Erich Wolfgang Korngold

Seventeen brass players and three percussionists from Austria came together in Vienna to create an ensemble: the Vienna Brass Connection.

“Take One“, the ensemble´s first CD recording, features mostly film music.

Sony Classical celebrates the 85th anniversary of pianist Leon Fleisher with the release of ‘The Complete Album Collection’.

Leon Fleisher is considered a living legend among the coterie of distinguished American pianists who emerged in the late forties and early fifties. Students consider Fleisher the “Obi-Wan Kenobi of the piano,” and travel from all over the globe come to work with him or even just sit on his master classes.

On the podium, Fleisher championed a wide range of new music, starting with the Washington DC-based Theater Chamber Players, and later as the Baltimore Symphony Orchestra’s associate conductor. Fleisher also introduced innovative curriculum ideas during his respective artistic director tenures at the Tanglewood and Aspen music centers.

However, it was the piano that brought Fleisher into the public eye. A child prodigy who became Artur Schnabel’s youngest student at age ten, Fleisher went on to win first prize at the 1952 Queen Elisabeth Competition in Brussels, launching a major international career on the concert platform and recording studio.

In the mid-sixties, the onset of what was later diagnosed as focal dystonia in the right hand forced Fleisher to curtail his playing. As Fleisher sought a variety of remedies, he resumed concertizing with repertoire for left hand.

In a certain sense, the present complete collection of Fleisher’s recordings for Sony Classical and its predecessors (Epic and Columbia Masterworks) demarcates the personal and musical twists and turns of his career journey.

We hear Fleisher soon after his Brussels victory, followed by his now iconic Beethoven, Brahms, Mozart, Schumann and Grieg concerto collaborations with George Szell and the Cleveland Orchestra, along with highly acclaimed solo recordings.

Two discs represent Fleisher at the peak of his later career playing concertos and recitals for the left hand.

Lastly, Fleisher’s formidable gifts as a Mozart player as revealed in his C major K 503 concerto recording yielded further bounty with his two-handed return a half-century later in the K 242, K 414 and K 488 concertos featured on the collection’s most recent release.

As long as one can access recordings, the very sound of Fleisher’s musical legacy will continue to stand the test of time, and continue to enliven and stimulate music lovers and budding pianists.

This is the 4th concerto album of Arabella Steinbacher on PentaTone.

All three albums were unanimously reviewed as top of the bill. Gramophone selected the Bartok album as ‘Editor’s Choice’.

Arabella constantly travels the world to perform with major orchestras, so check her concert schedule on http://www.arabella-steinbacher.com/concerts.html for opportunities to do venue sales. Arabella is always happy to do signing sessions.

The new album features popular romantic works and make it a very commercial item.

This release of Erich Wolfgang Korngold’s Much Ado About Nothing and Sinfonietta follows Ondine’s release of the Symphony in F sharp and the Tänzchen im alten Stil (ODE 1182-2).

The complete incidental music from Much Ado About Nothing (Viel Lärm um Nichts) is a world première recording. It was premiered in 2012 under the direction of John Storgårds. Originally written for chamber orchestra, it is performed here by symphony orchestra.

The Sinfonietta was first performed by Felix Weingartner and the Vienna Philharmonic Orchestra. Richly orchestrated melodies, dreamy music and an imposing finale characterize the work.

John Storgårds, one of Finland’s most exceptional artists, has built a worldwide reputation in recent years. Storgårds is Chief Conductor of the Helsinki Philharmonic Orchestra and was appointed Principal Guest Conductor of BBC Philharmonic Orchestra in 2012.

Over four days of sessions in Hollywood during 1946 and 1947, Jascha Heifetz and his regular accompanist Emanuel Bay recorded this evocative series of encores. The repertoire was wide-ranging, and included three Spanish pieces by Sarasate, Nin and Ernesto Halffter, all delectably played, in his only recordings of them. He turned also to his own transcription of Bax’s Mediterranean as well as to staples such as Rimsky-Korsakov’s dazzling Flight of The Bumble-Bee. Throughout, Heifetz’s bowing, pizzicati, double stops, glissandi and inimitable portamenti grace these pieces with incredible freshness.

Mark Obert-Thorn, reissue producer and audio restoration engineer

‘Operatic justice’, writes J.B. Steane in his informative and amusing note for this album, ‘is a law unto itself, and the baritone has been prominent among its victims. Unlucky in love, he is seen in the most favourable light as a father-figure and is otherwise all too often the villain of the piece. He may be manly but is rarely heroic. He will have his arias, his moments of glory, yet (uncannily, it must seem to him) their place is rarely at the centre of the opera, or for that matter, part of its last-act climax.’

Beginning with a bracket of Mozart arias, this colourful recital, recorded by Matthias Goerne in 2000, takes us through the terrains of mid- and late-19th century opera – Wagner, Humperdinck, Richard Strauss – to the early 20th-century with the moving ‘Mein Sehnen, mein Wähnen’ from Korngold’s Die tote Stadt, to two brief excerpts from Berg’s Wozzeck.

Matthias Goerne both works within the tradition and extends it. Like his predecessors, from Schlusnus to Fischer-Dieskau, he has developed his careers in opera and song side by side, though it is true that his fame and hitherto his work as a recording artist have centred less on opera than on Lieder and oratorio. His operatic recording debut was spotted by Gramophone magazine and described as ‘an impressive appearance’, as Prometheus in the large cast of Braunfels’s Die Vögel.

Best-selling Scottish virtuoso Nicola Benedetti moves dramatically from the 18th-century world of Italia to the 20th-century world of cinema.

As a long-time champion of the lush Violin Concerto by the great stage and screen composer Erich Wolfgang Korngold, Nicola Benedetti has chosen to build a programme around his late Romantic concerto masterpiece.

This unique collection of violin classics, written specifically for the movies, includes the poignant lament from Schindler’s List.

Dmitri Shostakovich, recognised as the Soviet Union’s greatest film composer, is represented by the beloved Gadfly Romance, as well as the similarly lyrical Andante from the film The Counterplan

The contemporary British cinema is represented by the haunting main theme and specially-composed Fantasy for Violin & Orchestra from the 2004 hit Ladies in Lavender