Gramophone Magazine Editor's Choice

September 2012

Disc of the Month

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1612 - Italian Vespers


Presto Disc of the Week

18th June 2012

Gramophone Magazine

Disc of the Month - September 2012



Catalogue No:




Release date:

4th June 2012




78 minutes


CD (download also available)
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1612 - Italian Vespers


Exaudi Deus

Gabrieli, A:

Benedictus Dominus Deus Sabaoth

Toccata del nono tono (I/12)

Gabrieli, G:

Magnificat à 20/à28 - Con il sicut locutus. In ecco.

reconstructed Hugh Keyte

In ecclesiis a 14

Gregorian Chant:

Versicle & Response

Versicle & Response and Collect of the feast


Ave maris stella

Ab aeterno ordinata sum


Quae est ista quae processit


Deus in adiutorium meum

Dixit Dominus

Laudate, pueri

Laetatus sum

O dulcissima Maria

Nisi Dominus

Lauda, Ierusalem



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Following their recording of Striggio’s Mass in 40 Parts from 1566, which racked up an astounding array of critical and commercial plaudits, Robert Hollingworth leads his maverick ensemble I Fagiolini on a new journey unearthing incredible lost works from the late Renaissance and early Baroque: 1612. The recording recreates a thanksgiving Vesper in commemoration of the famous Venetian naval victory at Lepanto in 1571, celebrated for over 200 years after the event in a new festival – The Feast of the Holy Rosary.

The title 1612 represents a year of momentous events: the death of the master of the ‘Massive Baroque’ and most brilliant of Venetian multi-choir composers, Giovanni Gabrieli; and thereby the apex of the fashion of multi-choirs. 1612 also marks the publication of Viadana’s collection of 4-choir Vesper Psalms, with a layout considerably more forward-looking than Monteverdi’s psalms in his 1610 publication. 1612 presents the world premiere recordings of Viadana’s Vesper Psalms and Gabrieli’s 28-voice Magnificat, surrounded by lost treasures from the glorious period of multi-choir music.

Read Presto's complete review of this disc here.

Lodovico Viadana: Versicle & Response: "Deus in adiutorium meum"

Versicle & Response: "Deus in adiutorium meum"

Anonymous, Lodovico Viadana: Antiphon 1 - "Dum esset rex in accubitu suo" - Psalm 109 - "Dixit Dominus"

Antiphon 1 - "Dum esset rex in accubitu suo" - Psalm 109 - "Dixit Dominus"

Bartolomeo Barbarino: "Exaudi Deus"

"Exaudi Deus"

Anonymous, Lodovico Viadana: Antiphon 2 - "Laeva eius sub capite meo" - Psalm 112 "Laudate pueri"

Antiphon 2 - "Laeva eius sub capite meo" - Psalm 112 "Laudate pueri"

Andrea Gabrieli: "Benedictus Dominus Deus Sabaoth"

"Benedictus Dominus Deus Sabaoth"

Anonymous, Lodovico Viadana: Antiphon 3 - "Nigra sum sed formosa" - Psalm 121: "Laetatus sum"

Antiphon 3 - "Nigra sum sed formosa" - Psalm 121: "Laetatus sum"

Lodovico Viadana: "O dulcissima Maria"

"O dulcissima Maria"

Anonymous, Lodovico Viadana: Antiphon 4 - "Iam hiems transiit" - Psalm 126 "Nisi Dominus"

Antiphon 4 - "Iam hiems transiit" - Psalm 126 "Nisi Dominus"

Giovanni Pierluigi da Palestrina: Quae Est Ista

Quae Est Ista

Anonymous, Lodovico Viadana: Antiphon 5 - "Speciosa facta es" - Psalm 147 "Lauda, Ierusamem"

Antiphon 5 - "Speciosa facta es" - Psalm 147 "Lauda, Ierusamem"

Andrea Gabrieli: Toccata del 9. Tono

Toccata del 9. Tono

Anonymous, Claudio Monteverdi, Francesco Soriano: Capitulum - "Ave, Maris Stella"

Capitulum - "Ave, Maris Stella"

Anonymous: Versicle & Response - "Dignare me"

Versicle & Response - "Dignare me"

Anonymous, Giovanni Gabrieli: Magnificat antiphon - "Beatam me dicent" - Magnificat à20.à28. "Con il sicut locutus. In ecco"

Magnificat antiphon - "Beatam me dicent" - Magnificat à20.à28. "Con il sicut locutus. In ecco"

Claudio Monteverdi: "Ab aeterno ordinata sum"

"Ab aeterno ordinata sum"

Anonymous: Versicle & Response And Collect Of The Feast

Versicle & Response And Collect Of The Feast

Giovanni Gabrieli: Extraliturgical Motet: In ecclesiis

Extraliturgical Motet: In ecclesiis

The Times

15th June 2012


“Once summoned to prayer, I stayed on my knees happily for almost 80 minutes, fully absorbed in the latest baroque blockbuster from Robert Hollingworth’s ensemble I Fagiolini...Everywhere on this exciting disc we find bold voices atmospherically recorded, standing tall in towering blocks of sound or curling in polyphonic raptures”

The Observer

24th June 2012

“The sound is sumptuous, the performances by I Fagiolini...utterly magnificent...the highlight is Hugh Keyte's reconstruction of Giovanni Gabrieli's electrifying 28-part Magnificat, complete with bells and fanfares, and his In ecclesiis, a sonic spectacular.”

Sunday Times

1st July 2012

“Hollingsworth seems inspired by the spirit of Tchaikovsky’s 1812, with his introduction of tolling bells, trumpet fanfares and cannon fire into the Magnificat, but it all sounds appropriate to the period when Monteverdi and his contemporaries brought a new sense of the spectacular to Italian religious music. A triumph!”

BBC Music Magazine

August 2012


“As we might expect from this group, the best performances come in those pieces requiring spacious grandeur and a generalised awesome sound - the works by Viadana particularly benefit here...There's fine soprano singing in Laetatus sum by Viadana, and a lovely cornett instrumental introduction to Barbarino's Exaudi Deus.”

The Telegraph

20th July 2012


“Plainsong antiphons, psalms by Gabrieli’s contemporary Lodovico Viadana, together with pieces by Monteverdi and others contribute to the textural variety of these Vespers, sung and played with I Fagiolini’s typical vitality, freshness and immediacy.”

Gramophone Magazine

September 2012

“Hollingworth's sincere attention to detail is a much-needed breath of fresh air...[his] impeccable delivery of extra-special crunch moments provides plenty of points to knock your socks can only relish I Fagiolini's gutsy soloists - none more so than the thrilling dialogue between high tenor Nicholas Mulroy and bass Greg Skidmore”

International Record Review

September 2012

“First-rate scholarship from Keyte, a welcome return of the 'liturgical recreation' and a wonderfully uplifting and educational experience all round.”

New York Times

23rd November 2012

“Among the most memorable musical events of last season was the New York Philharmonic’s performance of 20th-century spatial music in the Park Avenue Armory. With its recording of Italian vespers from 1612, the maverick English early-music ensemble I Fagiolini brings to life an earlier period of architectural music that reached its apogee 400 years ago”

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Editor's Choice

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Le Triomphe de l’amour

Le Triomphe de l’amour


Espoir des malheureux (from Idoménée)

Charpentier, M-A:

A-t-on jamais souffert une plus rude peine? (from David et Jonathas)


Pauvre nise! (from La Bohémienne)


Je romps la chaine qui m'engage

Le Tableau Parlant - Overture


Enfin, j’ai dissipé la crainte (from Acis et Galatée)


L’Amour est le dieu de la paix (from Anacréon)

Les Fêtes de Ramire: Sarabande

Je vole, amour (from Les Paladins)

Viens, hymen (from Les Indes Galantes)

Rebel, F:

Scanderberg: Overture

Tout est prêt (from Scanderberg)

Sacchini, G:

Que l’Eclat de la victoire se répande sur vos jours (from Renaud)

Sandrine Piau (soprano)

Les Paladins, Jérôme Correas

Soprano Sandrine Piau's new project is dedicated to French baroque repertoire, offering a wide range of very beautiful arias by Rameau, Lully, Campra etc in a 100-year journey that mixes very famous music with little-know pieces, such as arias by Grétry or Sacchini > Sandrine Piau and Jérôme Correas, a former singer, founder and music director of Les Paladins, have worked together on a regular basis since their early careers, especially with William Christie. This new release is the 10th recital of Sandrine Piau on Naïve and 2012 marks the 10th anniversary of our collaboration.

“The French music of seventeenth and eighteenth centuries has changed my life both literally and metaphorically: having trained as a harpist, I never imagined I might one day embark on a singing career. Nevertheless, in an incredibly fertile profusion of music, a series of encounters led me into this Baroque adventure where imagination and rigour call the tune, and permanently influenced my approach to all kinds of music.”

-- Sandrine Piau

“A hundred years of music: we offer our listeners a journey through the elegant language of the seventeenth and eighteenth centuries, the very special world of the tragédie lyrique and the opéra-comique, but also the evolution of two artists eager to pool their sensibilities and their taste for discovery.”

-- Jérôme Correas

“There are some unexpected treasures unearthed here, but Piau's gifts are nowhere more effectively employed than on Lully's “Enfin, j'ai dissipé la crainte”. She animates the narrative with a measured emotional turbulence that stretches the boundaries of its formal arrangement, a tension between propriety and hysteria resolved only in the poise of the final bars.” The Independent, 11th May 2012 ***

“delivered with that rapturous, floating tone that makes her so special. Jérôme Correas and Les Paladins are fabulous in this repertory, and there are some lovely dances by Rameau woven in between the arias. Beautiful stuff that leaves you wanting more” The Guardian, 7th June 2012 ****

“A cross-section of arias is presented, from the florid and flamboyant to the consoling and caressing. Sandrine Piau exhibits no signs of difficulty in the ascending and descending of the vocal ladders...the vocal hurdles are fearlessly surmounted by the soprano, her bright but not piercing tone glittering through the fioritura.” International Record Review, June 2012

“she brings her familiar pellucid, subtly varied tone and scintillating coloratura technique, together with a mastery of French declamation that tends to elude non-native speakers...As ever, Piau makes reams of routine-looking coloratura dramatically specific rather than an excuse for upmarket showing off.” Gramophone Magazine, September 2012

“Piau negotiates with true French panache both the vocal and emotional highs and lows. Her voice is as sensual as Piaf, poetic as Greco, and with a chameleon-like sensitivity to the dramatic context. There's volatile playing, too, from Les Paladins” BBC Music Magazine, October 2012 *****

GGramophone Magazine

Editor's Choice - September 2012

Naive - OP30532



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Bloch/Bruch: Schelomo, Kol Nidrei & other works

Bloch/Bruch: Schelomo, Kol Nidrei & other works

Bloch, E:


From Jewish Life

arr. for cello, strings and harp by Christopher Palmer

Voice in the Wilderness


Kol Nidrei, Op. 47

A dazzling orchestral disc of music from the Jewish tradition of the late-nineteenth and early-twentieth centuries. Bruch’s Kol Nidrei is one of the most well-loved works in the cello repertoire. The descending opening phrase of the cello line is instantly recognizable: a universal, extraordinarily expressive utterance.

The main part of the disc comprises the works for cello and orchestra by Ernest Bloch, all part of his ‘Jewish cycle’. The most famous is Schelomo, a work inspired by passages from Ecclesiastes, where the cello, playing a deeply lyric and speaking line of prodigious technical difficulty, can be seen as ‘the incarnation of King Solomon’, as Bloch himself wrote. The other large-scale work for cello and orchestra, Voice in the Wilderness, is of a darker hue. Both works reveal a composer whose works should be firmly in the canon of twentieth-century symphonic writing.

The cellist here is Natalie Clein, a celebrated figure in British musical life since winning BBC Young Musician of the Year in 1995 and now a formidable artist, possessed of great musical, technical and intellectual gifts.

“As one might expect, Clein delivers a powerfully committed performance, but also manages to avoid over-indulgence, negotiating the peaks and troughs of the music's volatile emotional language with a clear sense of direction...Volkov brings a welcome transparency to Bloch's languorous instrumentation in the reflective sections.” BBC Music Magazine, September 2012 ****

“one of the pleasures of the recital is the meeting of minds between orchestra and soloist, each perfectly partnering the other...It's a lovely piece of programming, tenderly performed.”, 22nd August 2012

“Clein's performance [of Schelomo] concentrates, most affectingly, on the atmosphere of deep introspection...thoughtful, subtle and satisfying, well supported by the passionate and spirited BBC Scottish SO...The Bruch, too, receives a lovely performance, with Clein bringing out the different colour of each of the cello's strings and the orchestra effecting most beautifully the transition from sombre to heavenly.” Gramophone Magazine, September 2012

“[Clein's] impassioned, sensitive playing finds willing collaborators in the BBC Scottish Symphony Orchestra and their former principal conductor.” Sunday Times, 15th July 2012

“She and Volkov give a performance of Schelomo (1916) that is very moving, both in its profound sensuality and in the pervasive sense of transience that gnaws at its vision of worldly glory...Beautifully done, [Kol Nidrei] brings the disc to a reflective close. Highly recommended.” The Guardian, 9th August 2012 *****

“Clein is the cello protagonist in all four works, her range of tonal colour, her animation and her discreet soulfulness proving to be ideal qualities...Kol Nidrei is one of the most beautiful works in the entire cello canon, a factor that this performance conveys in a blend of tranquillity and heartfelt ardour.” The Telegraph, 27th July 2012 *****

GGramophone Magazine

Editor's Choice - September 2012

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Hyperion - CDA67910


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Nielsen & Tchaikovsky: Violin Concertos

Nielsen & Tchaikovsky: Violin Concertos


Violin Concerto, Op. 33 (FS61)


Violin Concerto in D major, Op. 35

Vilde Frang (violin)

Danish Radio Symphony Orchestra, Eivind Gullberg Jensen

In her third release for EMI Classics the energetic young Norwegian violinist continues the idea of Nordic and Russian concerto pairings established with Sibelius and Prokofiev Concertos on her first album. Here the famous romance of Tchaikovsky’s well-loved violin concerto and Scandinavian poise and unique colouring of Nielsen’s concerto are presented in a rare coupling together on disc.

Danish composer Carl Nielsen wrote his violin concerto during the summer of 1911, in a small Norwegian lakeside hut belonging to fellow composer Edvard Grieg. The concerto is very close to Vilde’s heart, being written in her homeland Norway and premiered in Scandinavia by Danish violinist Peder Møller and the Royal Danish Orchestra. It is a work she is very keen to record and champion. The concerto is unashamedly developed around enticing melodies, giving it a delicacy and simplicity and conjuring up that sense of spaciousness which is so much a part of Scandinavia’s musical and physical landscape.

Tchaikovsky’s Violin Concerto needs little introduction and is perhaps the most famous of all violin compositions. It is also regarded as one of the most technically difficult pieces in the repertoire and so is a brilliant showcase for Vilde’s hugely assured virtuosity.

Vilde recorded her debut album with EMI at the age of 22. The recording of Violin Concertos by Sibelius and Prokofiev released in January 2010 was enthusiastically reviewed “rarely has this music sounded so tender, so intimate or so lyrical” (Financial Times) and Independent Record Review called her “prodigiously gifted”. The disc won Best Classical Release at the Norwegian Grammy Awards.

She has been compared to a young Anne-Sophie Mutter, with whom she often performs.

“Frang makes almost as much of a strange adventure out of the Tchaikovsky Violin Concerto as she does of Nielsen's typically quirky specimen...There can be no higher praise for Eivind Hullberg Jensen and his mellow, warmly recorded Danish orchestra than to say that they're unobtrusive but always likeable companions, matching Frang's chamber-musical sensitivies” BBC Music Magazine, August 2012 ****/*****

“You can hear more extroverted and confident performances of the Nielsen concerto elsewhere, but Frang’s elfin delicacy and honest individuality are compelling. And the concerto actually sounds like Nielsen’s here, which it too often doesn’t...Frang’s lack of nostalgia – her vigour, irreverence and imagination – makes her a vital and refreshing force.” Andrew Mellor,, 27th June 2012

“it's the individual moments [of the Tchaikovsky] that stand out. In the Canzonetta, her very quiet entry portrays a sense of fragility, yet before the end of the first phrase her playing has become uninhibitedly emotional...I found Frang's Nielsen quite a revelation...[she] emphasises the music's kaleidoscopic aspect, bringing out the poetic quality of many episodes...All in all, it's a most appealing performance.” Gramophone Magazine, September 2012

“Frang makes a bold impression with the Bachian multiple-stopping of the opening chords [of the Nielsen]...She brings an even greater spectrum of tonal colour and expressive shading to this music than her outstanding Danish counterpart Nicolaj Znaider...and her virtuosity is second to none...[the Tchaikovsky] deserves to stand beside classic versions” Sunday Times, 17th June 2012

*** The Independent, 16th June 2012

“Frang shows her mettle as soon as she touches Tchaikovsky’s first principal theme, inflected with dynamic dips and weavings guaranteed to make any listener sit up...Solid technique sees her through every peril Tchaikovsky offers, leaving her free to add wit to the dancing finale...The Nielsen itself brings its own special pleasures.” The Times, 1st June 2012 ****

GGramophone Awards 2013

Finalist - Concerto

GGramophone Magazine

Editor's Choice - September 2012

Warner Classics - 6025702



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Rachmaninoff: Moments musicaux

Rachmaninoff: Moments musicaux


Moments Musicaux, Op. 16

Études-Tableaux, Op. 33

Variations on a theme of Corelli, Op. 42

Xiayin Wang (piano)

With her winning combination of consummate technical brilliance, fine musicianship, and personal verve, the pianist Xiayin Wang captures the hearts of audiences wherever she appears. She is achiving high levels of recognision for her commanding performances as a recitalist, chamber musician, and orchestral soloist in such venues as New York’s Carnegie Hall and Lincoln Center. This is Wang’s second disc for Chandos Records. Her previous disc, of piano works by Earl Wild, was an ‘International Piano Choice’ in International Piano.

The six Moments musicaux constitute a set of solo piano pieces, each representing a different but complementary musical form, such as the nocturne, song without words, barcarolle, virtuoso étude, or variations. Although intended from the beginning as part of a set, each piece holds its own well, with individual themes and moods, ranging from the sombre funeral march of No. 3 to the majestic canon of No. 6. Revolutionary and grand in style, the Moments musicaux still retain the charm of Rachmaninoff’s early works: dense, rich in counterpoint, highly chromatic, poignantly nationalistic, deeply felt, and, of course, exceptionally challenging to the pianist.

The Études-tableaux were composed as ‘picture pieces’. Rachmaninoff never did disclose what inspired each piece, but stated: ‘I don’t believe in the artist that discloses too much of his images. Let [the public] paint for themselves what [the music] most suggests.’

The Variations on a Theme of Corelli was the last original solo piano work that Rachmaninoff wrote, and the only one he composed outside Russia. The theme of this cycle is actually not by Arcangelo Corelli (1653 – 1713), but an old Spanish-French folk dance. The Variations were written in 1931, the same year that the composer boldly denounced the Soviet Union, referring to its leaders as ‘Communist grave-diggers’. Stalin consequently banned Rachmaninoff’s music, but, recognising its more appealing and generally less radical nature, rehabilitated it three years later. The work is among several pieces that were later well received in Moscow.

“she fares extremely well in major solo works by Rachmaninov...Every one of the numbers in the Op. 33 Etudes-tableaux is vividly and incisively characterised, and she conjures a wonderful depth of feeling and range of keyboard colouring...The Corelli Variations here possess a poise, dignity and underlying melancholy that not every interpreter finds in this fascinating late work.” BBC Music Magazine, August 2012 *****

“Here, even in Rachmaninov's most savage and turbulent pages, is playing of an awesome clarity and poise. Xiayin Wang makes her chosen composer sound greater and more indelibly Russian than will surely be lost in wonder at Wang's pianistic but above all musical glory. Such playing underlines the pity one feels for those poor puritan souls still unable to appreciate such beauty.” Gramophone Magazine, September 2012

GGramophone Magazine

Editor's Choice - September 2012

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Chandos - CHAN10724


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Three Dances (14th century): Saltarello I - Ghaetta - Saltarello II

aranged for fiddle & percussion

Pipe, harp and fiddle

traditional tunes arranged for fiddle & percussion


Flow my teares (Lacrimæ)

arranged for viola d’amore & cello


Ave generosa

aranged for fiddle & percussion

Knox, G:

Fuga libre for viola solo

in memory of Ruth Inez Apthomas


Tels rit au main from Le Remède de Fortune

aranged for fiddle & percussion


Music for a while, Z583

arranged for viola d’amore & cello


Sombres miroirs (Dark Mirrors) from Vent Nocturne for viola & electronics

Soupirs de l’obscur (Breaths of the Obscure) from Vent Nocturne for viola & electronics


Black Brittany

arranged for viola d’amore & cello


Viola d'amore concerto in D minor RV393

arranged for viola d’amore & cello

Garth Knox (fiddle, viola, viola d'amore), Agnès Vesterman (cello) & Sylvain Lemêtre (percussion)

Garth Knox is one of the most versatile and audacious string players today, a member of the famous Arditti Quartet for eight years and a virtuoso viola soloist, he is now a leading exponent of the viola d’amore (the rare instrument from the Baroque era with seven playing and another seven resonating strings that allow for a particularly full and warm sound). On Saltarello he plays both instruments, as well as the fiddle, in an astonishing range of music spanning 1000 years.

From opposite ends of this timescale are Hildegard of Bingen’s Ave, generosa, a song of praise to the Virgin Mary, and Vent Nocturne, pieces for viola and electronics written for Knox by Kaija Saariaho. The adventurous programme also brings in Guillaume de Machaut, John Dowland and Purcell, a concerto for viola d’amore by Vivaldi, and a new work for solo viola by Garth himself, plus his captivating arrangements of 14th century dances and traditional Celtic tunes (he was born in Ireland and raised in Scotland). Sounds and feelings resonate across the centuries…

Knox comments: “Each of my instruments – medieval fiddle, viola d’amore and viola – brings its own perspective and sound world to the chosen pieces, and is complemented by its corresponding partner (fiddle/percussion, viola d’amore/cello and viola/electronics). The aim was to ‘bring back’ the pieces to the present day and to explore them here and now without destroying their inherent qualities.”

He is joined for different pieces by percussionist Sylvain Lemêtre or French cellist Agnès Vesterman. She also contributed to his previous “hypnotic” recital for ECM, D’Amore (4766369), named as Gramophone’s ‘Disc of the Month’ in September, 2008.

“The viola is emerging from the shadows: Garth Knox's utterly original recital combines its dusky tones in new music...with music for the larger viola d'amore and medieval fiddle...all unified by Knox's clear-sighted vision and superb, earthy playing.” The Observer, 25th March 2012

“Knox’s recital trades on the comparisons to be made between the delicious melancholic tints of the viola, the more silvery tones of the viola d’amore and the biting honesty of the fiddle.” Sunday Times, 22nd April 2012

“Bringing all this music seamlessly together are the remarkable sonic possibilities offered by the combination of cello and viola or viola d'amore. A fiddle and electronics are added for good measure but it's the massive range and depth of beauty of just these two instruments playing together that is at the heart of the recording.” Gramophone Magazine, September 2012

GGramophone Magazine

Editor's Choice - September 2012

Contemporary Music - up to 25% off

ECM New Series - 4764501


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Mattias Jacobsson: Invocación

Mattias Jacobsson: Invocación


Nocturne No. 2 in E flat major, Op. 9 No. 2

Prelude Op. 28 No. 15 in D flat major ‘Raindrop'

trans. Tárrega / Jacobsson


El Testament d'Amelia (Amelia's Testament)

La cancó del lladre

El Noi de la Mare (The Mother's Son)

Arr. Llobet / Jacobsson

Pujol, E:


Three Spanish Pieces

Tango espagñol



Capricho árabe

Recuerdos de la Alhambra



Prelude No. 18 in D

Prelude No. 2 in A major


Mazurka in G



Prelude No. 20 in C# minor (Chopin, trans. Tárrega)

Prelude No. 6 in G# minor (Chopin, trans. Tárrega)

Prelude No. 7 in D (Chopin, trans. Tárrega)

Mazurka No. 22 in F# minor (Chopin, trans. Tárrega)

Mazurka No. 25 in D minor (Chopin, trans. Tárrega / Jacobsson)

Mattias Jacobsson (guitar)

Guitarist Mattias Jacobsson makes his recording debut on Avie with Invocación, a unique perspective on the works of Francisco Tárrega, his inspiration Chopin, and his students Llobet and Pujol.

The brilliant young guitarist Mattias Jacobsson invokes a guitar tradition originating with the influential Spanish composer Francisco Tárrega. The repertoire explores Tárrega’s influences and legacy, from the inspiration that Chopin had on his musical output through to his students Miguel Llobet and Emilio Pujol. Tárrega often turned to Chopin’s favoured forms - Preludes, Mazurkas and Nocturnes - and also transcribed works in those forms by Chopin. Mattias has created a unique concept in the guitar discography by juxtaposing Chopin transcriptions with Tárrega’s most Chopinesque works. The “invocación” continues through works of two of Tárrega’s most prominent pupils in Barcelona and even extends to Mattias himself, whose first teacher Erik Möllerström studied in Barcelona and secured an instrument from the great guitar maker Ignacio Fleta e hijos, that now has been passed on to Mattias and is played on this recording.

Juilliard-trained Mattias Jacobsson was born in Stockholm and has studied with Göran Söllscher and Sharon Isbin, among others. He has performed throughout Europe and the United States, and has appeared on Spanish television, New York’s WQXR and National Public Radio’s Performance Today. He has further extended his reach with several features in Classical Guitar Magazine and hundreds of thousands of views on his YouTube channel,

“The playing throughout is refined, intelligent and highly musical; the tone, though never sweet, is fulsome and appealing. An outstanding debut.” Gramophone Magazine, September 2012

GGramophone Magazine

Editor's Choice - September 2012

Avie - AV2254



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Anthonius Divitis: Lux Perpetua - Requiem

Anthonius Divitis: Lux Perpetua - Requiem


Tantum ergo sacramentum



This Requiem is known in five sources; two of them mention no composer, two attribute it to Antoine de Févin, one, the Occo Codex, to Antoine Divitis. It is recorded here in the version transmitted by an early sixteenth-century manuscript, the Occo Codex, a sumptuous, richly illuminated volume. The book was originally intended for use in worship at one of the oldest churches in Amsterdam, built in the fourteenth century on the site of a miracle which played a fundamental role in constituting the religious identity of Amsterdam. Occo was the name of the rich merchant who financed the production of the manuscript. It contains some fifteen masses by great composers of the fifteenth century.

Composed at the very end of the fifteenth century, shortly after Iohannes Ockeghem’s setting, this Requiem presents a perfect synthesis of the plainchant tradition and the supreme technical skills of the Franco-Flemish polyphonists who diffused their art throughout western Europe. It was discovered at the end of the twentieth century and has not yet received the full measure of attention it deserves. It is a luminous work. The plainchant melodies, constantly present, sculpted by the living flesh of the polyphonic texture, blaze, shine and reveal the inner energy that, cutting through the centuries, fashions the deployment of time.

“what voices! Antoine Sicot, Ensemble Organum's basso profundo since its inception, doubles the bass-lines at the octave below...Peres himself intones the readings from St Paul and the Gospel, and one needn't be religiously inclined to find these very moving...Whoever composed [the Tantum ergo], it impresses me more and more. Do listen.” Gramophone Magazine, September 2012

GGramophone Magazine

Editor's Choice - September 2012

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Anna Vinnitskaya plays Ravel

Anna Vinnitskaya plays Ravel


Pavane pour une infante défunte

Miroirs, 5 pieces for piano

Gaspard de la Nuit

Following a first solo recital (2008) and a successful Ravel-Prokofiev concerto recording (2010), this is the third recording of Russian pianist Anna Vinnitskaya for Naive.

The recording presents two of the heights of Ravel's piano repertoire, 'Gaspard de la Nuit' and 'Miroirs', performed many times in recital before this recording.

In both works, as well as in the mysterious 'Pavane pour une infant défunte', Anna Vinnitskaya displays the whole range of her skills: intense delicacy, amazing legato and control of dynamics, supple and a strong personal style.

Anna Vinnitskaya, aged 29, is developing an intense concert career in Germany, Belgium and the UK. She won First Prize at the Queen Elizabeth Competition in 2007 and an Echo Klassik award (Germany) in 2011 for her latest recording.

“It is with a delicate, beautifully voiced account of the Pavane...that Vinnitskaya gently eases herself into this Ravel recital, indicating an affinity with the style that is immediately underlined by the glistening qualities and chararcterisation of the set of Miroirs...Vinnitskaya's taste, strength and feel for the music are never in doubt.” Daily Telegraph, 9th June 2012 ****

“Vinnitskaya achieves an unforgettable shimmering play of light and shade (though with a powerful undertow when required). Her 'Ondine' from Gaspard is as scintillating and seductive as you could wish and her poise and focus in 'Le gibet' excel any other on record, wondrously alive to every harmonic and rhythmic twist...Beautifull recorded, this is Ravel-playing of a very special distinction.” Gramophone Magazine, September 2012

GGramophone Magazine

Editor's Choice - September 2012

Naive - V5284



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Emil Gilels: Early Recordings Volume 3

Emil Gilels: Early Recordings Volume 3

All tracks recorded in the USSR, 1935-1955


Polonaise No. 3 in A major, Op. 40 No. 1 'Military'

Polonaise No. 6 in A flat major, Op. 53 'Héroïque'

Ballade No. 1 in G minor, Op. 23


Fantasy on Themes from Mozart's Marriage of Figaro and Don Giovanni, S697

arr Busoni

Grande Étude de Paganini, S. 141 No. 3 'La Campanella'

Grande Étude de Paganini, S. 141 No. 5 'La Chasse'

Hungarian Rhapsody, S244 No. 6 in D flat major

Hungarian Rhapsody, S244 No. 9 in E flat major 'Pesther Carneval'

Scarlatti, D:

Keyboard Sonata K533 in A major

Keyboard Sonata K141 in D minor

Keyboard Sonata K159 in C major 'La caccia'

Keyboard Sonata K27 in B minor

Keyboard Sonata K125 in G major

Keyboard Sonata K380 in E major

Keyboard Sonata K113 in A major

Emil Gilels (piano)

Emil Gilels played a sonata by Scarlatti at his first public concert in 1929 and included them in his tours to the West in the 1950s. These recordings present a splendid group of the composer’s widely contrasting moods. Gilels was a true virtuoso in the Lisztian tradition, combining musical integrity with rarely equalled technique. The Fantasia was one of the works with which he won the First Soviet All-Union Competition in 1933, while his recordings of the Hungarian Rhapsodies and three works by Chopin are full of character and personality. A recently discovered notebook in which Gilels logged some of his recording sessions has made the dating of these recordings more accurate in this edition.

Ward Marston, audio restoration engineer

“Few pianists have possessed a more comprehensive, magisterial technique or musical integrity than Emil Gilels...And here, in Naxos's third volume, you will at once hear those salient characteristics that prompted awe and envy among Gilels's finest colleagues...[His Liszt] is overwhelming in its pulverising strength and brilliance.” Gramophone Magazine, September 2012

“Outstanding early Gilels, with some superb Liszt including his legendary Figaro Fantasy from 1935. The Scarlatti Sonatas may not stand the test of time so well, but this is a must.” BBC Music Magazine, Christmas 2012 *****

GGramophone Magazine

Re-issue of the Month - September 2012

Naxos Historical Great Pianists - 8111386



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