Olivier Eugène Prosper Charles Messiaen

When it was announced that Leonard Bernstein was the become the new conductor of the New York Philharmonic in November 1957, Claudia Cassidy in the Chicago Daily Tribune wrote that it was “no great surprise” but injected a note of caution: “wish him luck, because no one needs it more than the musical director of a symphony orchestra.”

It turned out to be an inspired appointment. This set demonstrates what it was in about his music making and his personality that led the New York Philharmonic’s directors to choose him. It includes extensive recorded documentation of Bernstein’s career up to the time of his nomination in New York, mostly in live performances and rehearsal segments, working on music ranging from Mozart to Messiaen.

Bernstein’s work after his appointment to the NYP is represented in this set by performances of American music given as part of his “Survey of American Music” in the 1958–9 season (Fine, Harris and Piston), along with Copland in 1957 and Diamond in 1961; the 1959 recording sessions for two of his favourite twentieth-century classics (Shostakovich’s Fifth Symphony and Copland’s Billy the Kid) which show conductor and orchestra at their most efficient and effective; and hitherto unpublished live performances of music by Bartók, Beethoven, Chávez, and Mahler.

Grammy® Award-winner Gloria Cheng brings an exquisite array of touch to this programme which couples the first mature works of Olivier Messiaen with the darkly radiant music of Kaija Saariaho. The Calder Quartet joins Ms. Cheng for Saariaho's 2003 trio 'Je sens un deuxième coeur' and Messiaen's 'Pièce pour piano et quatuor à cordes'. Saariaho attended this first recording of her ‘Ballade’ and ‘Prelude’.

"This album portrays the connections I perceived between, as Peter Sellars describes in his liner notes, 'these most feminine works in Messiaen's entire catalogue,' and the deeply expressive, passionate music of Kaija Saariaho. I am thrilled to have the Calder Quartet, with whom I've joyfully collaborated for many years, join me in this endeavor." - GLORIA CHENG

“One of our most gratifying Messiaen pianists...she phrased with warmth and made the piano resound in a way that made Messiaen irresistible.” Los Angeles Times

“Gloria Cheng is a celebrity: an invaluable new-music advocate and a preferred collaborator of composers like Pierre Boulez and Esa-Pekka Salonen.” New York Times

“one of the heroes of the new-music world, an energetic and imaginative artist whose tastes range widely across the contemporary landscape.” San Francisco Chronicle

Music in the early 20th century did pass from one medium to another, from late Romanticism into an unknown future. Refractions allows the listener to sample this transition through the choral music of four very different composers.

La folie française is an odyssey of the French classical composers from the 19th Century (Georges Bizet, César Franck…) to nowadays (Pierre Boulez, Henri Dutilleux…), as well as the golden age (Satie, Debussy, Ravel or Saint-Saëns), reflecting the concert’s programme.

It’s a great opportunity to hear such masterpieces of this prolific period in the history of music as “La Mer” by Debussy, Bizet’s “Carmen suite”, the “Bolero”, two “Gnossiennes”, “L’Apprenti sorcier” by Paul Dukas (best known for being used in Fantasia’s soundtrack), César Franck’s violin sonata… and the more unusual Oboe sonata by Charles Koechlin, d’Indy’s “Symphonie sur un chant montagnard français”, and works by Chausson and Séverac. French melodies by Massenet, Duparc and Hahn, jazzy classical pieces of Darius Milhaud and Jean Wiéner, and great symphonic works by Poulenc and Roussel complete this compilation of 64 tracks and over 5 hours of music, all served by the greatest performers: Samson François, Michel Plasson, Jean Martinon, Alexandre Tharaud, Georges Prêtre, Anne Queffélec, Augustin Dumay, etc

This seventh installment of the Anthology of the Royal Concertgebouw Orchestra (2000- 2010) covers a period in the orchestra's history largely characterised by changing perspectives in a new century. Indeed, it was in 2004 that Riccardo Chailly relinquished his position as chief conductor after a 16-year-long tenure, whereupon the orchestra managed to forge what would be a long-term relationship with the renowned maestro Mariss Jansons. A specialist in Romantic, and particularly Italian, opera repertoire, Chailly was also an advocate of the modern classics and of contemporary music. His collaboration with the RCO resulted in internationally acclaimed recordings of works by such composers as Varese, Stravinsky and Berio.

The Latvian maestro Jansons, a passionate orchestral conductor particularly of the late Romantic repertoire, shifted the orchestra's focus more towards Tchaikovsky, Richard Strauss and Shostakovich, invariably endeavouring to strike a careful balance between clarity of form and aesthetics. In addition, Jansons successfully continued the tradition of high-profile co-productions between the RCO and De Nederlandse Opera with performances of Shostakovich's 'Lady Macbeth of the Mtsensk District' and Tchaikovsky's 'Yevgeny Onegin'. The orchestra itself also underwent changes. A generation of orchestral players, including the illustrious principal wind instrumentalists who had laid the foundations for the Netherlands Wind Ensemble, retired and were succeeded by a group of outstanding young musicians, most of them hailing from outside the Netherlands, resulting in a growing internationalisation of the RCO. There were also changes in the orchestra's business and artistic management and its concert programming policy also saw a shift in direction. The 'Picasso/Rembrandt formula' was retired to make way for the new A Series, featuring more firmly embedded contemporary, often Dutch, repertoire. The launch of the orchestra's own in-house record label, RCO Live, breathed new life into its rich recording tradition. The identity of a modern, 21st-century orchestra would be further bolstered by the RCO's active online presence, its own Web channel, effective use of social media, and the successful digital platform RCO Universe, a novelty in the orchestral world. This CD box set constitutes the final volume of the Anthology of the Royal Concertgebouw Orchestra, a musical journey through time in seven installments, each made up of fourteen CDs of live concert recordings. Drawing on the wealth of recordings in the Dutch public broadcasting network archives, the compilers set out to create a colourful historical overview and sound mosaic whilst doing justice to the unique history of the orchestra from 1935, the year from which its oldest surviving radio recording dates. Repertoire, performance, conductors, soloists and recording quality were the criteria which, in the proper interrelationships, proved to be decisive. Working to document such a vast musical legacy has been a privilege, the compilers having been aware that the making of choices brings with it the duty to showcase as many aspects of this rich history as possible.

The compilers wish to dedicate this series to all the musicians who have been part of the orchestra over the past 125 years. It is hoped that all seven volumes will be re-released as a 'superbox' to celebrate the RCO's anniversary.