Gramophone Magazine Editor's Choice

June 2014

Disc of the Month

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Schumann: Kinderszenen & Waldszenen & Janáček: On the overgrown path I

Awards:

Gramophone Magazine

Disc of the Month - June 2014

BBC Music Magazine

Disc of the month - July 2014

Label:

Hyperion

Catalogue No:

CDA68030

Discs:

1

Release date:

2nd June 2014

Barcode:

0034571280301

Medium:

CD

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Schumann: Kinderszenen & Waldszenen & Janáček: On the overgrown path I


Janacek:

Along an Overgrown Path, JW VIII/17, Book 1

Schumann:

Waldszenen, Op. 82

Kinderszenen, Op. 15


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Marc-André presents a fascinating juxtaposition of two composers who are not obviously musically related, but who are proved on this album to be a felicitous combination.

Schumann’s well-loved Kinderszenen (‘Scenes from childhood’) cycle is a masterpiece: each piece is as deftly and exquisitely crafted as anything in his more outwardly sophisticated mode. From the haunting beauty of the opening ‘From foreign lands and people’ (‘Von fremden Ländern und Menschen’), via the spare eloquence of the central ‘Dreaming’ (‘Träumerei’), to the quiet rhetoric of ‘The poet speaks’ (‘Der Dichter spricht’), the listener is taken through nuances of emotion whose effects are heartrendingly poignant.

Waldszenen (‘Forest scenes’) is another collection of miniatures, and Schumann’s last major cycle for solo piano. This deeply ‘Romantic’ work in the most psychological sense of the word is no objective foray into the woods, but a very personal reaction to an imagined landscape; and equally striking is the sense that each piece represents just a shard of a larger experience. On the whole it is the more bucolic aspect that Schumann explores, though these pieces are not without darker shadows. And while they may be technically fairly straightforward, their changeability calls for the quickest of reactions and a wealth of subtle nuance.

Over half a century separates Schumann’s nature-inspired Waldszenen from the first book of Janáček’s On the overgrown path. The subject matter is darker and more oblique and the piano writing is deceptively treacherous, many of the difficulties far from overt. The title of the overall cycle refers to a Moravian wedding song, the bride lamenting that ‘The path to my mother’s has become overgrown with clover’. The sequence of ten pieces that comprises Book 1 constitutes, as the scholar John Tyrrell has written, some of the ‘profoundest, most disturbing music that Janáček had written, their impact quite out of proportion to their modest means and ambition’.

Leoš Janáček: Along an Overgrown Path, JW VIII/17, Book 1

#01 Our Evenings

#02 A Blown-Away Leaf

#03 Come With Us!

#04 The Frýdek Madonna

#05 They Chattered Like Swallows

#06 Words Fail!

#07 Good Night!

#08 Unutterable Anguish

#09 In Tears

#10 The Barn Owl Has Not Flown Away!

Robert Schumann: Waldszenen, Op. 82

#1 Eintritt

#2 Jäger Auf Der Lauer

#3 Einsame Blumen

#4 Verrufene Stelle

#5 Freundliche Landschaft

#6 Herberge

#7 Vogel als Prophet

#8 Jagdlied

#9 Abschied

Robert Schumann: Kinderszenen, Op. 15

#01 Von Fremden Ländern & Menschen

#02 Kuriose Geschichte

#03 Hasche-Mann

#04 Bittendes Kind

#05 Glückes Genug

#06 Wichtige Begebenheit

#07 Träumerei

#08 Am Kamin

#09 Ritter Vom Steckenpferd

#10 Fast Zu Ernst

#11 Fürchtenmachen

#12 Kind Im Einschlummern

#13 Der Dichter Spricht

Gramophone Magazine

June 2014

“Time and again he makes you think vocally, of the range and flexibility of a great singer...the knife-edge between composer and interpreter, between creator and recreator is held in the finest balance.”

BBC Music Magazine

July 2014

*****

“Hamelin has already made several fine recordings of Schumann's piano music, focusing on big virtuoso pieces. He proves to be equally adept at exploring the more intimate side of the composer's character and the two Schumann cycles here are absolutely magical.”

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

Editor's Choice

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Haydn: String Quartet, Op. 51 'Seven Last Words'

Haydn: String Quartet, Op. 51 'Seven Last Words'


Haydn wrote his 'Seven Last Words' in 1786/87 for Good Friday devotions in Cádiz. Although the custom in Cádiz was to perform an oratorio, Haydn's brief was in fact to write seven movements for orchestra alone, each creating a mood inspired by one of the sayings attributed to the dying Christ. He chose to frame them with a further slow movement called ‘Introduzione’ and a concluding Presto entitled ‘Il Terremoto’, intended to depict the earthquake that occurred after Christ’s death (Matthew 27:51).

This purely instrumental ‘oratorio’ consisting of seven contemplative slow movements was by no means an easy task; but the outcome was a work of sublime nobility, which in Haydn’s own transcription for string quartet has enjoyed unfailing popularity ever since.

It is entirely appropriate that this recording of Haydn’s 'Seven Last Words of Christ' should be performed by the Cuarteto Casals, for the work represents one of the few surviving traces of the composer’s flourishing relationship with Spain, where his music seems quickly to have become as popular as it was in France and Britain. There is footage of excerpts from the 'Seven Last Words' on our harmonia mundi YouTube channel recorded at Oratorio de Santa Cueva, Cadiz, the place for which the work was orginally written.

“The Casals bring a rapt spiritual intensity and high emotional drama to the piece.” Sunday Times, 9th March 2014

“This performance combines devotional gravity, a refined sense of drama and beautifully precise and pure playing.” Financial Times, 13th April 2014

“Using Classical bows, the variety of nuance and colour these players derive from gradations of vibrato and bow pressure alone constitutes a masterclass in quartet playing. Yet it is the sheer intensity and range of expression that transfixes the ear...Truly a revelation.” BBC Music Magazine, June 2014 *****

“Anyone who has encountered previous releases from this group will know what to expect: seriously lean textures, an austere avoidance of vibrato leading to a certain wiriness of sound, an extraordinary clarity of detail and attention to nuance, stark contrasts of staccato and legato, an utter lack of sentimentality that at the same time allows a high degree of expressivity.” International Record Review, May 2014

“The key quality with the Cuarteto Casals is consistent poise - or, rather, poise coupled with a complete understanding of Haydn's textural colouring...The players use a minimal amount of vibrato, reserving it for emotional effect rather than as a standard tool.” Gramophone Magazine, June 2014

GGramophone Magazine

Editor's Choice - June 2014

Harmonia Mundi - HMC902162

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Shostakovich: Symphony No. 14 in G minor, Op. 135

Shostakovich: Symphony No. 14 in G minor, Op. 135


At its première in June 1969 Shostakovich described his Symphony No. 14, in effect a symphonic song cycle, as ‘a fight for the liberation of humanity... a great protest against death, a reminder to live one’s life honestly, decently, nobly...’ Originally intending to write an oratorio, Shostakovich set eleven poems on the theme of mortality, and in particular early or unjust death, for two solo singers accompanied by strings and percussion. This is the penultimate release in Vasily Petrenko’s internationally acclaimed symphonic cycle.

“Vinogradov is the genuine bass article but his pitches can be approximate...Orchestral double basses, though, have terrific impact.” BBC Music Magazine, May 2014 ***

“in a performance as taut and unsparing as this, it has a power that transcends its nihilism. The bass, Alexander Vinogradov, is outstanding, and soprano Gal James also impresses with her mix of artlessness and allure.” Financial Times, 31st March 2014 *****

“this performance demonstrates Petrenko's and the Liverpool orchestra's fine grasp of the composer's evolving idiom, with the result that this is a deeply impressive issue all round... Gal James's timbre might be considered a shade (no more than that) light...but her intonation and diction are fine and her phrasing is excellent...Vinogradov is also most impressive.” International Record Review, May 2014

“Petrenko gets appropriately dark and brooding textures from his strings and percussion ensemble, unleashing sounds of raw ferocity...[Vinogradov] has a magnificent dark bass and trenchant delivery of the text, an ideal voice for this music. At Naxos’s bargain price, this is unmissable.” Sunday Times, 20th April 2014

GGramophone Magazine

Editor's Choice - June 2014

Naxos Vasily Petrenko Shostakovich Symphonies - 8573132

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Prokofiev: Symphonies Nos. 3 & 7

Prokofiev: Symphonies Nos. 3 & 7


 

Alternative ending for Symphony No. 7

Prokofiev:

Symphony No. 3 in C minor, Op. 44

Symphony No. 7 in C sharp minor, Op. 131


This is the first release in a survey of all seven Prokofiev Symphonies from Kirill Karabits and the Bournemouth Symphony Orchestra. Karabits has had access to the Prokofiev family archive and throughout this project there will be quite a few surprises, such as music from the early Symphony in G of 1902 and works such as 'Dreams' Op. 6, 'Autumnal Sketch' Op. 8 and 'Two Poems for orchestra and Women’s Chorus' Op. 7, as well as the 'Sinfonia Concertante' for cello & orchestra. Each CD booklet contains an interview with Karabits in conversation with Prokofiev expert Daniel Jaffé.

The 3rd Symphony makes extensive use of music from the opera 'The Fiery Angel'. It was premiered in 1929 under Pierre Monteux and is vividly colourful, sensual and exciting. The 7th dates from 1952, the year before the composer’s death. Intended as a work for young people, it is beautiful, yet enigmatic and reflective, harking back to the great ballet scores. Prokofiev provided an alternative ‘upbeat’ conventional ending to the symphony at the request of colleagues so as not to provoke criticism from the Soviet authorities. This alternative finale can be heard after the 7th symphony on this CD. Today the work is always performed with the peaceful ‘leave taking’ ending that the composer preferred.

“Karabits has certainly not gone for the most popular – testifies not only to his persuasive command of the idiom but also to the way he has managed to inculcate such an apt-sounding timbre and flair into the Bournemouth orchestra’s manner of playing...Altogether this is a highly auspicious start to what should be a keenly collected series.” The Telegraph, 13th March 2014

“The beauty here is the retrospective Symphony No 7, last of the lot, delivered at exactly the right weight, its black sorrows balanced by tender ironyIn the turbulent drama of the Third...Karabits could have delivered extra blood and guts, but there’s no doubting the orchestra’s present flair in Russian repertoire.” The Times, 14th March 2014 ***

“The rich, dark “Russian” sound and nimble virtuosity he gets from the band are vivid successes of his regime in Bournemouth.” Sunday Times, 30th March 2014

“Karabits argues that the Third has a logic of its own, unrelated to the opera, and maintains his case in a truly terrifying yet detailed performance that precariously balances formal tautness with atrocious emotional intensity. The Seventh, he claims, is "a very tragic work", which is pushing it, though his interpretation is unnervingly bleak.” The Guardian, 11th April 2014 *****

“the Bournemouth Orchestra can hold its head high in the most august company. These two performances are terrific.” MusicWeb International, 9th April 2014

“Two of Prokofiev’s least familiar symphonies...find unexpectedly persuasive advocates in the Bournemouth Symphony Orchestra and its Ukrainian chief conductor Kirill Karabits, who unerringly identifies the composer’s lyrical and acerbic extremes.” Financial Times, 26th April 2014 ****

“Karabits, supported by the Bournemouth Symphony Orchestra's outstandingly responsive playing, gives an utterly compelling account of the Third...Karabits's performance of No. 7, with both its reflective conclusion and the alternative upbeat ending recorded, is if anything even more remarkable.” BBC Music Magazine, June 2014 *****

“Those who find a ruthless, high-octane manner unpalatable even in music as inescapably OTT as Prokofiev's Third Symphony will welcome Karabits's cooler, more analytical approach...I don't think I have heard this score rendered with greater sophistication than it is in the Lighthouse, Poole...the music emerges refreshed.” Gramophone Magazine, June 2014

Presto Discs of 2014

Finalist

GGramophone Magazine

Editor's Choice - June 2014

Onyx Kirill Karabits Prokofiev Symphony Cycle - ONYX4137

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Wagner: Götterdämmerung

Wagner: Götterdämmerung

Live recording from the Teatro alla Scala, Milan, 2013


Lance Ryan (Siegfried), Iréne Theorin (Brünnhilde), Mikhail Petrenko (Hagen), Johannes Martin Kränzle (Alberich), Gerd Grochowski (Gunther), Waltraud Meier (Waltraute/Zweite Norn), Anna Samuil (Gutrune/Dritte Norn), Margarita Nekrasova (Erste Norn), Aga Mikolaj (Woglinde), Maria Gortsevskaya (Wellgunde), Anna Lapkovskaja (Flosshilde)

Orchestra and Chorus of the Teatro alla Scala, Daniel Barenboim, Guy Cassiers

Götterdämmerung, the final instalment of Wagner’s Ring of the Nibelung, is a story of human passions. Two essentially benevolent creatures, involved with and possibly doomed by their traffic with the gods, find treachery and evil in the world of the humans, and are ruined by the dark side of humanity.

Iréne Theorin, acclaimed worldwide for her portrayal of Wagner’s heroines, stars as Brünnhilde opposite Lance Ryan, who continues his radiant portrayal of the tragic hero Siegfried. The strong cast also includes Mikhail Petrenko as the dark antagonist Hagen and Johannes Martin Kränzle, who once again shines as his father Alberich. Waltraud Meier has a memorable appearance as Brünnhilde’s sister Waltraute.

With this 2013 recording of Götterdämmerung, the musically and visually compelling Scala Ring Cycle by Daniel Barenboim and Guy Cassiers was completed and proved to be one of the highlights of the Richard Wagner bicentenary.

Subtitle Languages: DE (Original Language),

GB, FR, ES, IT, Korean Running Time: 292 mins

Sound Formats: PCM Stereo, DD 5.1 Picture

Format: 16:9

DVD Format: 2 x DVD 9 / NTSC

“The production scores a triumph in the use of light-dark imagery to mirror the archetypal forces at play, underscoring the music rather than overwhelming it with images.” Opera Today

“These DVDs of La Scala performances...are most notable for showcasing this conductor's supreme command of the epic lyricism that goes to the heart of the Wagner style...while Cassiers achieves an uneasy compromise between tradition and innovation, Barenboim provides a masterclass in Wagner interpretation that need fear no comparison with the greatest of his precursors.” Gramophone Magazine, June 2014

GGramophone Awards 2014

Shortlisted - Opera

GGramophone Magazine

DVD of the Month - June 2014

DVD Video

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Arthaus Musik Barenboim La Scala Milan Ring Cycle - 101696

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$35.75

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Wagner: Götterdämmerung

Wagner: Götterdämmerung

Live recording from the Teatro alla Scala, Milan, 2013


Lance Ryan (Siegfried), Iréne Theorin (Brünnhilde), Mikhail Petrenko (Hagen), Johannes Martin Kränzle (Alberich), Gerd Grochowski (Gunther), Waltraud Meier (Waltraute/Zweite Norn), Anna Samuil (Gutrune/Dritte Norn), Margarita Nekrasova (Erste Norn), Aga Mikolaj (Woglinde), Maria Gortsevskaya (Wellgunde), Anna Lapkovskaja (Flosshilde)

Orchestra and Chorus of the Teatro alla Scala, Daniel Barenboim, Guy Cassiers

Götterdämmerung, the final instalment of Wagner’s Ring of the Nibelung, is a story of human passions. Two essentially benevolent creatures, involved with and possibly doomed by their traffic with the gods, find treachery and evil in the world of the humans, and are ruined by the dark side of humanity.

Iréne Theorin, acclaimed worldwide for her portrayal of Wagner’s heroines, stars as Brünnhilde opposite Lance Ryan, who continues his radiant portrayal of the tragic hero Siegfried. The strong cast also includes Mikhail Petrenko as the dark antagonist Hagen and Johannes Martin Kränzle, who once again shines as his father Alberich. Waltraud Meier has a memorable appearance as Brünnhilde’s sister Waltraute.

With this 2013 recording of Götterdämmerung, the musically and visually compelling Scala Ring Cycle by Daniel Barenboim and Guy Cassiers was completed and proved to be one of the highlights of the Richard Wagner bicentenary.

“The production scores a triumph in the use of light-dark imagery to mirror the archetypal forces at play, underscoring the music rather than overwhelming it with images.” Opera Today

Blu-Ray Disc: 50GB (Dual Layer)

Blu-Ray Resolution: 1080i High Definition

Subtitle Languages: DE (Original Language),

GB, FR, ES, IT, Korean Running Time: 292 mins

FSK: 0

“Its greatest asset is Daniel Barenboim's conducting, less vigorous perhaps than his Bayreuth cycle but generally more fluent and sweeping, with fewer abrupt tempo changes, and the La Scala orchestra in good form...best of all are Waltraud Meier's Waltraute and Second Norn, and Johannes Martin Kränzle...singing Alberich with a horrid vitality that shows up the rest.” BBC Music Magazine, May 2014 ***

“These DVDs of La Scala performances...are most notable for showcasing this conductor's supreme command of the epic lyricism that goes to the heart of the Wagner style...while Cassiers achieves an uneasy compromise between tradition and innovation, Barenboim provides a masterclass in Wagner interpretation that need fear no comparison with the greatest of his precursors.” Gramophone Magazine, June 2014

GGramophone Magazine

DVD/Blu-ray of the Month - June 2014

Blu-ray Disc

Region: all

Arthaus Musik Barenboim La Scala Milan Ring Cycle - 108093

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Panufnik: Symphonic Works Volume 7

Panufnik: Symphonic Works Volume 7

Sfere


Panufnik, A:

Symphony No. 5 'Sinfonia di Sfere'

Bassoon Concerto

Michael von Schonermark (bassoon)

Landscape

Love Song


Sarah van der Kemp (mezzo-soprano)

Konzerthausorchester Berlin, Polish Radio Symphony Orchestra, Łukasz Borowicz

Andrzej Panufnik’s fifth symphony is regarded by many as his symphonic masterpiece. This is the 7th release in the successful series of his symphonic works.

“the clarity of the new recording allows all the detail of all Panufnik's remarkable scoring, relished at every moment by Borowicz...Something that should also be taken into consideration is the fabulous performance of the Bassoon Concerto...certainly one of the greatest conceived for the instrument...Highly recommended.” Gramophone Magazine, June 2014

“[Sinfonia di Sfere] demands acute long-term thinking on the part of the conductor as it does a virtuosic orchestral response...Borowicz steers a secure yet, where necessary, flexible course...The rest of this disc testifies to the variety and also vitality of Panufnik's output.” International Record Review, May 2014

GGramophone Magazine

Editor's Choice - June 2014

CPO Panufnik Symphonic Works - 7776862

(CD)

$15.25

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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.)

Brahms: Complete Works for Cello and Piano

Brahms: Complete Works for Cello and Piano


Brahms:

Cello Sonata No. 1 In E Minor, Op. 38

Cello Sonata No. 2 in F major, Op. 99

Sonatensatz (Scherzo from the F.A.E. sonata), WoO 2

arr. Watson Forbes

Cello Sonata in D major Op. 78 (arr. from Violin Sonata)

Hungarian Dance No. 1 in G minor

arr. Alfred Piatti

Hungarian Dance No. 2 in D minor

arr. Alfred Piatti

Hungarian Dance No. 5

arr. Alfred Piatti

Hungarian Dance No. 6 in D flat major

arr. Alfred Piatti

Hungarian Dance No. 7

arr. Alfred Piatti

Feldeinsamkeit, Op. 86 No. 2

Wie Melodien zieht es mir, Op. 105 No. 1

Sapphische Ode, Op. 94 No. 4

Wiegenlied, Op. 49 No. 4 (Lullaby)

Liebestreu, Op. 3 No. 1

Minnelied Op. 71 No. 5

Piano Concerto No. 2 in B flat major, Op. 83, 2nd movement

arr. Cord Garben


Jonathan Aasgaard (cello), Martin Roscoe (piano)

Jonathan Aasgaard, together with pianist Martin Roscoe, performs the complete music for cello and piano by Brahms, including both the Sonatas plus transcriptions of the composer’s Hungarian Dances, Lieder, First Violin Sonata and the Andante of the Second Piano Concerto.

Principal cellist of the Royal Liverpool Philharmonic Orchestra, Jonathan Aasgaard is an equally distinguished soloist as well as a notable arranger, talents in evidence on his previous Avie release, From Jewish Life (AV2149) on which he solos in Bloch’s Schelomo and Bruch’s Kol Nidrei, and his own arrangement of Bloch’s Prayer. His 2-CD set of the Complete Works for Cello and Piano by Brahms includes the composer’s two Sonatas as well as arrangements of the popular Hungarian Dances, a selection of Lieder, the First Violin Sonata, and the Andante from his Piano Concerto No 2. His superb partner is pianist Martin Roscoe.

“There is not a sentence started by Aasgaard that Roscoe leaves unfinished; no question unanswered...More than usual, therefore, it is important not to understate the value that Martin Roscoe adds to this recording with his utterly faultless playing. He makes you properly listen.” Gramophone Magazine, June 2014

“The best performance here is an extraordinary rendition of the First Violin Sonata. Transferred to the cello's upper strings, and played with limpid elegance, its musing character is given an amplified radiance I'd not heard before.” BBC Music Magazine, October 2014 ***

GGramophone Magazine

Editor's Choice - June 2014

Avie - AV2300

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Mahan Esfahani: Byrd, Bach, Ligeti

Mahan Esfahani: Byrd, Bach, Ligeti

Recorded live at Wigmore Hall, London, on 3 May 2013


Bach, J S:

Musical Offering, BWV1079: Ricercar a 3

Musical Offering, BWV1079: Ricercar a 6

Musical Offering, BWV1079: Canon perpetuus super thema Regium

Byrd:

Clarifica me, Pater (3 verses)

Ligeti:

Passacaglia ungherese für Cembalo

Continuum für Cembalo

Hungarian Rock (Chaconne) für Cembalo

PLAINCHANT

Clarifica me, Pater, Clarifica me, Pater II, Clarifica me, Pater III, Jhon come kiss me now, The Fifte Pavian, The Galliard to the Fifte Pavian, The Marche Before the Battell, Fancie, The Firste Pavian, The Galliard to the Firste Pavian, Callino casturame, Fantasia in A minor (FVB LII), Walsingham


Mahan Esfahani (harpsichord)

Hailed by Opera Today as ‘the leading harpsichordist of his generation’, Mahan Esfahani attracted worldwide attention in 2010 when he gave the first ever harpsichord recital at the BBC Proms. He was the first harpsichordist to be named a BBC New Generation Artist and to be awarded a fellowship by the Borletti-Buitoni Trust. Dedicated to taking his instrument beyond the realm of Early music, the critically acclaimed Iranian-American harpsichordist works with repertoire that spans four centuries.

For this recital he turned his mind to Byrd’s keyboard miniatures, exploring the works’ vibrant ingenuity in company with the rich masterworks of Bach and the irresistible and fascinating compositions of Ligeti.

“perhaps most striking are the dazzling realisations of three harpsichord pieces by Gyorgy Ligeti. These eclectic soundscapes are splahsed with the exotic colours of Hungarian folk music and the acidulous tuning of mean-tone temperament...Esfahani communicates all this and more, with giddying technique and a perceptive understanding of Ligeti's mongrel idiom.” BBC Music Magazine, August 2014 *****

“flexible, articulate and deeply musical interpretations...Also note how Esfahani points up the quirky cross-rhythmic interplay and tart accidentals in Byrd's Fantasia in A minor...The full bodied engineering conveys both instrumental and venue in a natural and attractive ambient blend.” Gramophone Magazine, June 2014

“he is a simply superb player. His technique is beyond criticism and his inherent musicianship goes far deeper than mere surface understanding...when one hears his performances of these Byrd pieces, so essentially re-creative in the best sense, with each note and phrase fully part of the piece itself - one can only applaud this young man's artistry.” International Record Review, May 2014

Presto Discs of 2014

Finalist

GGramophone Magazine

Editor's Choice - June 2014

BBC Music Magazine

Instrumental Choice - August 2014

Wigmore Hall Live - WHLIVE0066

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$10.50

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JS Bach: Lutheran Masses Volume II

JS Bach: Lutheran Masses Volume II


Bach, J S:

Mass in G major, BWV236

Cantata BWV79 'Gott der Herr ist Sonn und Schild'

Mass in A major, BWV234


Despite their exquisite beauty, featuring splendid choruses and deeply moving arias, there are relatively few recordings of Bach’s Lutheran Masses. On this second disc, which completes The Sixteen’s mini-series, the orchestra is joined by just eight singers to perform the Masses, allowing the beauty of the virtuosic vocal lines to be heard with absolute clarity.

Sometimes called ‘Missa brevis’, the Lutheran Masses feature almost no Lutheran material at all. Musically, they are almost entirely made up of movements borrowed from Bach’s Cantatas and their beauty is in the fact that they represent the composer’s own choice of his finest Cantata movements.

It is 20 years since The Sixteen last recorded such a wealth of Bach’s music, making this a uniquely exciting project. Volume I was released in October 2013.

“This is a fascinating lesson in the art of creative transcription by a master transcriber. Both Masses bring out the relaxed and avuncular in Christophers...With scrupulous instrumental underpinning, a natural recorded sound, and Doyle's ravishing 'Qui tollis', this is a worthy successor to Vol. 1.” BBC Music Magazine, May 2014 ****

“The Sixteen could not be better suited to the genial abstraction of the sunny Mass in G major, BWV236...There are more refined and exquisite performances...but there are few as unassuming and natural as this. Strongly recommended.” Gramophone Magazine, June 2014

“There are surely few other chamber ensembles that are capable of achieving such equality of line between the vocal and the instrumental. The subtlety achieved by horn players Anneke Scott and Joseph Walters in BWV 79’s chorale ‘Nun danket alle Gott’ is particularly remarkable. All members of The Sixteen are equally at home as soloists and choral singers.” Early Music Today

GGramophone Magazine

Editor's Choice - June 2014

Coro - COR16120

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La bella piu bella

La bella piu bella

Songs from early baroque Italy


Caccini, G:

Dolcissimo sospiro

Dalla porta d'oriente

Torna, deh torna

Carissimi:

Piangete, aure piangete

Castaldi:

Tasteggio soave - Sonata prima

Ferrari, Benedetto:

Son ruinato, appassionato

India:

Cruda Amarilli

Kapsberger:

Ciaccona

Toccata sesta

Ninna nanna

Merula:

Folle e ben che si crede

Monteverdi:

Ecco di dolci raggi

Eri già tutta mia

Voglio di vita uscir

Piccinini:

Toccata V

Aria di saravanda in varie partita

Romano, G:

Strana armonia d'amore

Rossi, Luigi:

La bella più bella

A qual dardo

Strozzi:

L'Eraclito amoroso 'Udite amanti'

Mi fà rider la speranza


Roberta Invernizzi (soprano) & Craig Marchitelli (archlute & theorbo)

Known for her dazzling and elegant displays in the music of the later Baroque the Milanese singer has also nurtured, across her career, the more delicate and nuanced art of the Italian song repertory from the early 17th century. It was a time when courtly and polyphonic expression were giving way to the “moving of the emotions” by a solo singer accompanied by a single instrument. Renato Dolcini guides us through the musical evolution of this form in his illuminating booklet essay.

'La bella più bella' sees Roberta Invernizzi sailing gracefully across the terrain of such monody in songs composed by the likes of Kapsberger (his Ninna nanna), Giulio Caccini and Barbara Strozzi, as well as Luigi Rossi, whose dream-like piece provides the album with its title. Three of Claudio Monteverdi’s later works conclude this recital, in which lutenist and theorbist Craig Marchitelli accompanies, and also contributes a number of solo pieces, by Kapsberger, Castaldi and Piccinini.

“This is vocal writing that thrives on extremes: complex, emphatic, dissonant and brilliantly embellished...Invernizzi is a fearless singer. Some notes are stripped violently dry and thin, others made hot and heavy with vibrato, and her fioritura in Monteverdi's Voglio di vita uscir is coruscating.” BBC Music Magazine, May 2014 ****

“Invernizzi's delivery is forthright, refusing to relax and bloom into vibrato until the very last, digging deep into the suspensions that give this music its emotional friction. She delivers operatic scope within the intimate framework of a vocal recital...Recorded close, this disc has all the brightness and directness of a live performance.” Gramophone Magazine, June 2014

GGramophone Magazine

Editor's Choice - June 2014

Glossa - GCD922902

(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.)

Lotte Lehmann – A 125th Birthday Tribute (Live)

Lotte Lehmann – A 125th Birthday Tribute (Live)


includes

Beethoven:

Freudvoll und leidvoll from Egmont

Die Trommel geruhret

Wonne der Wehmut, Op. 83 No. 1

Neue Liebe, Neues Leben, Op. 75, 2

An die ferne Geliebte (To the distant beloved), Op. 98

Brahms:

Therese, Op. 86 No. 1

Vergebliches Ständchen, Op. 84 No. 4

Das Mädchen spricht, Op. 107 No. 3

Wiegenlied, Op. 49 No. 4 (Lullaby)

Ständchen, Op. 106 No. 1

Es träumte mir (No. 3 from Acht Lieder und Gesänge, Op. 57)

Fruhlingslied, Op. 85, No. 5

Gounod:

Vierge

Ave Maria

Mendelssohn:

Morgengruss (Heine) Op. 47 No. 2

Venetianisches Gondellied

Neue Liebe, Op. 19a No. 4

Schilflied, Op. 71 No. 4

Frage Op. 9/1

Der Mond, Op. 86 No. 5

Lieblingsplätzchen, Op. 99 No. 3

Gruß, Op. 19a No. 5

Pagenlied

Die Liebende schreibt (Goethe) Op. 86 No. 3

Mozart:

Als Luise die Briefe, K520

Abendempfindung an Laura, K523

Dans un bois solitaire, K308

Die Verschweigung, K518

Das Veilchen, K476

Pfitzner:

Gretel, Op. 11 No. 5

Schubert:

Die junge Nonne, D828

Der Doppelgänger D957 No. 13

Liebesbotschaft, D957 No.1

An eine Quelle D530 (Claudius)

Der Tod und das Mädchen, D531

Auflösung, D807

Die Forelle, D550

Im Frühling, D882

Schwanengesang D744 (Senn)

Der Jungling und der Tod, D545 (Spaun)

Dass sie hier gewesen! D775 (Rückert)

An die Musik D547

Schumann:

Aufträge, Op. 77 No. 5

Dichterliebe, Op. 48 (extracts)

Strauss, R:

Der Rosenkavalier: excerpts

Ariadne auf Naxos (excerpts)

Ständchen, Op. 17 No. 2

Zueignung, Op. 10 No. 1

Traum durch die Dämmerung, Op. 29 No. 1

Tchaikovsky:

None but the lonely heart, Op. 6 No. 6

Wagner:

Du Ärmste kannst wohl nie ermessen (from Lohengrin)

Der Engel (No. 1 from Wesendonck-Lieder)

Im Treibhaus (No. 3 from Wesendonck-Lieder)

Schmerzen (No. 4 from Wesendonck-Lieder)

Träume (No. 5 from Wesendonck-Lieder)

Wolf, H:

Selected lieder

Anakreons Grab (No. 29 from Goethe-Lieder)

Gesang Weylas (No. 46 from Mörike-Lieder)


Lotte Lehmann (soprano), Ernö Balogh (piano), Paul Ulanowsky (piano), Bruno Walter (narrator), Bruno Walter (piano), Artist Unknown (piano), Lotte Lehmann (reader), Lotte Lehmann (narrator)

Artist Unknown, NBC Symphony Orchestra, NBC Symphony Chorus, RCA Victor Chamber Orchestra, Frank Black, Nathaniel Shilkret, Richard Lert

GGramophone Magazine

Re-issue of the Month - June 2014

Music & Arts - MACD1279

(CD - 4 discs)

$34.50

(also available to download from $40.00)

Usually despatched in 4 - 5 working days. (Available now to download.)

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