Gramophone Magazine Editor's Choice

March 2014

Disc of the Month

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Prokofiev: Piano Concertos Nos. 1 - 5 (Complete)

Awards:

Gramophone Awards 2014

Winner - Concerto

Gramophone Magazine

Disc of the Month - March 2014

Building a Library

Also Recommended - May 2017

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CHAN10802(2)

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2

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3rd Feb 2014

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Prokofiev: Piano Concertos Nos. 1 - 5 (Complete)


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Exclusive Chandos artist Jean-Efflam Bavouzet performs all five of Prokofiev's formidable piano concertos in partnership with Gianandrea Noseda conducting the BBC Philharmonic.

Bavouzet’s flair for powerful twentieth-century repertoire was made clear in his recording of Bartok’s Piano Concertos, described by The Telegraph as ‘vibrant in colour, vital in rhythm and detail and viscerally exciting in impact.’ Prokofiev wrote these works between 1911 and 1932, mostly as performing vehicles for himself during his most active period as a pianist of astonishing gifts. The First Concerto is for the most part a youthful jeu d’esprit, full of rhythmical energy, but its brief slow movement is surprisingly tragic. The Second Concerto poses some of the most significant technical challenges in the entire piano repertoire, its vivid and athletic keyboard writing pushing the boundaries of what is playable. The Third Concerto in C major, a bright and breezy vehicle for Prokofiev to showcase his talents as a performer, is today his most popular piano concerto. Numbers 4 and 5 are the least well known, having been written at a time when Prokofiev was pushing his musical language to new extremes. However, both concertos contain slow movements that are full of wistful lyricism, foreshadowing the melodic impulse revealed in later works, such as Romeo and Juliet.

Sergey Prokofiev: Piano Concerto No. 1 in D-Flat Major, Op. 10

Allegro brioso

Meno mosso

Andante assai

Allegro scherzando

Sergey Prokofiev: Piano Concerto No. 2 in G Minor, Op. 16

I. Andantino - Allegretto

II. Scherzo: Vivace

III. Intermezzo: Allegro moderato

IV. Finale: Allegro tempestoso

Sergey Prokofiev: Piano Concerto No. 3 in C Major, Op. 26

I. Andante - Allegro

II. Tema con variazioni

III. Allegro ma non troppo

Sergey Prokofiev: Piano Concerto No. 4 in B-Flat Major, Op. 53

I. Vivace

II. Andante

III. Moderato

IV. Vivace

Sergey Prokofiev: Piano Concerto No. 5 in G Major, Op. 55

I. Allegro con brio

II. Moderato ben accentuato

III. Toccata: Allegro con fuoco

IV. Larghetto

V. Vivo

Sunday Times

2nd March 2014

“[Bavouzet] dispatches the bravura passages with élan, yet captures the yearning nostalgia for the Russian émigré’s homeland in his haunting, lyrical slow movements. Gianandrea Noseda and the BBC Phillies are ideal partners in this enterprising set, which should win friends for these less familiar works.”

Gramophone Magazine

March 2014

“Throughout, Bavouzet displays a light touch and laudable levels of physical stamina, with a firm grasp of the very different personalities of each piece. Noseda and the BBC Philharmonic perform like soulmates for the duration, and with superb notes by the Prokofiev scholar David Nice as part of the deal, you can hardly go wrong.”

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Miloš: Aranjuez

Miloš: Aranjuez


Falla:

Homenaje a Debussy

El sombrero de tres picos: Danza del molinero (farruca)

Rodrigo:

Concierto de Aranjuez

London Philharmonic Orchestra, Yannick Nézet-Séguin

Invocación y danza

Fantasia para un Gentilhombre

London Philharmonic Orchestra, Yannick Nézet-Séguin


For his third album on Mercury Classics/Deutsche Grammophon, international chart-topping classical guitarist Miloš Karadaglić takes the world-famous Concierto de Aranjuez as the starting point for a journey across the Spanish landscape, paying tribute to the great composers and musicians who placed the modern classical guitar firmly on the international stage.

The Concierto de Aranjuez was written by Joaquín Rodrigo for the Spanish guitarist Regino Sainz de la Maza and very soon became not just the most famous Spanish guitar concerto but also the most famous guitar concerto of all time; its ravishing slow movement was taken up and arranged by musicians of all genres, from Miles Davis, Chick Corea, Jim Hall to Herb Alpert, from Frank Sinatra to José Carreras. And now, Miloš has produced a standalone new interpretation of Aranjuez; the definitive version for our time.

Miloš sees the work as “the holy grail of the guitar repertoire and an endless source of inspiration. The first and last movements sparkle with energy and rhythm. They paint the landscape of nature, happiness and love. The legendary second movement takes us to a different reality, where emotions overflow and a string becomes a voice.”

For the recording of the new album Aranjuez, Miloš was joined by the London Philharmonic Orchestra under the baton of Yannick Nézet-Séguin at the world-famous Abbey Road Studios in London. Miloš recalls that “Yannick’s energy is infectious and our collaboration was the most electric experience. When we met before the recording sessions to run through the music together, he taught me things I shall always be grateful for. For example, he asked me to rethink my approach to Rodrigo’s notorious scale passages. He suggested that, instead of focusing on each note, I should think of them as gestures – taking each one in a different direction as if they were brushstrokes. At that moment I relaxed completely; I had found the final piece of a puzzle, a piece I had been looking for all along.”

Aranjuez is a celebration of the most popular Spanish works for guitar and orchestra, which includes Rodrigo’s Fantasía para un gentilhombre, and it explores the birth and recognition of the modern guitar in the 20th century. “The guitar as we know it today emerged only at the end of the 19th century, after centuries of various transformations. The Spanish guitar maker Antonio de Torres constructed an instrument larger in size and tone than its predecessors, and that marked the beginning of a new age. The guitar was ready to leave the elegant aristocratic salon for the concert platform…”

For Miloš it has been a long journey from Montenegro, where he was born and at eight started playing the guitar. Now a household name, he has become among his generation one of the most successful champions of his instrument. London, where he now lives, played a decisive role in his career, particularly during his years as a student at the Royal Academy of Music.

Read Presto's complete review of this disc here.

“The young guitarist comes across as an interpreter of delicacy and meticulousness.” Financial Times, 14th February 2014

“[in the Concerto] Karadaglić opts for clearly defined paragraphs of great rhythmic precision...This is a thoughtful and, I think, durable interpretation that will stand the test of time...it's in Rodrigo's Invocacion y danza that we find Karadaglić at his soloistic and, yes, elegant best.” Gramophone Magazine, March 2014

“[Miloš ] demonstrates not only his incredible technique – with effortless sounding runs and trills full of sparkling rhythmic vitality – but also real varieties of colours and musical subtleties. He has a really natural-sounding rubato which is never calculating or forced, but just re-enforces phrasing and subtle harmonic changes...Wonderful playing and a hugely enjoyable disc all round.” Chris O'Reilly, Presto Classical, 24th February 2014

“Fans of Miloš Karadaglić will need no urging to obtain this third album. Others may do so with confidence, even if they have other versions of one or both of the main works.” MusicWeb International, 15th March 2014

“Miloš Karadaglić has a feather-light touch, honeyed tone and warm bass. Musical details are well thought through, and - like a good pianist pedalling - he knows when, and how long, to let notes and chords ring on for colourful effect...this is a thoroughly recommendable beautiful disc.” BBC Music Magazine, June 2014 *****

Presto Disc of the Week

24th February 2014

Presto Discs of 2014

Finalist

GGramophone Magazine

Editor's Choice - March 2014

DG - 4810811

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Chopin: Piano Concertos

Chopin: Piano Concertos


Chopin:

Piano Concerto No. 1 in E minor, Op. 11

Piano Concerto No. 2 in F minor, Op. 21


Award-winning pianist Ingrid Fliter makes her Linn debut with a distinctive performance of Chopin’s notoriously difficult piano concertos, featuring the Scottish Chamber Orchestra conducted by Jun Märkl.

Since winning the silver medal at the 2000 Frederic Chopin Competition in Warsaw, Ingrid has built a reputation as a first-rate Chopin interpreter.

Fliter has previously recorded two all-Chopin discs; her interpretation of the complete Chopin Waltzes received several five star reviews and was named as the Telegraph's ‘CD of the Week’ and Classic FM Magazine's ‘Editors Choice’.

Chopin’s Piano Concerto No. 1 is a thoughtfully scored composition that allows the piano to shine. The Scottish Chamber Orchestra’s beautifully delicate playing perfectly highlights Fliter’s authoritative, yet expressive performance.

Fliter carefully and skilfully showcases the range of tones in Chopin’s second piano concerto, from the dramatic introductory chords at the opening of the first movement to the sweetly lyrical second movement where the Scottish Chamber Orchestra’s woodwinds vie for centre stage. Fliter is a breathtaking performer whose performance of Chopin’s commanding chords and lightening speed runs are effortless.

Ingrid Fliter first sprang to international attention when she was awarded the 2006 Gilmore Artist Award, one of only a handful of pianists to have received this honour.

Ingrid Fliter was also selected as a BBC Radio 3 New Generation Artist from 2007-2009, working with several of the BBC orchestras under the auspices of this programme.

Ingrid Fliter works with orchestras such as Philharmonia Orchestra, Royal Liverpool Philharmonic, City of Birmingham Symphony, Royal Scottish National Orchestra and Scottish Chamber Orchestra.

2014 is the Scottish Chamber Orchestra’s fortieth anniversary year; ‘Chopin: Piano Concertos’ is its twenty first recording with Linn.

Conductor Jun Märkl is constantly in demand with the world’s leading orchestras and soloists, having studied with Leonard Bernstein and Seiji Ozawa.

“there's nothing small-scale about Fliter's performances. This is very much Chopin playing in the great tradition: rich-toned, generous though never profligate with its rubato, and invested with a vast range of keyboard colour. It's all put together meticulously too” The Guardian, 28th February 2014 ****

“True, she sails perilously close to over-sentimentalising the opening Romanza...but Fliter plays with grace and heartfelt sincerity - abetted by some lovely duetting with the SCO's bassoonist - that...I was quickly won over...Fliter, by whatever magical means, touches the heart.” Gramophone Magazine, March 2014

“With so many first-rate recorded performances of varying vintages and in different price-ranges did we need another recording? Emphatically yes, if it’s as good as this new Linn CD...There’s plenty of bravura and power in the outer movements without any sense of showing off and there’s poetry in the slow movements.” MusicWeb International, 13th March 2014

“A chamber ensemble of the calibre and responsiveness of the SCO is the ideal medium in which to appreciate the fact that there is a good deal more subtlety of colour and texture to Chopin’s scoring than is generally acknowledged...Then there is Fliter’s playing, and what a pure joy it is. Power, delicacy, refinement and passion are all there in these two concertos.” The Telegraph, 21st March 2014 *****

“Fliter’s beautifully considered accounts of the two Chopin concertos...reveal a sensibility of rare emotional refinement and high Romantic instincts...She has plenty of delicacy for the bel canto flourishes of the opening movements, and muscle for the bravura of the folk-dance finales. Solid accompaniments, too.” Sunday Times, 23rd March 2014

Presto Discs of 2014

Finalist

GGramophone Awards 2014

Shortlisted - Concerto

GGramophone Magazine

Editor's Choice - March 2014

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Mozart: Piano Concertos Nos. 20 & 25

Mozart: Piano Concertos Nos. 20 & 25


Mozart:

Piano Concerto No. 25 in C major, K503

Piano Concerto No. 20 in D minor, K466


The first new release for ten years from Martha Argerich and Claudio Abbado was their first ever album of concertos by Mozart, and the final recording made by Maestro Abbado. The legendary pianist and conductor added the sublime music of Mozart to their unrivalled, multi award-winning DG discography of concertos by Tchaikovsky, Chopin, Ravel, Prokofiev, Beethoven and Liszt.

Both concertos were recorded with Claudio Abbado’s Orchestra Mozart, at concert performances at the 2013 Lucerne Festival that had critics searching for new superlatives

This release is Martha Argerich’s first recording of solo concertos by Mozart on Deutsche Grammophone.

“the tidy sheen of the Orchestra Mozart’s young professionals tells us plenty about his genius as an orchestral trainer. And his rapport with the mercurial Argerich...is audible in every bar...In the C major concerto, No 25, Argerich’s light, playful attack is immediately apparent; so is the orchestra’s suavity.” The Times, 24th January 2014

“although not perfect is overwhelmingly beautiful. Argerich digs deeply into the keys, but never makes an ugly sound. Her subtle shaping with Abbado of the central movement in the D minor concerto is slow but serene, and the way she lifts the final simple phrases of the coda is heartbreaking.” The Observer, 7th February 2014 ****

“Argerich has not always been prized as a Mozartian, but her years of chamber-music-making bring a special rapport in the dialogues with the wind soloists in the urbane C major (K503) and dramatic D minor (K466) concertos. Her Mozart is highly personal...but always worth hearing.” Sunday Times, 16th March 2014

“Thi is a really fine performance [of K503], with impeccably judged tempos in all three movements, and great playing from the Orchestra Mozart...[in the D minor Concerto] Argerich's playing is full of both unforced poetry and eloquence, as well as commanding authority where needed.” BBC Music Magazine, April 2014 *****

Presto Discs of 2014

Finalist

GGramophone Magazine

Editor's Choice - March 2014

BBC Music Magazine

Disc of the month - April 2014

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The Sacred Spirit of Russia

The Sacred Spirit of Russia


anon.:

Hymn to the Mother of God for the Nativity (Znamenny Chant)

Chesnokov:

Come, let us worship, Op. 8 No. 2

Chant des Chérubins

Praise the Lord from the Heavens, Op. 42 No. 9

Do not cast me off in my old age, Op. 40 No. 5

Grechaninov:

Slava I Edirodnii (Glory To The Only Begotten Son)

The Creed

Our Father

Now the Powers of Heaven, Op. 58 No. 6 "Nïne silï nebesnïya"

Preserve, O Lord, for many years, Op. 79

Ilyashenko:

We should choose to love silence (Concerto for the Nativity of Christ)

Ippolitov-Ivanov:

Bless the Lord, O my Soul, Op. 37 No. 2

Kastalsky:

The Great Doxology, Op. 57 No. 2

Today the Virgin Gives Birth

As many have been baptized

Milost' mira (For the Mercy of Peace)

Kedrov:

Otche nash (Our Father)

Martynov:

The Beatitudes

Rachmaninov:

Liturgy of St John Chrysostom, Op. 31: Let our mouths be filled

Liturgy of St John Chrysostom, Op. 31: Blessed be the name of the Lord

Sviridov:

Christmas Troparion (Inexpressible Wonder)

A wondrous birth, No. 7

Tchaikovsky:

Priidite, poklonimsya 'Come, let us worship'


Glen Miller (basso profundo)

Conspirare, Craig Hella Johnson

To understand and partake of the 'Sacred Spirit of Russia' requires one, first and foremost, to experience the beauty and splendour of the Russian Orthodox liturgy, which has been an integral part of the Eastern Slav identity for over 1000 years.

The sacred music of the New Russian Choral School features sublime settings of the liturgy that draw on a rich history of Orthodox chants and native traditions, creating music of unprecedented colour and textural richness. Following the lead of Tchaikovsky, composers such as Kastalsky, Gretchaninov, Chesnokov, Rachmaninov and a host of others have left us a treasure-trove of musical delights.

Craig Hella Johnson and the 35-strong Conspirare (featuring the astounding basso profundo Glenn Miller) present a glorious sampling of some of the finest works in this genre including Martynov's mesmerising 'Beatitudes' for three sopranos and choir and Kedrov's setting of the Lord's Prayer. Conspirare's esteemed language coach is the editor of Musica Russica, Vladimir Morosan who has also written the booklet notes. The only 'inauthentic' part of this SACD recording for hm USA is the spot-on intonation.

“Russian Orthodox church music seems to sit as unmovable as the architecture in which it was first sung. But that is not to say that every piece sounds the same, as the American choral group Conspirare’s fine recital shows.” Sunday Times, 26th January 2014

“From the outset Conspirare sing with thrilling weight and accuracy; also, the acoustic of this Texas church provides a near-ideal performing space for the feast of antiphons, hymns and prayers that follows...Conspirare breathe new life into this repertoire; a joy from start to finish.” MusicWeb International, 26th February 2014

“Everything is rooted in the bass, as it should be, and the forward brightness of the upper voices creates thrilling friction against their darker tones. This music has waited a long time for a champion, and Conspirare do it proud.” Gramophone Magazine, March 2014

“Conspirare’s reading of these pieces is passionate without being perfumed. A lovely recording, in immaculate sound.” Choir & Organ, March/April 2014

“All of the music performed here is heart-stoppingly, soul-transfixingly and spirit-piercingly beautiful...Glen Miller's ability to reach the lowest notes is almost freakishly delightful, if one can use such frivolous words in connection with such serious music...The ethereally beautiful sound on this SACD preserves a happy nimbus of reverberant space around the singers.” International Record Review, May 2014

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Editor's Choice - March 2014

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Bellini: La Sonnambula

Bellini: La Sonnambula


Giovanni Battista Parodi (Rodolfo), Julie Mellor (Teresa), Jessica Pratt (Amina), Shalva Mukeria (Elvino)

Orchestra e Coro del Teatro La Fenice, Gabriele Ferro

Staged by Bepi Morassi

La Sonnambula is Bellini's first masterpiece, which brought him great fame.

The exceptional singer Jessica Pratt's schedule has included performances at the Vienna State Opera, La Scala, Opernhaus Zürich, Covent Garden, working with conductors such as Vladimir Ashkenazy, Kent Nagano, Sir Colin Davis and Christian Thielemann.

Bepi Morassi´s staging was described by the prestigious daily Frankfurter Allgemeine Zeitung “a spirited and witty new production.”

“[Pratt] lacks Pasta’s lower range, but is spectacularly secure and pure above the stave. She is not frightened to give the vocal pyrotechnics her all when the opportunity arrives...At the end, I felt that director, Bepi Morassi and set designer, Massimo Checchetto had done a good job.” MusicWeb International, 18th December 2013

“Bepi Morassi's production...takes the piece with a pinch of irony, but arguably no more than intended by its creators...Pratt's blonde bombshell of an Amina shows good range of technical skills and moves around most of the notes with confident ease...Orchestra and chorus are both excellent.” BBC Music Magazine, February 2014 ***

“Pratt vocalises the put-upon heroine with skill and beauty...[Mukeria] clealy knows his way well round Elvino's far from easy notes, and sounds suitably Romantic. [Parodi] is wholly convincing in voice and action. [Ferro], an experienced and classy conductor of this repertoire, is on terrific form, as is his orchestra...Morassi's direction has the advantage of taking the piece seriously.” Gramophone Magazine, March 2014

GGramophone Magazine

DVD of the Month - March 2014

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C Major - 713908

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Bellini: La Sonnambula

Bellini: La Sonnambula


Giovanni Battista Parodi (Rodolfo), Julie Mellor (Teresa), Jessica Pratt (Amina), Shalva Mukeria (Elvino)

Orchestra e Coro del Teatro La Fenice, Gabriele Ferro

Staged by Bepi Morassi

La Sonnambula is Bellini´s first masterpiece, which brought him great fame.

The exceptional singer Jessica Pratt's schedule has included performances at the Vienna State Opera, La Scala, Opernhaus Zürich and Covent Garden, working with conductors such as Vladimir Ashkenazy, Kent Nagano, Sir Colin Davis and Christian Thielemann.

Bepi Morassi's staging was described by the prestigious daily Frankfurter Allgemeine Zeitung “a spirited and witty new production.”

“[Pratt] lacks Pasta’s lower range, but is spectacularly secure and pure above the stave. She is not frightened to give the vocal pyrotechnics her all when the opportunity arrives...At the end, I felt that director, Bepi Morassi and set designer, Massimo Checchetto had done a good job.” MusicWeb International, 18th December 2013

“Bepi Morassi's production...takes the piece with a pinch of irony, but arguably no more than intended by its creators...Pratt's blonde bombshell of an Amina shows good range of technical skills and moves around most of the notes with confident ease...Orchestra and chorus are both excellent.” BBC Music Magazine, February 2014 ***

“Pratt vocalises the put-upon heroine with skill and beauty...[Mukeria] clealy knows his way well round Elvino's far from easy notes, and sounds suitably Romantic. [Parodi] is wholly convincing in voice and action. [Ferro], an experienced and classy conductor of this repertoire, is on terrific form, as is his orchestra...Morassi's direction has the advantage of taking the piece seriously.” Gramophone Magazine, March 2014

GGramophone Magazine

DVD/Blu-ray of the Month - March 2014

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J.H. Schmelzer: Sacro-Profanus

J.H. Schmelzer: Sacro-Profanus


Schmelzer:

Sacro-Profanus Concentus Musicus

Al giorno delle Correggie

Fechtschule

Polnische Sackpfeiffen

Lamento sopra la morte di Ferdinand III


Ensemble Masques, Olivier Fortin

With this first project for Zig-Zag Territories, the musicians of the Canadian ensemble Masques under the direction of the harpsichordist Olivier Fortin demonstrate their passion for the music of the Austrian Baroque composer Johann Heinrich Schmelzer.

Like most of his contemporaries (Biber, Walther, Sances), Schmelzer gives music a dual purpose: ‘Music is a pleasure for the saints and for men; it is an act of devotion, but also a symbol of human virtue.’ His collection Sacro-profanus concentus musicus is a masterly illustration of this credo. Ensemble Masques – formed of a core of six instrumentalists specialising in Baroque music – offers us sonatas for five and six instruments from this collection, alternating with character pieces like Die Fechtschule (an evocation of battle), Die Polnische Sackpfeiffe, and the famous Lamento sopra il morte Ferdinandi III. This varied programme highlights the diversity and the Italian inspiration of Schmelzer’s music.

“Their performances apply conversational sophistication to contrapuntal intricacy, nowhere more so than in the softly rapturous slow passages during Sonata IX...These outstanding performances are by turns beguiling and entertaining.” Gramophone Magazine, March 2014

GGramophone Awards 2014

Shortlisted - Baroque Instrumental

GGramophone Magazine

Editor's Choice - March 2014

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R. Strauss: Don Juan, Death and Transfiguration & Till Eulenspiegel’s Merry Pranks

R. Strauss: Don Juan, Death and Transfiguration & Till Eulenspiegel’s Merry Pranks


Strauss, R:

Don Juan, Op. 20

Tod und Verklärung, Op. 24

Till Eulenspiegels lustige Streiche, Op. 28


This new release and the upcoming series are recorded and mastered by the team at Soundmirror, whose outstanding orchestral, solo, opera, and chamber recordings have received over 70 GRAMMY nominations and awards.

“In recent years this orchestra has grown in stature and with this release in the Pittsburgh Live! series their collaboration has once again borne luscious fruit.” MusicWeb International, 27th January 2014

“the Pittsburgh Symphony Orchestra play these three masterly symphonic poems with virtuosity, great feeling and a glorious patina of string tone...But what makes these performances so outstanding are Manfred Honeck's interpretations, which vividly bring out the music's emotional and pictorial detail.” Gramophone Magazine, March 2014

“Honeck's interpretations have huge personality, and mostly in the right way. He's not averse to Stokowski-style touchings-up if they help the drama...Honeck likes to underline something pathological about his hero's pranks... The orchestra plays passionately and luminously, with the brass thrusting when they need to be.” BBC Music Magazine, May 2014 *****

GGramophone Magazine

Editor's Choice - March 2014

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Grieg: Piano Works

Grieg: Piano Works


Frances-Hoad:

Contemplation, after Grieg sonata, Op. 7

Grieg:

Ballade in G minor, Op. 24

Lyric Pieces Op. 38: No. 7 - Waltz

Lyric Pieces Op. 43: No. 1 - Butterfly

Lyric Pieces Op. 43: No. 4 - Little bird

Lyric Pieces Op. 54: No. 4 - Nocturne

Lyric Pieces Op. 65: No. 2 - Bondens sang

Bridal Processional of the Goblins at Vossevangen, Op. 72, No. 14

The girls from Kivledal (Gangar), Op. 72, No. 17

John Vaestafae's springdans, Op. 72, No. 2

Hailing from the hills (Tune from the Fairy Hill), Op. 72, No. 4

Piano Sonata in E minor, Op. 7


Award-winning pianist Ivana Gavrić's third album for Champs Hill Records is a very personal selection of repertoire including Grieg's Piano Sonata, the Ballade and a selection of his Lyric pieces. There is also a unique epilogue - a new piece written for Ivana (the first of a set of four) by RPS Award-winning composer Cheryl Frances-Hoad.

Grieg's Ballade is one of his darkest and most impressive extended pieces for piano. Although he never performed the work himself in concert, it was widely acclaimed, the German critic Walter Niemann describing the Ballade as “the most perfect embodiment of Norway and the Norwegian people, of its agonized longing for light and sun, and at the same time the most perfect embodiment in music of Grieg the man.”

Named Gramophone’s ‘One to Watch’ and BBC Music Magazine’s ‘Rising Star’, Ivana has performed on the major concert platforms in the UK, including The Wigmore Hall, Royal Albert Hall and Royal Festival Hall, as well as across Europe, in Canada, Japan and Russia.

“Gavrić's accounts of...perennial favourites...are certainly appealing. More important is her commitment to music that remains unaccountably neglected...But perhaps the most revelatory music experience is contained in four of the extraordinary Slatter...Gavrić delivers an electrifying performance” BBC Music Magazine, January 2014 ****

“playing that is instinctively attuned to the moods and shades of the music. She brings vitality and haunting atmosphere to the subtle inflections of the cameo images in six of the “Lyric Pieces”...the Sonata comes across with all its youthful exuberance, passion, winning lyricism and tender wistfulness.” The Telegraph, 16th January 2014 ****

“she achieves an unforced eloquence that makes you more than question Alfred Brendel's unforgiveable reference to 'music for chamber-maids'...In short, Gavric possesses what I can only describes as a beautful musical personality, complemented by Champs Hill's excellent sound and presentation.” Gramophone Magazine, March 2014

GGramophone Magazine

Editor's Choice - March 2014

Champs Hill Records - CHRCD067

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Remember me my deir: Jacobean songs of love and loss

Remember me my deir: Jacobean songs of love and loss


And will he not come again, Canaries [Straloch MS], A Scots Tune (untitled) [Rowallan MS]

Rest, sweet nymphs [Francis Pilkington], St Valentine’s Day, Grein greus ye rasses, a Daunce [Straloch MS]

Go from my window [Folger Dowland MS], Gypsies Lilt [Rowallan MS]

O sweet Oliver – My bonny lass (‘Sellinger’s Round’), In throu the windoes of myn ees (Alexander Montgomerie)

A Port [Straloch MS], Remember me, my deir, The Queen’s Treble [John Johnson]

When Laura smiles, A Scots Tune (untitled) [Jane Pickeringe MS], Adeu, O desie of delyt [Andrew Blackhall]

How should I your true love know, Bonny sweet Robin, Ane Scottis Dance [Rowallan MS]

The cypress curtain of the night [Thomas Campion], I long for thy virginite [Straloch MS]

Quhat mightie motione, The Scottish Huntsupe [Jane Pickeringe MS]

Pavane (Passamezzo) and Gagliarda [Braye MS], And will he not come again


Fires of Love

Scotland’s troubadours, the Fires of Love, follow King James VI on a varied journey through song and instrumental music. In the 16th century Scotland appeared outwardly to be musically bruised – not necessarily so … As our musicians deftly weave their way through Scotland’s rich tapestry of historic manuscripts, they unveil attractive unsophisticated melodies, often heavily imbued with the French style.

On their arrival in London, James and his musicians would have been taken aback by the highly active theatre scene. Shakespeare’s texts give rise to compelling settings, from the plaintive 'And will he not come again', poignantly rendered here by Frances Cooper, to the risqué joviality of St Valentine’s Day.

As the Scots courtier-musicians nimbly traded French influence for London’s ‘Englished’ Italian style, one wonders: did they regretfully look homewards: 'Remember me my deir?'

Based in Scotland, Fires of Love has been performing in venues and festivals around Britain since 1998. The repertoire centres on lute and guitar songs, set amongst instrumental ensembles, solos, recent discoveries and the group’s own arrangements. The music spans the breadth of Europe and instruments include lutes, archlute, theorbo, vihuela, baroque guitar, fourcourse guitar, recorders and percussion. The group has made two previous recordings for Delphian: 'Love and Reconquest: Music of Renaissance Spain' (DCD34003) and 'Chansons à Plaisir: Music from the time of Adrian Le Roy' (DCD34063), both released to high critical acclaim.

“The performances are gentle, intimate and never less than beguiling.” Sunday Times, 15th December 2013

“The greater sophistication of the early 17th- century English composers must have shocked the Scots musicians, but it’s to the quartet’s credit that the two strains blend seamlessly here.” The Independent, 11th January 2014

“Rather than clamouring for attention, individual tracks contribute to a single unfolding arc of musical narrative...There's a sense of eavesdropping on something private and intimate, so delicately understated are the performances.” Gramophone Magazine, March 2014

“The Scottish airs often bear traces of dance-like elegance, well suited to the lustrous tone of Frances Cooper, whose hauntingly beautiful sound is one of the chief delights of the recording.” Early Music Review, February 2015

GGramophone Magazine

Editor's Choice - March 2014

Delphian - DCD34129

(CD)

$15.25

Usually despatched in 2 - 3 working days.

Telemann: Ouvertures à 8 for 3 oboes, bassoon, strings and continuo

Telemann: Ouvertures à 8 for 3 oboes, bassoon, strings and continuo


Telemann:

Overture (Suite) TWV 55:D15 in D major for 3 oboes, strings & b.c.

Overture (Suite) TWV 55:d3 in D minor for 3 oboes, bassoon, strings & b.c.

Ouverture TWV 55:B10 in B-flat Major


Zefiro Baroque Orchestra, Alfredo Bernardini

Recorded in the bright acoustics of the Teatro Bibiena in Mantua (“the most beautiful theatre in the world”, according to Leopold Mozart), Zefiro's second release on the Arcana label is devoted to the colourful world of Telemann's Overtures (i.e. Suites).

The three masterworks presented here highlight the unique quality of this versatile ensemble – formed by the oboists Alfredo Bernardini and Paolo Grazzi, and the bassoonist Alberto Grazzi – specialising in eighteenth-century works that give particular prominence to wind instruments.

“The much-vaunted lean muscularity of the Ensemble Zefiro...produces a freshly balanced sonority that alters our experience of these works...Special praise is due to the superb, unstinting continuo players. Thrilling!” Gramophone Magazine, March 2014

GGramophone Awards 2014

Shortlisted - Baroque Instrumental

GGramophone Magazine

Editor's Choice - March 2014

A Musical Picture - up to 40% off

Arcana - A371

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Normally: $15.75

Special: $9.45

(also available to download from $10.00)

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

Le Violon Vagabond: Graf Mourja

Le Violon Vagabond: Graf Mourja

Works for piano & violin by Bartok, Manuel Ponce, Tchaikovsky, Paganini, Chedrine, Kroll, de Sarasate…


Bartók:

Romanian Folk Dances, Sz.56 (arr. Székely for violin & piano)

Frolov:

Piece in blues style

Krein, A:

Caprice hébraïque, Op. 24

Kroll:

Banjo and Fiddle

Paganini:

Violin Concerto No. 2 in B minor, Op. 7: Rondo ‘La Campanella

arr. F Kreisler for violin and piano

Ponce, M:

Estrellita

trans. Heifetz

Rajna:

Tarantulla

Sarasate:

Carmen Fantasy, Op. 25

Scott, C:

Lotus Land, Op. 47 No. 1 (W183)

arr. Fritz Kreisler

Shchedrin:

In Imitation of Albeniz

Tchaikovsky:

Valse-scherzo in C major for violin & orchestra (or violin & piano), Op. 34

Vladigerov:

Horo (Paraphrases bulgares Op. 18)


Graf Mourja (violin) & Natalia Gous (piano)

“Ukrainian violinist Graf Mourja follows up his fine disc of Stravinsky and Szymanowski for Harmonia Mundi with a foray into more eclectic territory. This selection brings together the wild and the exotic, from Paganini's La Campanella to Sarate's Concert Fantasy on Carmen. Mourja has selected the works with such care, and he and Gous perform them with such emotional commitment and attention to the finest musical detail, that they never fail to charm and captivate.” Catherine Nelson, The Strad, May 2004

GGramophone Magazine

Re-issue of the Month - March 2014

Harmonia Mundi Musique d'Abord - HMA1951785

(CD)

$8.00

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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.)

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