which here receive their first recording and Organ Prelude on Adeste Fidelis, in many respects quintessential Ives. The disc is completed by several world premieres including Cowell’s Hymn and Fuguing Tune No.14, Barber’s Prelude and Fugue in B minor and Stephen Paulus’s Triptypch.

Iain Quinn’s previous recordings for Chandos have been well received. The Welsh organist, choral director and composer now resides in the US as Director of Cathedral Music and Organist at the Cathedral Church of St John in Albuquerque, New Mexico and he now turns his attention to the organ music of America.

This recording from Coventry Cathedral should prove a fascinating and rewarding collection.

On 6th April 2009 the musical world celebrated the 80th birthday of one of the most versatile of musicians. Born in Berlin, Andreas Ludwig Priwin, he started piano lessons but in 1938 he, along with his family, has to flee Nazi oppression first to Paris and then to Los Angeles where in 1943 he became a naturalised citizen. Amongst his music teachers was Mario Castelnuovo-Tedesco and in 1946, aged 17, he began work for MGM as an arranger for films. He also made a name for himself as a progressive jazz pianist, a skill he maintained throughout his career. He had his first experience of recording with Sunset Records whilst still at high school and at 18 had his first recordings on RCA Victor.

Among his credits as either arranger, composer, conductor or music director include Three Little Words (1950) with Fred Astaire, Kiss me, Kate (1953) and Silk Stockings (1957). In 1958 received the first of four Oscars, from no less than thirteen Academy nominations, for his work on Gigi; which was followed by Porgy & Bess (1959), Irma la Douce (1963) and My Fair Lady (1964) – tunes from which he made a highly successful crossover album of jazz interpretations; other films on which he worked include Bells are Ringing (1960), Four Horsemen of the Apocalypse (1961), Elmer Gantry, Paint Your Wagon (1969) and The Music Lovers (1970).

In 1962 he started to move away from Hollywood to become a full-time classical conductor and in 1968 he was appointed principal conductor of the London Symphony Orchestra. In May and June 1971 he made his first recordings for EMI Classics SHANKAR: Sitar Concerto No.1 with the composer as soloist and GERSHWIN: Rhapsody in Blue, Piano Concerto and An American in Paris with Previn as soloist in the first two works.

The latter album became an instant bestseller and was rightly included in the series Great Recordings of the Century and it appears in this tribute.

Over the following years he recorded an enormous range of music from Victorian Ballads through the three complete ballets of Tchaikovsky (Swan Lake, The Sleeping Beauty, The Nutcracker) and an unforgettable Romeo & Juliet and Cinderella of Prokofiev to major choral works such as Walton: Belshazzar’s Feast and Rachmaninov: The Bells for which he received Grammy Awards. He was also a sympathetic accompanist and made many fine recordings with Itzhak Perlman. Of the symphonic repertoire he has the highest reputation in Rachmaninov, whose second symphony brought him several awards, Shostakovich and Messiaen. He also relished performing both British and American music with fine performances particularly of Holst: The Planets and Egdon Heath and was selected to make EMI’s first digital recording – Debussy: Images and Prélude à l’après-midi d’un faune.

During his tenure of the LSO post he and the orchestra appeared in the André Previn’s Music Night which brought so much music as well as endearing personality into the living rooms throughout Britain. He also appeared in an unforgettable episode of the Morecambe and Wise Show on BBCTV in 1971. Morecambe calling him “Mr. Andrew Preview” he then conducted a spoof performance of Grieg’s Piano Concerto with Morecambe as soloist. His talent to perform comedy won great praise from his co-performers. He gave up the LSO position in 1979.

Previn’s other appointments include music director of the Pittsburgh Symphony Orchestra (1976-1984) where he had another TV series; principal conductor of the Royal Philharmonic Orchestra and music director of the Los Angeles Philharmonic. However he spent more time composing including collaborating with Tom Stoppard on Every Good Boy Deserves Favour in 1977 while his first opera, A Streetcar Named Desire, was given its premiere at the San Francisco Opera in 1998.

He was appointed an honorary Knight of the Order of the British Empire in 1996 and may use the letters KBE. In 1998 he received the Kennedy Center Honors; in 2005 the International Glenn Gould Prize and in 2008 the Gramophone Magazine Lifetime Achievement Award.

This selection of chamber music by Samuel Barber (1910-1981) contains some of his most notable compositions. The youthful Cello Sonata of 1932; Excursions for piano from 1942-44 and the charming Summer Music for wind quintet, written in 1956, amply illustrate Barber's propensity to lyricism, making this a most appealing disc.