Gramophone Magazine Editor's Choice

March 2013

Disc of the Month

Prices shown exclude VAT. (UK tax is not payable for deliveries to United States.)
See Terms & Conditions for p&p rates.
JS Bach: St John Passion

Awards:

Gramophone Awards 2013

Finalist - Baroque Vocal

Gramophone Magazine

Disc of the Month - March 2013

BBC Music Magazine

Disc of the month - April 2013

Label:

Linn

Catalogue No:

CKD419

Discs:

2

Release date:

18th March 2013

Barcode:

0691062041928

Length:

2 hours 18 minutes

Medium:

SACD

Format:

Hybrid Multi-channel

Up to 25% off Linn

click here for full details

special offer ends 20/11/2017

| Share

JS Bach: St John Passion


 

Nun danket alle Gott

congregational chorale

O Lamm Gottes unschuldig

congregational chorale

Bach, J S:

Chorale Prelude BWV621 'Da Jesus an dem Kreuze stund'

congregational chorale

St John Passion, BWV245

Chorale Prelude BWV618 'O Lamm Gottes, unschuldig'

Chorale Prelude BWV620 'Christus, der uns selig macht'

Chorale Prelude BWV657 'Nun danket alle Gott'

Buxtehude:

Praeambulum in F sharp minor, BuxWv 146

Handl:

Ecce quomodo

trad.:

Da Jesus an dem Kreuze Stund

Responsory; Collect; Blessing; Response to Blessing


Joanne Lunn (soprano), Clare Wilkinson (alto), Nicholas Mulroy (tenor), Matthew Brook (baritone), Robert Davies (baritone)

Dunedin Consort, John Butt

SACD - 2 discs

Normally: $22.75

Special: $18.20

In stock - usually despatched within 1 working day.

This is the premiere recording J.S. Bach’s John Passion heard for the first time within its original liturgical context.

This recording marks the return of Dunedin Consort’s star studded cast including, Nicholas Mulroy, Matthew Brook, Robert Davies, Joanne Lunn and Clare Wilkinson.

Director John Butt has given listeners an interpretation that will provide a refreshing outlook on this masterpiece and will show the John Passion in a completely new light.

The Consort recreate the context of a passion performance during Bach’s time at Leipzig; the University of Glasgow Chapel Choir (directed by James Grossmith) and a congregational choir of amateur singers perform motets and chorales from an original Leipzig hymn book and John Butt takes centre stage to perform organ preludes on the Collins organ at Greyfriar’s Kirk in Edinburgh, where the recording took place.

'No performance could better justify small-scale Bach than this convincing marriage of scholarship and inspiration.’ BBC Music Magazine (on J.S. Bach: Mass in B Minor)

‘The playing and the singing is outstanding, undoubtedly enhanced by John Butt's scholarly and revelatory handling of the score.’ The Observer (on J.S. Bach: Matthew Passion)

The Dunedin Consort has established a reputation as the finest single-part period performance choir currently performing, under the direction of prize-winning Bach specialist John Butt O.B.E.

The multi-award-winning Dunedin Consort has won praise for the natural style of its soloists and renown for the virtuosity of its singers.

Since receiving a Gramophone Award in 2007, Dunedin Consort has continued to receive accolades: Esther was voted one of the ‘Top 10 Classical Albums of 2012’ by The Times, 2011 saw them included in Gramophone’s ‘Twenty Greatest Choirs’ list and its recording of Bach’s Matthew Passion was named Building A Library: First Choice by BBC Radio 3 - CD Review.

Johann Sebastian Bach: Das Orgelbuchlein, BWV 599-644

Das Orgelbuchlein, BWV 599-644: Da Jesus an dem Kreuze stund, BWV 621

Johann Hermann Schein: Da Jesus an dem Kreuze stund II

Da Jesus an dem Kreuze stund II

Dieterich Buxtehude: Prelude and Fugue in F sharp minor, BuxWV 146

Prelude and Fugue in F sharp minor, BuxWV 146: Prelude (excerpt)

Johann Sebastian Bach: St. John Passion, BWV 245

Part I: Chorale: Herr, unser Herrscher (Chorus)

Part I: Recitative: Jesus ging mit seinen Jungern (Evangelist)

Part I: Chorale: Jesum von Nazareth (Chorus)

Part I: Recitative: Jesus spricht zu ihnen (Evangelist, Jesus)

Part I: Chorale: Jesum von Nazareth! (Chorus)

Part I: Recitative: Jesus antwortete (Evangelist, Jesus)

Part I: Chorale: O grosse Lieb (Chorus)

Part I: Recitative: Auf dass das Wort erfullet wurde (Evangelist, Jesus)

Part I: Chorale: Dein Will gescheh, Herr Gott, zugleich (Chorus)

Part I: Recitative: Die Schar aber und der Oberhauptmann (Evangelist)

Part I: Aria: Von den Strikken meiner Sunden (Alto)

Part I: Recitative: Simon Petrus aber folgete Jesu nach (Evangelist)

Part I: Aria: Ich folge dir gleichfalls (Soprano)

Part I: Recitative: Derselbige Junger war (Evangelist)

Part I: Chorale: Wer hat dich so geschlagen (Chorus)

Part I: Recitative: Und Hannas sandte ihn gebunden (Evangelist)

Part I: Chorale: Bist du nicht seiner Junger einer (Chorus)

Part I: Recitative: Er leugnete und sprach (Evangelist, Petrus)

Part I: Aria: Ach, mein Sinn (Tenor)

Part I: Chorale: Petrus, der nicht denkt zuruck (Chorus)

Johann Sebastian Bach: Das Orgelbuchlein, BWV 599-644

Das Orgelbuchlein, BWV 599-644: O Lamm Gottes, unschuldig, BWV 618

Johann Sebastian Bach: St. John Passion, BWV 245

St. John Passion, BWV 245: Part II: Chorale: Christe, du Lamm Gottes

Johann Sebastian Bach: Das Orgelbuchlein, BWV 599-644

Das Orgelbuchlein, BWV 599-644: Christus, der uns selig macht, BWV 620

Johann Sebastian Bach: St. John Passion, BWV 245

Part II: Chorale: Christus, der uns selig macht (Chorus)

Part II: Recitative: Da fuhreten sie Jesum (Evangelist, Pilatus)

Part II: Chorale: Ware dieser nicht ein Ubeltater (Chorus)

Part II: Recitative: Da sprach Pilatus zu ihm (Evangelist, Pilatus)

Part II: Chorale: Wir durfen niemand toten (Chorus)

Part II: Recitative: Auf dass erfullet wurde das Wort Jesu (Evangelist, Pilatus, Jesus)

Part II: Chorale: Ach grosser Konig (Chorus)

Part II: Recitative: Da sprach Pilatus zu ihm (Evangelist, Pilatus, Jesus)

Part II: Chorale: Nicht diesen, diesen nicht (Chorus)

Part II: Recitative: Barrabas aber war ein Morder (Evangelist)

Part II: Arioso: Betrachte, meine Seel (Bass)

Part II: Aria: Erwage, wie sein blutgefarbter Rucken (Tenor)

Part II: Recitative: Und die kriegsknechte flochten (Evangelist)

Part II: Chorale: Sei gegrusset, lieber Judenkonig (Chorus)

Part II: Recitative: Und gaben ihm Backenstreiche (Evangelist, Pilatus)

Part II: Chorale: Kreuzige, kreuzige (Chorus)

Part II: Recitative: Pilatus sprach zu ihnen (Evangelist, Pilatus)

Part II: Chorale: Wir haben ein Gesetz (Chorus)

Part II: Recitative: Da Pilatus das Wort horete (Evangelist, Pilatus, Jesus)

Part II: Chorale: Durch dein Gefangnis, Gottes Sohn (Chorus)

Part II: Recitative: Die Juden aber schrieen (Evangelist)

Part II: Chorale: Lassest du diesen los (Chorus)

Part II: Recitative: Da Pilatus das Wort horete (Evangelist, Pilatus)

Part II: Chorale: Weg, weg mit dem (Chorus)

Part II: Recitative: Spricht Pilatus zu ihnen (Evangelist, Pilatus)

Part II: Chorale: Wir haben keinen Konig (Chorus)

Part II: Recitative: Da uberantwortete er ihn (Evangelist)

Part II: Aria: Eilt, ihr angefochtnen Seelen (Bass, Chorus)

Part II: Recitative: Allda kreuzigten sie ihn (Evangelist, Pilatus)

Part II: Chorale: Schreibe nicht: der Juden konig (Chorus)

Part II: Recitative: Pilatus antwortet (Evangelist, Pilatus)

Part II: Chorale: In meines Herzens Grunde (Chorus)

Part II: Recitative: Die Kriegsknechte aber (Evangelist)

Part II: Chorale: Lasset uns den nicht zerteilen (Chorus)

Part II: Recitative: Auf dass erfullet werde die Schrift (Evangelist, Jesus)

Part II: Chorale: Er nahm alles wohl in acht (Chorus)

Part II: Recitative: Und von Stund an (Evangelist, Jesus)

Part II: Aria: Es ist vollbracht (Alto)

Part II: Recitative: Und neiget das Haupt (Evangelist)

Part II: Aria: Mein teurer Heiland (Bass, Chorus)

Part II: Recitative: Und siehe da, der Vorhang (Evangelist)

Part II: Arioso: Mein Herz, indem die ganze Welt (Tenor)

Part II: Aria: Zerfliesse, mein Herze (Soprano)

Part II: Recitative: Die Juden aber (Evangelist)

Part II: Chorale: O hilf, Christe, Gottes Sohn (Chorus)

Part II: Recitative: Darnach bat Pilatum (Evangelist)

Part II: Chorale: Ruht wohl, ihr heiligen Gebeine (Chorus)

Part II: Chorale: Ach Herr, lass dein lieb Engelein (Chorus)

Jacobus Handl: Ecce quomodo moritur iustus

Ecce quomodo moritur iustus

Anonymous: Neu Leipziger Gesangbuch [Leipzig, 1682]

Responsory [Neu Leipziger Gesangbuch, Leipzig, 1682]

Anonymous: Vollstandiges Kirchen-Buch [Leipzig, 1731]

Collect [Vollstandiges Kirchen-Buch, Leipzig, 1731]

Neu Leipziger Gesangbuch [Leipzig, 1682]

Blessing [Vollstandiges Kirchen-Buch, Leipzig, 1731]

Johann Hermann Schein: Gott sei uns gnadig und barmherzig

Response: Gott sei uns gnadig und barmherzig

Johann Sebastian Bach: 18 Chorales, BWV 651-668, "Leipziger Chorale"

18 Chorales, BWV 651-668, "Leipziger Chorale": Nun danket alle Gott, BWV 657

Johannes Cruger: Nun danket alle Gott

Nun danket alle Gott

Gramophone Magazine

March 2013

“naturalness and emotional honesty are what emerge from this tight-knit and perfectly paced ensemble Passion, in which Bach's complex succession of recitatives, arias, choruses and chorales has surely seldom sounded so convincingly of a piece...[the singers] come across as a gathering of real people rather than a disembodied chorus. The fact that you can sometimes recognise a soloist's voice within the mix only adds to the impression of reality.”

The Times

15th March 2013

***

“The artists themselves bring pleasure, unless you’re allergic to the idiosyncratic, rather peevish tone of the tenor Nicholas Mulroy...Would that there were more chances to hear the soprano Joanne Lunn, clear as a bell, daisy-fresh. Around and about, Matthew Brook’s Jesus, the Dunedin Consort and their director John Butt attack the music with customary verve. Intimacy, too: the Consort choir numbers eight”

BBC Music Magazine

April 2013

*****

“a dramatic, exactingly nuanced, profoundly considered reading, compelling in its integrity and text-driven immediacy...Mulroy's firmly-contoured Evangelist balances the musical and narrative imperatives of the recitatives with judicious sensitivity...Brooks's Christus stands up to the crowd with a dignified yet firm resolve and hallowed charisma..Butt's contextualising demands to be heard: it's nothing short of a revelation”

The Observer

24th March 2013

“a really fine, taut, mainly single-voice account of Bach's music – led by Nicholas Mulroy's powerful Evangelist and Matthew Brook's affecting Christ – which somehow acquires new power for emerging from its spartan surroundings. John Butt's research and direction are an object lesson in musical study brought to compelling life.”

The Herald (Glasgow)

March 2013

“The recording is a significant landmark in authentic Bach performance, but at the same time it's refreshingly relaxed around the edges (Butt doesn't pretend to have recreated the exact 1724 service, because there's no way of knowing what that was)”

MusicWeb International

March 2013

“Not only is this an exceptionally fine small-scale performance and recording with scholarly but readable notes, it attempts to bring us closer to the way in which the original listeners experienced the passion on Good Friday”

Financial Times

March 2013

“the choral singing is wonderfully pure, buoyant and transparent...I found [the add-ons] stimulating and musically all-of-a-piece.”

Sunday Times

31st March 2013

“Linn offers a fascinating extra dimension.”

International Record Review

June 2013

“All of the soloists are generally outstanding. Nicholas Mulroy's lithe, sensitive Evangelist is the epitome of narrative clarity and contrast beautifully with the calming, authoritative richness of Matthew Brook's Jesus...Both the reconstruction and the performance are carefully prepared, historically faithful and immaculately presented.”

Click on any of the works listed above for alternative recordings.

Editor's Choice

Prices shown exclude VAT. (UK tax is not payable for deliveries to United States.)
See Terms & Conditions for p&p rates.

Der Himmlische Leben

Der Himmlische Leben

Liszt and Mahler


Liszt:

Der Fischerknabe, S.292 No. 1

Der Hirt, S.292a/2

Der Alpenjäger

O quand je dors (Hugo), S282

Die Lorelei

Mahler:

Urlicht (Des Knaben Wunderhorn)

Rheinlegendchen (Des Knaben Wunderhorn)

Um schlimme Kinder artig zu machen (Lieder und Gesänge aus der Jugendzeit)

Verlorne Müh' (Des Knaben Wunderhorn)

Ich ging mit Lust (Lieder und Gesänge aus der Jugendzeit)

Ablösung im Sommer (Lieder und Gesänge aus der Jugendzeit)

Wo die schönen Trompeten blasen (Des Knaben Wunderhorn)

Nicht wiedersehen (Lieder und Gesänge aus der Jugendzeit)

Das himmlische Leben (Des Knaben Wunderhorn)


Anne Schwanewilms (soprano) & Charles Spencer (piano)

The great German dramatic soprano Anne Schwanewilms makes her debut on ONYX with a recital of lieder by Liszt and Mahler. Schwanewilms is renowned internationally for her interpretations of Strauss and Wagner. An eminent lieder singer, Anne Schwanewilms works closely with leading lieder accompanists of our time – Charles Spencer, Roger Vignoles and Malcolm Martineau – with whom she has appeared in international concert halls in Barcelona (Gran Teatro del Liceu), Strasbourg, Madrid, Amsterdam, London (Wigmore Hall) and Washington (Kennedy Center). With Roger Vignoles, she has recorded a selection of songs by Richard Strauss, which was nominated by BBC Music Magazine as Vocal Recording of the Year 2008.

“Schwanewilms's voice is an acquired taste; those who crave full-bodied Italianate lushness of tone will not 'get' the singing of this gifted German jugendlich dramatisch soprano...The words invariably come across in a refreshingly direct, unfussy manner...this is a highly pleasurable programme that can be warmly welcomed by those who crave beautifully vocalized, unusually thoughtful Lieder performances.” International Record Review, February 2013

“Evidence of her artistry is everywhere apparent. Her phrasing is seamless, with none of the audible words-versus-music negotiations noticeable even in fine singers. Her vocal quality is not merely pure but powerful, though in her case that powers stays mostly in reserve until summoned by the music...Schwanewilms coaxes the listener into her realm with the subtlety of a whisper.” Gramophone Magazine, March 2013

“Schwanewilms's interpretations are regularly imaginative, her singing musicianly, though not all of her vocalism matches her good intentions. There's sometimes...an edge to her tone that combines with a lack of vocal substance higher up...Elsewhere her wide-ranging instrument is used with artistic insight...she brings depth and command to Mahler's 'Das himmlische Leben', nicely capturing its blend of innocence and sophistication.” BBC Music Magazine, May 2013 ***

“[Schwanewilms's] voice encompasses all the requirements for intimate lyrical songs as well the big dramatic outbursts and her tone is certainly among the most beautiful to be heard today. She has a pliable accompanist in the experienced Charles Spencer and the recording is excellent.” MusicWeb International, 12th June 2013

GGramophone Magazine

Editor's Choice - March 2013

Onyx - ONYX4103

(CD)

$15.25

(also available to download from $10.00)

In stock - usually despatched within 1 working day.

Musorgsky & Prokofiev: Pictures, Sarcasms & Visions

Musorgsky & Prokofiev: Pictures, Sarcasms & Visions


Mussorgsky:

Pictures at an Exhibition (piano version)

Prokofiev:

Sarcasms (5), Op. 17

Visions fugitives, Op. 22


Steven Osborne has become one of the most valuable pianists recording today. His recent complete Rachmaninov Preludes release was critically acclaimed as the greatest modern version since Ashkenazy. Now he turns to further cornerstones of the Russian repertoire in this recording of Musorgsky’s Pictures from an Exhibition (a work which has been in Osborne’s concert repertoire for many years), and two sets of Prokofiev’s miniatures.

Musorgsky’s masterpiece is one of the most popular programmatic works of the 19th century. Yet it is also a great pianistic challenge, with the spectacular textures of the climactic movement ‘The Great Gate of Kiev’ requiring the highest technical accomplishments.

David Fanning writes of Prokofiev’s Visions fugitives: ‘Prokofiev supplies snapshots of his most characteristic moods—sometimes grotesque, sometimes incantatory and mystical, sometimes simply poetic, sometimes aggressively assertive, sometimes so delicately poised as to allow the performer and the listener to make up their own minds.’ Osborne’s subtle, yet brilliant use of colour and characterization makes him the ideal performer of this set. Sarcasms—as befits the title—is an experimental, provocative work, performed by Osborne with biting humour.

Read Presto's complete review of this disc here.

“resplendently startling, cobwebs blown off...From the beginning you sense Osborne’s dynamism and fresh imagination: I can’t recall when I last heard the introductory Promenade sound so purposeful. But the best jewels reside in the picture segments themselves...the technical challenges of the cycle’s last movements (Catacombs, Great Gate of Kiev and all) bring plenty of virtuoso excitements, vividly captured in the recording.” The Times, 25th January 2013 ****

“He paces Mussorgsky's great suite faultlessly, never forcing anything, but ratcheting up the excitement notch by notch until it's all discharged in a sumptuous account of the final Great Gate of Kiev...Osborne is suitably laconic and severe in the Sarcasms, gentler and more suggestive in the Visions Fugitives; both are beautifully judged.” The Guardian, 31st January 2013 ****

“Osborne strides out with healthy determination in the opening Promenade, and then gives a superb performance that shows how atmospheric Musorgsky’s maverick piano writing can be...Osborne has the sensitivity and inspiration, not to mention the pianistic resources, to bring each of the pictures to life in a way that has palpable perspective and subtle characterisation.” The Telegraph, 1st February 2013 *****

“The great virtue of Osborne’s magisterial performance is that you never miss the orchestral upholstery — he conceives the work in quasi-orchestral terms, lavishing an astounding palette of colour and moods on the various pieces...The experimental Prokofiev pieces, Visions fugitives and Sarcasms, are dazzlingly done.” Sunday Times, 17th February 2013

“Throughout this enthralling and warmly recorded performance, Osborne maximises colour and atmosphere, yet manages to achieve a freshness of approach without recourse to idiosyncratic mannerisms. Every movement is brilliantly characterised as a result of Osborne's imaginative approach to keyboard texture.” BBC Music Magazine, March 2013

“Osborne's sensitive, dynamic recording is a joy...He gives us elegantly arched and flowing phrases, an effortless handle on the many virtuosic demands, and a nuanced, sympathetic touch that produces deft, light vivaciousness one moment and firm sobriety the next...In short, the beauty and variety of Mussorgsky's Pictures are presented in all their glory here” Charlotte Gardner, bbc.co.uk, 19th February 2013

“here, once more, is an ideal blend of fidelity to the score, with a subtle and distinctive rather than overbearing musical personality. In the Musorgsky everything is as musicianly as it is technically immaculate....in the more weighty numbers, there is power without brutality so that what so easily degenerates into a mere uproar is so finely graded that you forget the essentially percussive nature of the writing.” Gramophone Magazine, March 2013

“Following the piano score while listening to Osborne’s recording, one will see that the pianist meticulously carries out Mussorgsky’s instructions as to tempo, pedalling, and dynamics. However, more than that, he characterizes each of the movements very well, too.” MusicWeb International, 20th May 2013

“his care over the smallest details of phrasing and articulation throughout suggests a highly intelligent, thoughtful interpretation that aims to be more than just a showy series of programmatic events...The range of dynamics Osborne achieves is also really quite something, from the relentless fff of Bydlo to the hushed pianissimo of the catacombs in Con mortuis in lingua mortua.” James Longstaffe, Presto Classical, 21st January 2013

Presto Disc of the Week

21st January 2013

GGramophone Awards 2013

Winner - Instrumental

GGramophone Magazine

Editor's Choice - March 2013

BBC Music Magazine

Disc of the month - March 2013

Hyperion & Helios - up to 50% off

Hyperion - CDA67896

(CD)

Normally: $15.25

Special: $11.89

In stock - usually despatched within 1 working day.

Szymanowski: Symphonies Nos. 2 & 4 & Concert Overture

Szymanowski: Symphonies Nos. 2 & 4 & Concert Overture


Szymanowski:

Concert Overture, Op.12

Symphony No. 2 in B flat major, Op. 19

Symphony No. 4, Op. 60 (Sinfonia Concertante)

Louis Lortie (piano)


This recording of orchestral works by Karol Szymanowski form part of the Polish Music series on Chandos, and is performed by the BBC Symphony Orchestra and Edward Gardner. These performers have impressed in their Lutosławski survey, which is part of the same series; in a review of volume 1, Gramophone described them as a veritable ‘dream team’.

Symphony No. 2 by Szymanowski is a work of great power and ingenuity, with many passionate and varied contrasts in its use of solo instruments. Composed in 1909 – 10, it is widely considered the greatest orchestral work of the composer’s early period, not to mention one of the most important Polish symphonic compositions to date. Szymanowski himself thought very highly of it, and in August 1911 wrote in a letter to his fellow Polish composer Zdzisław Jachimecki: ‘How happy I am that this Symphony impressed you as I had wanted. I will frankly admit that I feel somewhat proud about its value. In some miraculous way I have managed during my work on it to resist all those garish phantoms which seduce “young and inexperienced” artists and to produce pure and uncompromising beauty in the way I personally understand it.’

The internationally acclaimed pianist Louis Lortie joins the orchestra and conductor in Symphony No. 4 of 1932, which the composer subtitled ‘Symphonie concertante’ in recognition of the near-soloistic role played by the pianist. Whereas Szymanowski’s early and middle works clearly reflect Wagner, Strauss, and Scriabin, this work is strongly influenced by Prokofiev, particularly in the finale, an agitated and daring movement reminiscent of the Russian composer’s Piano Concerto No. 3, composed about a decade earlier.

Written in 1904 – 05 in a style recalling Wagner and Strauss, the Concert Overture is characterised by enormous expressiveness and gusto in the way it handles the expanding themes. Szymanowski inscribed the original score with part of the poem Witeź Włast by his friend Tadeusz Miciński: ‘I will not play you sad songs, O Shades! but will give you a triumph proud and fierce…’. This vivid imagery is perfectly in keeping with the music’s exuberant and vivacious character.

“[Gardner's] gloriously broad and sweeping account of a work that reflects Szymanowski's seemingly boundless admiration for Richard Strauss's symphonic poems sets the tone for a disc that emphasises the composer's late romantic affiliations rather than his modernist ones, especially with the BBC Symphony Orchestra on opulent form” The Guardian, 24th January 2013 ****

“Gardner makes a stronger case for the Polish composer, clarifying textures and tautening musical lines” Financial Times, 26th January 2013

“These performances prove ideal, finding luminosity at the opening, and delivering a taut, energetic fugal finale...In the oberek dance rhythms of the orgiastic finale, Gardner shows how he has become one of the finest non-Polish interpreters of Szymanowski.” BBC Music Magazine, March 2013 *****

“The whole Szymanowski landscape is here...though a single sitting might prove indigestible and is probably not advised, the changing face and manner of this most fascinating and accomplished of composers is richly chronicled here in characterically impressive Chandos sound.” Gramophone Magazine, March 2013

GGramophone Magazine

Editor's Choice - March 2013

BBC Music Magazine Awards 2014

Orchestral Finalist

Super Audio CD

Format:

Hybrid Multi-channel

Chandos - up to 40% off

Chandos Edward Gardner Polish Music Series - CHSA5115

(SACD)

Normally: $15.25

Special: $12.96

(also available to download from $10.00)

In stock - usually despatched within 1 working day.

Fauré: Quintets with Piano

Fauré: Quintets with Piano


Fauré:

Piano Quintet No. 1 in D minor, Op. 89

Piano Quintet No. 2 in C minor Op. 115


In a genre set by Boccherini and represented in the nineteenth century by the masterpieces of Schumann, Brahms and Franck, Gabriel Fauré composed two scores that were very different from his early romances and the evanescent ‘lullaby of death’ that is the Requiem.

The Piano Quintet op. 89 remains little known, for reasons related to its composition as much as to its history. Regarded by Koechlin as one of Fauré's finest work, it serves as a transition to the composer's final stylistic period.

Opus 115, surprisingly less melancholy than its predecessor, is one of the composer's last productions. In the evening of his life Faure demonstrated his supreme mastery and prodigious creative power, giving French chamber music, which he served so well, one of its finest monuments.

“Le Sage offers consistently limpid playing, so unmistakeably French...Everywhere the pacing sounds utterly natural: Le Sage and the Ebene are the most persuasive guides through sometimes daunting terrain. This is a clear front-runner in this repertoire.” Gramophone Magazine, March 2013

GGramophone Awards 2013

Finalist - Chamber

GGramophone Magazine

Editor's Choice - March 2013

A Musical Picture - up to 40% off

Alpha Eric Le Sage Fauré - ALPHA602

(CD)

Normally: $15.75

Special: $12.12

(also available to download from $10.00)

In stock - usually despatched within 1 working day.

Schubert Lieder Volume 7: Erlkönig

Schubert Lieder Volume 7: Erlkönig


Schubert:

Im Abendrot, D799

Der Wanderer, D493

Nachtviolen D752 (Mayrhofer)

Im Walde D834

Normans Gesang D846 (Scott, Storck)

Der Geistertanz D116 (Matthisson)

Schatzgräbers Begehr D761 (Schober)

An den Mond, D259 (Goethe)

Erlkönig, D328

Am See, D746 (Bruchmann)

Alinde, D904

Widerschein, D949

Die Forelle, D550

Der Fluss, D693

Abendröte, D690

Klage D415 (Matthisson)

Der Strom, D565 (poet unknown)

Fischerweise, D881 (Schlechta)

Auf der Bruck, D853


Matthias Goerne (baritone) & Andreas Haefliger (piano)

Matthias Goerne presents the seventh volume of his hm Schubert survey, which has confirmed him as one of the most gifted exponents of lieder repertoire and programming. Andreas Haefliger joins Matthias in music he has been singing for most of his career.

“Sometimes in the more agitated reveries Goerne seems to be musing with himself rather than singing to an audience. However, cloudy intonation usually vanishes when the songs are calm and gentle. The prayerful ecstasy of Im Abendrot is an absolute wonder. Klage, another nature song, isn’t far behind, each word shaped and pitched with the sort of delicacy” The Times, 8th February 2013 ****

“This is a most interesting and instructive Schubert recital, performed throughout with tact and great musical intelligence” International Record Review, February 2013

“Goerne’s latest Schubert recital, mostly comprised of little-known songs, is one of the baritone’s most accomplished...German baritone animates [Erlkönig] with a wonderful range of voices and inflections: his timbre has lost none of its wraparound warmth and depth but is equally capable of tenurial lightness.” Financial Times, 15th February 2013 ****

“With his dark, nutty baritone and powers of characterisation, he is a near-ideal interpreter of Erlkönig; with the sublime Haefliger as his pianist, he revels in the gentler panoramas, too.” Sunday Times, 24th February 2013

“Though often idiosyncratic, his readings are never less than thoughtful – and his original takes on well-known (and less well-known) songs frequently offer intelligent and bold new insight...Goerne and Haefliger rarely seem to break a sweat, an attitude that can sometimes come over as lack of effort...But their refined style demonstrates its own supreme skill, and there is no shortage of illumination and pleasure to be had” Graham Rogers, bbc.co.uk, 13th February 2013

“His darkly mellow baritone, soft-grained yet with reserves of power, is a perfect instrument for the pantheistic reveries and barcarolles on this new disc...even doubters might have to concede that no singer cares more than Goerne for the beauty and eloquence of Schubert's melodies” Gramophone Magazine, March 2013

“The narrative songs are perhaps the most convincing of all. Erlkönig crackles with excitement: the thrill of the chase rumbles through the piano while Goerne imbues the narrative with passion and intensity, depicting the three characters with admirably individualistic sound colours...It’s a joy that Goerne and Haefliger have given us a recital that shows off so many facets of his artistry in such an admirably skilful way.” MusicWeb International, March 2013

“This is a wonderful recital, in almost all respects. The first thing to grab my attention was the mesmerisinly lovely playing Andreas Haefliger, one of the greatest living pianists...[in Erlkönig] Haefliger's accompaniment is so vivid that I'd enjoy it by itself; Goerne doesn't characterise the three persons as much as many singers, but he still packs a stunning punch...I would rank this among the finest discs I have ever heard.” BBC Music Magazine, April 2013 *****

GGramophone Magazine

Editor's Choice - March 2013

Harmonia Mundi Matthias Goerne Schubert Edition - HMC902141

(CD)

$14.00

(also available to download from $11.00)

In stock - usually despatched within 1 working day.

Schumann at Pier2: The Symphonies

Schumann at Pier2: The Symphonies

A concert film by Christian Berger (with complete performances of the Symphonies)


Schumann:

Symphonies Nos. 1-4 (complete)


Schumann at Pier2 is not a usual concert film; it shows the four Symphonies of Robert Schumann from a new perspective, filmed at Pier2, a former dockyard in the harbour of Bremen where pop and rock concerts usually take place. Stars of the film are the conductor Paavo Järvi and the Deutsche Kammerphilharmonie Bremen and they aim to present these works to a young audience.

Included in this 3 DVD set is also a 98-minute film with Paavo Järvi. This documentary explains the whole idea behind the project and contains footage from rehearsals, comments from Paavo Järvi about the symphonies and the interpretation, biographical information about Robert Schumann as well as musicians demonstrating salient passages and explaining their interpretation.

Picture Format: 16:9, HD

Sound Format: DVD: DTS 5.1, PCM Stereo

Running Time: 262 mins (Symphonies: 146 mins, Documentary: 98 mins, Making of 18 mins)

Subtitles: German, English, French, Spanish, Chinese, Korean

GGramophone Magazine

DVD of the Month - March 2013

DVD Video

Region: 0

Format: NTSC

C Major - 711908

(DVD Video - 3 discs)

$29.75

Usually despatched in 2 - 3 working days.

Schumann at Pier2: The Symphonies

Schumann at Pier2: The Symphonies

A concert film by Christian Berger


Schumann:

Symphonies Nos. 1-4 (complete)


Schumann at Pier2 is not a usual concert film; it shows the four Symphonies of Robert Schumann from a new perspective, filmed at Pier2, a former dockyard in the harbour of Bremen where pop and rock concerts usually take place. Stars of the film are the conductor Paavo Järvi and the Deutsche Kammerphilharmonie Bremen and they aim to present these works to a young audience.

Included in this set is also a 98-minute film with Paavo Järvi. This documentary explains the whole idea behind the project and contains footage from rehearsals, comments from Paavo Järvi about the symphonies and the interpretation, biographical information about Robert Schumann as well as musicians demonstrating salient passages and explaining their interpretation.

Sound Format: Blu-ray: DTS-HD MA 5.01 PCM 2.0

Running Time: 125 mins (Symphonies: 146 mins,

Documentary: 98 mins, Making of 18 mins)

Subtitles: German, English, French, Spanish, Chinese, Korean

AVAILABLE WORLDWIDE

“This is the sort of set that makes me grateful that classical recordings are still being made. As a refresher course in Schumann symphonies, you won't find anything better...I can't imagine any sensitive music lover failing to respond to this artistically exceptional, beautifully filmed and expertly engineered set.” Gramophone Magazine, March 2013

GGramophone Magazine

DVD/Blu-ray of the Month - March 2013

Blu-ray Disc

Region: all

C Major - 712004

(Blu-ray)

$35.75

Usually despatched in 2 - 3 working days.

Britten: Suites for cello solo, Nos. 1-3

Britten: Suites for cello solo, Nos. 1-3


Philip Higham (cello)

Britten’s meeting with Rostropovich in 1960 was a watershed, the great Russian cellist becoming the primary collaborator of his later years, and inspiring a whole series of masterworks. Among them are the three suites for solo cello, written as a conscious homage to those of Bach (there were originally to have been six). Intriguingly, the Britten scholar Paul Kildea sees the first as a coda to the War Requiem, the second as a snapshot of a lifetime of musical obsessions, and the third as reaching back to much earlier works and suffused with primordial Russian melody.

The young virtuoso Philip Higham brings a youthful vigour and deep intelligence to these seminal masterpieces, resulting in performances of commanding authority and intensity.

Philip Higham is rapidly emerging as one of the most prominent young cellists from the UK. In 2010 he won 2nd prize in the Grand Prix Emanuel Feuermann Competition in Berlin, making him the first British cellist in generations to have won top prizes at three major international competitions, including 1st Prize in the 2008 Bach Leipzig and 2009 Lutoslawski Competitions. He was selected for representation by Young Classical Artists Trust (YCAT) in 2009. Born in Edinburgh in 1985, Philip studied cello with Ruth Beauchamp at St Mary's Music School and continued his studies at the Royal Northern College of Music with Emma Ferrand and Ralph Kirshbaum. He graduated in 2007 with First class Honours and was immediately selected as an International Artist Diploma student. In 2010 he was one of the first artists invited to take part in the Royal Philharmonic Society/YCAT Philip Langridge Mentoring Scheme with Steven Isserlis.

“it is Higham's expansive but tender playing that pulls this music as far away from slapdash as it possible to be...despite his appreciation of their contextual importance, Higham still manages to revel in the glorious sound they invite the cello to make, playing around with its warmth of colours to bring out with glorious inevitability the Bach and Shostakovich hidden therein.” Gramophone Magazine, March 2013

“A worthy centenary tribute from a fine young cellist … Listening to Higham playing these suites is like looking through a clear pane of glass at the music” The Strad, April 2013

“this young Scot's ambition pays off: there's nowhere to hide in three solo suites, but why hide a technique as assured, a musical imagination so finely attuned to Britten's expression, or a Tecchler cello sound as burnished and wonderfully textured as this? His formidable mastery is lightly worn, and he exudes an invigorating sense of freedom, though not a single technical imperfection mars this recording (he was co-producer)” BBC Music Magazine, May 2013 *****

GGramophone Magazine

Editor's Choice - March 2013

BBC Music Magazine

Instrumental Choice - May 2013

Delphian - DCD34125

(CD)

$15.25

(also available to download from $10.00)

Usually despatched in 2 - 3 working days. (Available now to download.)

Saint-Saëns & Tchaikovsky: Works for Cello & Orchestra

Saint-Saëns & Tchaikovsky: Works for Cello & Orchestra


Saint-Saëns:

Cello Concerto No. 1 in A minor, Op. 33

Allegro Appassionato in B minor Op. 43

Le carnaval des animaux: Le Cygne

Tchaikovsky:

Variations on a Rococo Theme, Op. 33

Pezzo capriccioso, Op. 62 for cello & orchestra (or cello & piano)


Stéphane Tétreault (cello)

Orchestre Symphonique de Quebec, Fabiel Gabel

Stéphane Tétreault, 19 years old, was the First Prize winner in the Montreal Symphony Orchestra Standard Life-OSM 2007 Competition as well as various others. Accompanied by the Orchestre Symphonique de Quebec, he performs Saint-Saens’ Concerto No. 1, Tchaikovsky’s Roccoco Variations coupled with Saint-Saens’ Allegro Passionato and The Swan (from Carnival of the Animals) plus Tchaikovsky’s Pezzo Capriccioso op. 62.

“From the very first bars of Saint-Saens's First Cello Concerto you sense that this disc is going to be exhilarating and rewarding. The performers launch the concerto with terrific passion and positive intent, and thereafter call into play a discriminating, captivating spectrum of interpretative sensibility. The solo playing is astonishingly mature...it comes as a shock to realise that Stéphane Tétreault is 19 years old. His is a name to watch.” Gramophone Magazine, March 2013

GGramophone Magazine

Editor's Choice - March 2013

Analekta - AN29881

(CD)

$15.50

(also available to download from $10.00)

Usually despatched in 2 - 3 working days. (Available now to download.)

Haydn: Die Tageszeiten

Haydn: Die Tageszeiten

The Day Trilogy - Symphonies Nos. 6, 7 & 8


Haydn:

Symphony No. 6 in D major ‘Le Matin'

Symphony No. 7 in C major 'Le Midi'

Symphony No. 8 in G major 'Le Soir'


‘The Time of Day’ provided Haydn with an inspiration to compose and his Symphony numbers 6, 7 & 8 collectively became known as The Day Trilogy.

Celebrating their 30th anniversary, Sigiswald Kuijken and La Petite Bande are highly respected exponents of this repertoire and this recording is no exception to their consistently high standards.

Carrying on with their ‘one instrument to a part’ policy, the recording is presented in a wonderfully light and airy way, allowing the music to shine through.

“Haydnistas will need to know that these performances are not harpsichord-accompanied. Tempi are moderate, which is not only a boon in the minuets but enables the solo instruments to speak with full tone in the finales...If you don't have [Haselböck's recording]...you'll be hard-pressed to find a finer period-instrument performance than this.” Gramophone Magazine, March 2013

“these readings by a line-up of around 15 players - which seems to have been the size of Haydn's orchestra in his first years in Eisenstadt - sound freshly thought out, with bright solo timbres, plenty of expressive affect, and lively yet unrushed tempos” BBC Music Magazine, April 2013 ****

GGramophone Magazine

Editor's Choice - March 2013

Accent - ACC24272

(CD)

$15.25

(also available to download from $10.00)

This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched. (Available now to download.)

Copyright © 2002-17 Presto Classical Limited, all rights reserved.