Gramophone Magazine Editor's Choice

Awards Issue 2015

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.
Verdi: Aida

Awards:

Presto Disc of the Week

2nd October 2015

Gramophone Magazine

Disc of the Month - Awards Issue 2015

Building a Library

Also Recommended - April 2017

CD Review

Disc of the Week - October 2015

BBC Music Magazine

Disc of the month - November 2015

Catalogue No:

2564610663

Discs:

3

Release date:

2nd Oct 2015

Barcode:

0825646106639

Length:

2 hours 25 minutes

Medium:

CD (download also available)
| Share

Verdi: Aida


Anja Harteros (Aida), Jonas Kaufmann (Radamès), Ekaterina Semenchuk (Amneris), Ludovic Tezier (Amonasro), Erwin Schrott (Ramfis), Marco Spotti (Il Re d'Egitto), Paolo Fanale (Un Messaggero), Eleonora Buratto (Sacerdotessa)

Orchestra dell'Accademia di Santa Cecilia, Roma; Coro dell'Accademia di Santa Cecilia, Roma, Antonio Pappano

CD - 3 discs

$25.75

(also available to download from $25.00)

In stock - usually despatched within 1 working day.

Read Presto's complete review of this disc here.

This magnificent recording of Aida, made in Rome, rises to all the musical and dramatic challenges presented by Verdi’s richly-coloured Egyptian epic. Antonio Pappano, once again proving his mastery of Italian opera, moves between sumptuous grandeur and touching intimacy. The responses of the Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia are both immediate and vibrant, while the singers – Anja Harteros, Jonas Kaufmann, Ekaterina Semenchuk, Ludovic Tézier and Erwin Schrott – do justice to every facet of their roles.

Maestro Antonio Pappano became music director of these Rome-based ensembles in 2005 – and has recorded Verdi’s Requiem, Rossini’s Guillaume Tell and Puccini’s Madama Butterfly with them – but this version of Verdi’s Egyptian-set masterpiece will inevitably represent a landmark. Aida, after all, has a reputation as one of the grandest works in the repertoire, and studio recordings of large-scale operas have become something of a rarity over the past 20 years. The New York Times has predicted that “this will surely rank as one of the most prestigious recording projects of the year.”

The recording was made in February 2015 in the Auditorium of Rome’s Parco della Musica – a superb 2800-seat concert hall, designed by Renzo Piano. The venue was able to accommodate all the spatial effects (such as off-stage chorus and woodwind/brass banda) that Verdi built into his score, and the producer, Stephen Johns, could evoke towering temples and echoing tombs without recourse to electronic trickery.

Antonio Pappano feels that, as conductor, his role is “to become the stage director creating an imaginary production, which is built with the forces and space that you have at your disposal.” He emphasises that, for all its grandeur, particularly in the spectacular Triumphal Scene that closes Act II, Aida is “an intimate piece ... but the intimacy is placed in large spaces.” When it comes to creating Verdi’s richly-coloured sound world, he believes that the Orchestra dell’Accademia Nazionale di Santa Cecilia has “the ideal sound – the cantabilità [singing quality], the drama.”

Pappano has chosen singers who can bring both soaring power and lyrical subtlety to their roles: Anja Harteros as the captive Ethopian princess Aida, Jonas Kaufmann as the Egyptian general Radamès, Ekaterina Semenchuk as the Egyptian princess Amneris, Ludovic Tézier as Aida’s father, the Ethopian king, Amonasro, Erwin Schrott as the implacable high priest Ramfis and Marco Spotti as the King of Egypt.

Shortly after the recording was completed, Pappano conducted a concert performance of Aida with the Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia and the same line-up of principal singers. The sold-out event duly attracted critics from all over the world.

The Sunday Times (UK) wrote that: “Pappano was incandescent, inspiring his orchestra and chorus to marvels of drama in the big scenes, yet also wondrously detailed, revealing textures in this masterly score of breathtaking transparency and delicacy. Aida in the theatre is rarely, if ever, like this.” The Times (UK) judged that: “It’s hard to imagine Aida being better sung today,” and described Anja Harteros as “a rare singer who can bring such exquisite poise to the long, lyrical lines of the music while also riding the orchestra.” Jonas Kaufmann “provided ardour, muscle and Verdian elegance in spades,” while “Ekaterina Semenchuk was a rich-toned Amneris, flashing with haughty glamour ... Ludovic Tézier’s warm-toned Amonasro was another impeccably musical performance and Erwin Schrott was good value as an unexpectedly virile Ramfis .... And underpinning it all, the Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia were guided by Pappano with thrilling theatricality and finesse ... Who needs elephants when the music sounds this good?”

The Italian magazine Musica praised Pappano’s readiness to explore the dramatic extremes of the score – both its violence and its delicacy, while the Austrian newspaper Die Presse found this to be “an orchestrally intoxicating Aida, full of nuances and exciting from the first note to the last” and compared Ekaterina Semenchuk to two powerhouse mezzo-sopranos of the past, Fiorenza Cossotto and Elena Obraztsova.

The French website Forum Opéra declared that this Aida was “the operatic event of 2015 in Rome – and even in the whole of Italy ...

This concert did full justice to a score that is more refined than we often think it to be ... Antonio Pappano brought the drama to life, taking it forward without letting the tension drop for a moment ... the orchestra shone with great clarity and with instrumentalism of the highest quality ... the chorus is one of the best to be heard ... the cast [was] of a standard that is rarely experienced.”

Giuseppe Verdi: Aïda: Preludio

Aïda: Preludio

Giuseppe Verdi: Aïda, Act 1

"Sì: corre voce che l'Etiope ardisca" (Ramfis, Radamès)

"Se quel guerrier io fossi!" (Radamès)

"Celeste Aida" (Radamès)

"Quale insolita gioia nel tuo sguardo!" (Amneris, Radamès)

"Vieni, o diletta, appressati" (Amneris, Aida, Radamès)

"Alta cagion v'aduna" (King, Messenger, Radamès, Ramfis, Priests, Ministers, Captains, Aida)

"Su! del Nilo al sacro lido" (King, Ramfis, Ministers, Captains, Aida, Radamès, Amneris, Priests, Messenger)

"Ritorna vincitor!" (Aida)

"Possente, possente Fthà" (Verdi: Aïda, Act 1: "Possente, possente Fthà" (High Priestess, Ramfis, Priests, Priestesses)

"Sacred dance of the Priestesses" (Priestesses, Ramfis, Priests)

"Mortal, diletto ai Numi" (Ramfis, Priests)

"Nume custode e vindice" (Ramfis, Radamès, Priests, Priestesses)

Giuseppe Verdi: Aïda, Act 2

"Chi mai fra gl'inni e I plausi" (Slaves, Amneris)

Dance of the Moorish slaves

"Vieni: sul, crin ti piovano" (Slaves, Amneris)

"Fu la sorte dell'armi a' tuoi funesta" (Amneris, Aida)

"Pietà ti prenda del mio dolor" (Aida, Amneris)

"Su! del del Nilo a sacro lido" (Chorus, Amneris, Aida)

"Gloria all'Egitto, ad Iside" (Chorus, Priests)

Triumphal march

Ballet

"Vieni, o guerriero vindice" (Chorus, Priests)

"Salvator della patria" (King, Radamès, Ramfis, Priests)

"Che veggo! Egli? Mio padre!" (Aida, Amneris, Radamès, Ramfis, King, Priests, Chorus, Amonasro)

"Ma tu, Re, tu signore possente" (Amonasro, Aida, Slaves, Prisoners, Ramfis, Priests, Amneris, King, Radamès)

"O Re, pei sacri numi" (Radamès, King, Amneris,Priests, Chorus, Ramfis)

"Gloria all' Egitto, ad Iside" (King,Slaves, Prisoners, Chorus, Ramfis, Priests, Aida, Radamès, Amneris, Amonasro)

Giuseppe Verdi: Aïda, Act 3

"O tu che sei d'Osiride" (Priests, Priestesses)

"Vieni d'Iside al tempio" (Ramfis, Amneris, Priests, Priestesses)

"Qui Radamès verrà!" (Aida)

"O patria mia" (Aida)

"Ciel! mio padre!" (Aida, Amonasro)

"Rivedrai le foreste imbalsamate" (Amonasro, Aida)

"In armi ora si desta il popol nostro" (Amonasro, Aida)

"Padre! a costoro schiava non sono" (Amonasro, Aida)

"Pur ti riveggo, mia dolce Aida" (Radamès, Aida)

"Nel fiero anelito di nuova guerra" (Radamès, Aida)

"Fuggiam gli ardori inospiti... Là, tra foreste vergini" (Aida, Radames)

"Ma, dimmi: per qual via" (Aida, Radamès, Amonasro, Amneris, Ramfis)

Giuseppe Verdi: Aïda, Act 4

"L'abborrita rivale a me sfuggia" (Amneris)

"Già i sacerdoti adunansi" (Amneris, Radamès)

"Ah! tu dei vivere! " (Amneris, Radamès)

"Ohimè! morir mi sento!" (Amneris)

"Spirto del nume, sovra noi discendi!" (Ramfis, Priests, Amneris)

"Radamès, Radamès, Radamès" (Ramfis, Priests, Amneris)

"A lui vivo, la tomba!" (Amneris, Ramfis, Priests)

"La fatal pietra sovra me si chiuse" (Radamès, Aida)

"Presago il core della tua condanna" (Aida, Radamès)

"Vedi? di morte l'angelo" (Aida, Priests, Priestesses, Radamès)

"O terra, addio" (Aida, Radamès, Priests, Priestesses, Amneris,)

'La Fatal Pietra'

Gramophone Magazine

Awards Issue 2015

“This would always have been an event, a major (in several senses) studio opera recording. But it's also a performance absolutely worthy of the attention, and a superb addition to the catalogue.”

Presto Classical

Katherine Cooper

2nd October 2015

“The cast really couldn't be bettered today...[Kaufmann's] sublime 'Celeste Aida' sets the tone for a recording that's full of fresh insights and attention to detail whilst never sounding clinical or micro-managed...But in the final analysis the laurel-wreath must go to Pappano's wonderful Santa Cecilia Orchestra, who capture every facet of the score's astonishing emotional and dynamic range.”

BBC Music Magazine

November 2015

“Anja Harteros can boast both the high-octane tone and the necessary level of dramatic expression to make Aida credibly three dimensional…[Ekaterina Semenchuk makes] many subtle observations pertinent to the character's inner emotional world…In Kaufmann's hands 'Celeste Aida' registers as a magnificent soliloquy, and unusually he closes it with the immaculately soft finish Verdi asks for, but which few tenors can actually deliver”

The Guardian

7th October 2015

****

“The playing that Antonio Pappano obtains from the Santa Cecilia Orchestra wonderfully mixes refinement and power – it’s coloured with perfect finesse in the dances towards the end of the first act and in the nocturnal scene-painting that opens the third, while the great triumphal choruses have tremendous presence and energy.”

The Telegraph

26/10/2015

*****

“Verdi's epic of Ancient Egypt…comes thrillingly alive here in a superb new recording which could hardly be bettered today…[Pappano] leads the orchestra of the Accademia Nazionale di Santa Cecilia in a reading free of pomp and rhetoric that manages to combine crisp textural clarity with vivid drama. The playing is alert and precise throughout - enchantingly so in the delicious ballet music.”

New York Times

11th December 2015

“fluid and elegantly dramatic...Kaufmann, in excellent voice, offers a poetic “Celeste Aida”; Ms. Harteros is touching in the title role. But it’s the orchestra, airy and alert, that carries this fresh and invaluable new recording.”

Choose Format:


What is MP3 and FLAC?

Click here for alternative recordings of this work.

Editor's Choice

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

Verdi: Aida

Verdi: Aida


Anja Harteros (Aida), Jonas Kaufmann (Radamès), Ekaterina Semenchuk (Amneris), Ludovic Tezier (Amonasro), Erwin Schrott (Ramfis), Marco Spotti (Il Re d'Egitto), Paolo Fanale (Un Messaggero), Eleonora Buratto (Sacerdotessa)

Orchestra dell'Accademia di Santa Cecilia, Roma; Coro dell'Accademia di Santa Cecilia, Roma, Antonio Pappano

Read Presto's complete review of this disc here.

This magnificent recording of Aida, made in Rome, rises to all the musical and dramatic challenges presented by Verdi’s richly-coloured Egyptian epic. Antonio Pappano, once again proving his mastery of Italian opera, moves between sumptuous grandeur and touching intimacy. The responses of the Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia are both immediate and vibrant, while the singers – Anja Harteros, Jonas Kaufmann, Ekaterina Semenchuk, Ludovic Tézier and Erwin Schrott – do justice to every facet of their roles.

Maestro Antonio Pappano became music director of these Rome-based ensembles in 2005 – and has recorded Verdi’s Requiem, Rossini’s Guillaume Tell and Puccini’s Madama Butterfly with them – but this version of Verdi’s Egyptian-set masterpiece will inevitably represent a landmark. Aida, after all, has a reputation as one of the grandest works in the repertoire, and studio recordings of large-scale operas have become something of a rarity over the past 20 years. The New York Times has predicted that “this will surely rank as one of the most prestigious recording projects of the year.”

The recording was made in February 2015 in the Auditorium of Rome’s Parco della Musica – a superb 2800-seat concert hall, designed by Renzo Piano. The venue was able to accommodate all the spatial effects (such as off-stage chorus and woodwind/brass banda) that Verdi built into his score, and the producer, Stephen Johns, could evoke towering temples and echoing tombs without recourse to electronic trickery.

Antonio Pappano feels that, as conductor, his role is “to become the stage director creating an imaginary production, which is built with the forces and space that you have at your disposal.” He emphasises that, for all its grandeur, particularly in the spectacular Triumphal Scene that closes Act II, Aida is “an intimate piece ... but the intimacy is placed in large spaces.” When it comes to creating Verdi’s richly-coloured sound world, he believes that the Orchestra dell’Accademia Nazionale di Santa Cecilia has “the ideal sound – the cantabilità [singing quality], the drama.”

Pappano has chosen singers who can bring both soaring power and lyrical subtlety to their roles: Anja Harteros as the captive Ethopian princess Aida, Jonas Kaufmann as the Egyptian general Radamès, Ekaterina Semenchuk as the Egyptian princess Amneris, Ludovic Tézier as Aida’s father, the Ethopian king, Amonasro, Erwin Schrott as the implacable high priest Ramfis and Marco Spotti as the King of Egypt.

Shortly after the recording was completed, Pappano conducted a concert performance of Aida with the Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia and the same line-up of principal singers. The sold-out event duly attracted critics from all over the world.

The Sunday Times (UK) wrote that: “Pappano was incandescent, inspiring his orchestra and chorus to marvels of drama in the big scenes, yet also wondrously detailed, revealing textures in this masterly score of breathtaking transparency and delicacy. Aida in the theatre is rarely, if ever, like this.” The Times (UK) judged that: “It’s hard to imagine Aida being better sung today,” and described Anja Harteros as “a rare singer who can bring such exquisite poise to the long, lyrical lines of the music while also riding the orchestra.” Jonas Kaufmann “provided ardour, muscle and Verdian elegance in spades,” while “Ekaterina Semenchuk was a rich-toned Amneris, flashing with haughty glamour ... Ludovic Tézier’s warm-toned Amonasro was another impeccably musical performance and Erwin Schrott was good value as an unexpectedly virile Ramfis .... And underpinning it all, the Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia were guided by Pappano with thrilling theatricality and finesse ... Who needs elephants when the music sounds this good?”

The Italian magazine Musica praised Pappano’s readiness to explore the dramatic extremes of the score – both its violence and its delicacy, while the Austrian newspaper Die Presse found this to be “an orchestrally intoxicating Aida, full of nuances and exciting from the first note to the last” and compared Ekaterina Semenchuk to two powerhouse mezzo-sopranos of the past, Fiorenza Cossotto and Elena Obraztsova.

The French website Forum Opéra declared that this Aida was “the operatic event of 2015 in Rome – and even in the whole of Italy ...

This concert did full justice to a score that is more refined than we often think it to be ... Antonio Pappano brought the drama to life, taking it forward without letting the tension drop for a moment ... the orchestra shone with great clarity and with instrumentalism of the highest quality ... the chorus is one of the best to be heard ... the cast [was] of a standard that is rarely experienced.”

“This would always have been an event, a major (in several senses) studio opera recording. But it's also a performance absolutely worthy of the attention, and a superb addition to the catalogue.” Gramophone Magazine, Awards Issue 2015

“The cast really couldn't be bettered today...[Kaufmann's] sublime 'Celeste Aida' sets the tone for a recording that's full of fresh insights and attention to detail whilst never sounding clinical or micro-managed...But in the final analysis the laurel-wreath must go to Pappano's wonderful Santa Cecilia Orchestra, who capture every facet of the score's astonishing emotional and dynamic range.” Katherine Cooper, Presto Classical, 2nd October 2015

“Anja Harteros can boast both the high-octane tone and the necessary level of dramatic expression to make Aida credibly three dimensional…[Ekaterina Semenchuk makes] many subtle observations pertinent to the character's inner emotional world…In Kaufmann's hands 'Celeste Aida' registers as a magnificent soliloquy, and unusually he closes it with the immaculately soft finish Verdi asks for, but which few tenors can actually deliver” BBC Music Magazine, November 2015

“The playing that Antonio Pappano obtains from the Santa Cecilia Orchestra wonderfully mixes refinement and power – it’s coloured with perfect finesse in the dances towards the end of the first act and in the nocturnal scene-painting that opens the third, while the great triumphal choruses have tremendous presence and energy.” The Guardian, 7th October 2015 ****

“Verdi's epic of Ancient Egypt…comes thrillingly alive here in a superb new recording which could hardly be bettered today…[Pappano] leads the orchestra of the Accademia Nazionale di Santa Cecilia in a reading free of pomp and rhetoric that manages to combine crisp textural clarity with vivid drama. The playing is alert and precise throughout - enchantingly so in the delicious ballet music.” The Telegraph, 26/10/2015 *****

“fluid and elegantly dramatic...Kaufmann, in excellent voice, offers a poetic “Celeste Aida”; Ms. Harteros is touching in the title role. But it’s the orchestra, airy and alert, that carries this fresh and invaluable new recording.” New York Times, 11th December 2015

Presto Disc of the Week

2nd October 2015

Presto Discs of 2015

Winner

GGramophone Awards 2016

Winner - Opera

GGramophone Magazine

Disc of the Month - Awards Issue 2015

Building a Library

Also Recommended - April 2017

CD Review

Disc of the Week - October 2015

BBC Music Magazine

Disc of the month - November 2015

BBC Music Magazine Awards 2016

Disc of the Year

Warner Classics - 2564610663

(CD - 3 discs)

$25.75

(also available to download from $25.00)

In stock - usually despatched within 1 working day.

Bruckner: Symphony No. 6 in A major

Bruckner: Symphony No. 6 in A major


This is the fifth volume of the on-going recording project of Bruckner’s complete Symphonies by Paavo Järvi and Frankfurt Radio Symphony Orchestra. In the end this project will be comprised of nine symphonies, and so-called “Nullte” Symphony in D Minor. Frankfurt Radio Symphony Orchestra boasts long tradition of Bruckner performances, and in early 1980s they attained special attention when Eliahu Inbal recorded the acclaimed recordings of the Symphonies No. 3, No. 4 and No. 8, which developed into the recording of complete Bruckner symphonies. Recorded live in Alte Oper in Frankfurt and edited from multiple performances, this new recording presents new insight into this neglected masterpiece by Bruckner. As Conductor Laureate of Frankfurt Radio Symphony Orchestra, this season Järvi releases the complete Mahler Symphonies with the orchestra on DVD (Unitel). Järvi also holds the position of Music Director Laureate of the Cincinnati Symphony Orchestra and takes up the position of Chief Conductor of the NHK Symphony Orchestra from the 2015/16 season.

“Structure, emotion - Paavo Järvi proves once again in this superb Bruckner Sixth why he is deservedly one of the most recorded of today's conductors.” Gramophone Magazine, Awards Issue 2015

GGramophone Magazine

Editor's Choice - Awards Issue 2015

RCA Paavo Järvi Complete Bruckner Symphonies - 88875131262

(CD)

$14.00

(also available to download from $4.00)

In stock - usually despatched within 1 working day.

A Festival of Fučík

A Festival of Fučík


Fucik:

Entry of the Gladiators

Under the Admirals Flag, Op. 82

Mississippi River

Die Regimentskinder

Winterstürme

Der alte Brummbar, Op. 210

David Hubbard (bassoon)

Florentiner, Op. 214

Marinarella

Donausagen

Hercegovac, Op. 235

Uncle Teddy, Op. 239

Miramare


Thirty years after having recorded Dvořák’s complete Symphonies on Chandos, the Royal Scottish National Orchestra and its laureate conductor Neeme Järvi tackle another romantic Czech composer: Julius Fučík, famous for his more than 400 polkas, marches, and waltzes, some of the best of which are featured here.

Fučík studied violin in his early years, switching later to the bassoon, with a subsidiary in percussion and timpani. Playing in Austrian regiments, he gained invaluable experience of writing for military band and became a very prolific composer of marches. The most famous of these is of course Entry of the Gladiators, completed in 1899 and performed throughout the world ever since.

Full of energetic, effervescent Bohemian crossrhythms, tuneful brass melodies (often now associated with a circus atmosphere), but also more lyrical expressions, this album is a festival in itself.

“Nicely crafted and highly enjoyable music, played with all the life and fizz it requires by Järvi and his Scottish-based colleagues. What he lacks in memorable melody he makes up for with swagger, immense charm and foot-tapping brio – and, my goodness, this career bandmaster certainly knew how to orchestrate. The sound picture is a Chandos spectacular.” Gramophone Magazine, Awards Issue 2015

“Järvi and the Royal Scottish National Orchestra deliver this excellently recorded anthology with great enthusiasm, throwing themselves into these brightly coloured scores without a hint of condescension or irony…this is a highly enjoyable reminder of the delights of Romanticism's popular side.” BBC Music Magazine, December 2015

GGramophone Magazine

Editor's Choice - Awards Issue 2015

Super Audio CD

Format:

Hybrid Multi-channel

Chandos - up to 40% off

Chandos - CHSA5158

(SACD)

Normally: $15.25

Special: $12.20

(also available to download from $10.00)

In stock - usually despatched within 1 working day.

Vaughan Williams: Symphony No. 1 'A Sea Symphony'

Vaughan Williams: Symphony No. 1 'A Sea Symphony'


Read Presto's complete review of this disc here.

Hallé announces their latest release, of Vaughan Williams’ masterpiece in a live recording from the stunning 2014 Bridgewater Hall performance.

“This matchless concert of British music closed with an outstanding performance, among the finest ever, of A Sea Symphony .... This was the first time Sir Mark Elder had conducted the work, which made the completeness of his interpretation, at once controlled and ecstatic, all the more startling. I can't imagine the work being better played..”

“Elder paces the symphony grandly and is rewarded with patrician playing from The Hallé and well-blended singing from his four massed choirs. The two soloists, a strong Katherine Broderick and an articulate Roderick Williams, hold their own. Bathed in the warm acoustic of Bridgewater Hall, a nobility of utterance suffuses the whole performance.” Financial Times, 4th September 2015 ****

“Judging the tempi on such a lengthy musical journey is no small task, and Elder’s account is to be praised for the way he avoids either flagging or rushing. A masterclass in choral symphonic music-making and conducting, and almost certainly one of my favourite discs of the year!” Presto Classical, 4th September 2015

“The long finale – a full half-hour – is exceptionally well modulated and shrewdly paced, achieving a fusion of flow and moving intensity in which orchestral and choral colour, together with the deep expressivity and dynamism of both the baritone and the soprano Katherine Broderick, combine to attain inspiring heights.” The Telegraph, 30th August 2015 *****

“Elder presides over a majestic performance, brimful of lofty spectacle, abundant temperament and stunning accomplishment...Roderick Williams is on customarily refulgent and intelligent form; soprano Katherine Broderick, too, sings with heaps of passion and drama...The superbly honed choral and orchestral contribution surely testifies to many hours of painstaking preparation.” Gramophone Magazine, Awards Issue 2015

“Mark Elder's Vaughan Williams cycle with The Halle is turning out to be the finest since the two by Adrian Boult - and the opening bars of this live recording of A Sea Symphony show why. The sweeping grandeur of the moment is wonderfully caught, yet there's no trace of bombast, so that even with the massed choral and orchestral forces, the big paragraphs are shaped with a sense of their lyricism that neither drags nor glibly undercuts the music's epic scale.” BBC Music Magazine, November 2015

“Mark Elder makes clear Vaughan Williams’s debts to Charles Stanford and Elgar, Wagner and Ravel, carrying them along in a reading of tidal power, patient yet inexorable.” New York Times, 25th November 2015

Presto Disc of the Week

4th September 2015

Presto Discs of 2015

Finalist

GGramophone Awards 2016

Shortlisted - Orchestral

GGramophone Magazine

Editor's Choice - Awards Issue 2015

Hallé Elder Vaughan Williams Series - CDHLL7542

(CD)

$14.75

(also available to download from $10.00)

In stock - usually despatched within 1 working day.

JS Bach, Handel & Scarlatti: Gamba Sonatas

JS Bach, Handel & Scarlatti: Gamba Sonatas


Bach, J S:

Viola da Gamba Sonatas Nos. 1-3, BWV1027-1029

Chorale Prelude BWV639 'Ich ruf' zu dir, Herr Jesu Christ'

Handel:

Sonata in G minor HWV364b

with Robin Michael (cello)

Scarlatti, D:

Keyboard Sonata K90 in D minor

with Robin Michael (cello)


Steven Isserlis (cello), Richard Egarr (harpsichord)

Bach wrote three wonderful sonatas for the viola da gamba (an early, slightly smaller relative of the modern cello). Lovingly recorded by Steven Isserlis and Richard Egarr, they are here joined by works by Handel and Scarlatti in a programme of haunting tranquillity.

“This isn’t one for the dyed-in-the-wool authenticist…fortunately, dessicated 'authenticity' has been supplanted by imaginatively experimenting performers supported by scholarly evidence…in the Handel slow movements Isserlis indulges stylistically in spontaneous-sounding elaboration of the line, while the thrilling final allegro of the Scarlatti Sonata is wonderfully fluent.” BBC Music Magazine, October 2015

“Isserlis judges the scale of his performances to a nicety.” Financial Times, 11th September 2015

“None of these pieces was written for cello and harpsichord, and at no stage does that matter one bit...Isserlis makes no attempt to make his cello imitate the wispy resonance of the gamba, instead claiming the music for his instrument with vigorously articulated lines, robust technical athleticism and ravishing cantabile.” Gramophone Magazine, Awards Issue 2015

“Isserlis plays them on the gamba’s modern cousin, the cello, and the microphone loves his playing, picking up all the nuances and scampering asides from his soft-spoken instrument which can sometimes get lost in big concert halls. Egarr on harpsichord matches Isserlis’s eloquence and rambunctious energy all the way.” The Guardian, 17th September 2015 *****

“Isserlis points out that playing with a harpsichord allows him “to play as lightly as possible without ever courting inaudibility,” and the result is playing of grace, lightness and warmth.” The Wholenote, November 2015

GGramophone Magazine

Editor's Choice - Awards Issue 2015

Hyperion & Helios - up to 50% off

Hyperion - CDA68045

(CD)

Normally: $15.25

Special: $11.89

In stock - usually despatched within 1 working day.

Beethoven: Lieder & Bagatellen

Beethoven: Lieder & Bagatellen


Beethoven:

An die Hoffnung, Op 32

Werner Güra (tenor)

Lied aus der Ferne, WoO 137

Werner Güra (tenor)

Bagatelles (6), Op. 126

Zärtliche Liebe 'Ich liebe dich', WoO 123

Werner Güra (tenor)

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

Werner Güra (tenor)

Adelaide, Op. 46

Werner Güra (tenor)

Der Kuss, Op. 128

Werner Güra (tenor)

Wonne der Wehmut, Op. 83 No. 1

Werner Güra (tenor)

Resignation, WoO 149

Werner Güra (tenor)

An die Hoffnung, Op. 94

Werner Güra (tenor)


Christoph Berner (fortepiano J. B. Streicher, 1847)

Beethoven the song composer. The giant of the symphony and the sonata has somewhat overshadowed Beethoven the creator of songs. Yet his lieder are certainly not lacking in appeal or originality, as is shown by this selection that includes the most famous, from 'Adelaide' to the first song cycle in history, 'An die ferne Geliebte'. Christoph Berner plays a Streicher fortepiano of 1847, perfectly suited to both the songs and the wonderful Bagatelles Op.126.

“Playing on an 1847 Streicher fortepiano – a direct descendant of the kind of instrument Beethoven knew – Berner relishes t[the Bagatelles'] quirkiness, explosive energy and rarefied lyricism...Güra’s mellifluous tenor has lost none of the freshness of a decade and more ago. He sings An die ferne Geliebte with a wondering, confiding intimacy, punctuated by surges of excited urgency.” Gramophone Magazine, Awards Issue 2015

“Güra's noble and beautifully enunciated tenor recreates the sheer energy and spiritual struggle within the microcosm of Beethoven's songs…Berner's 1847 Streicher fortepiano captures well the clarity and the tonal depths of Beethoven's keyboard writing. And the artfully placed Bagatelles, fearlessly played, become both responses to and a spiritual fine-tuning for our reception of the songs.” BBC Music Magazine, December 2015

GGramophone Awards 2016

Finalist - Solo Vocal

GGramophone Magazine

Editor's Choice - Awards Issue 2015

BBC Music Magazine

Choral & Song Choice - December 2015

BBC Music Magazine Awards 2016

Vocal Finalist

Harmonia Mundi - HMC902217

(CD)

$14.00

(also available to download from $11.00)

In stock - usually despatched within 1 working day.

Tchaikovsky: Pique Dame

Tchaikovsky: Pique Dame

Live-Recording, Munich, Philharmonie, October 2014


Misha Didyk (Herman), Tatiana Serjan (Lisa), Larissa Diadkova (Countess), Alexey Shishlyaev (Tomskij and Plutus), Alexey Markov (Yeletzki)

Kinderchor der Bayerischen Staatsoper & Chor and Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons

In its history as a concert orchestra, the Symphonieorchester des Bayerischen Rundfunks has also devoted itself on numerous occasions to opera, under such eminent conductors as Rafael Kubelik and Leonard Bernstein. Chief conductor Mariss Jansons also maintains the tradition, for example with concert performances of Russian operas such as "Eugene Onegin". BR-KLASSIK now presents the 2014 live recording in Munich's Philharmonie im Gasteig of the semi-staged performance of Tchaikovsky's late masterpiece "The Queen of Spades". With great connoisseurship, Mariss Jansons has brought together a group of singers for this performance in original Russian who are all native speakers of the language, and very familiar with the work. They include Misha Didyk as Hermann, Tatiana Serjan as Lisa, and Alexey Markov as Prince Yeletsky.

Booklet: in German & English

Libretto: in German, Russian & English

“Didyk’s voice is not intrinsically beautiful, but its throaty, bottled-up sound suits this dark, brooding role well...His encounter with Diadkova’s Countess in her boudoir...chills the blood. Tatiana Serjan has a big, vibrant soprano and offers a Lisa in the grand Russian style. The supporting parts, including Alexey Shishlyaev’s bluff Tomsky, are all brilliantly taken, but this is Jansons’s set: his conducting is edge-of-the-seat stuff.” Sunday Times, 13th September 2015

“Hearing as refined and lustrous an orchestra as the Bavarian Radio Symphony Orchestra play Tchaikovsky’s magnificent score is a treat in itself...[Didyk's] confrontation with Larissa Diadkova’s terrific Countess (beautifully paced and detailed by Jansons), is impressive and never topples over into hysteria.” The Guardian, 10th September 2015 ****

“Serjan is a vibrant, fearless Lisa...Hers is a voice with plenty of ‘blade’ when required, yet she can shade it beautifully...[Didyk] surprises with his baritonal depths here as Herman, as well as a ringing top...Diadkova’s Countess happily relies more on secure vocal technique than scary histrionics and Oksana Volkova is a rich-voiced Polina.” Gramophone Magazine, Awards Issue 2015

GGramophone Awards 2016

Finalist - Opera

GGramophone Magazine

Editor's Choice - Awards Issue 2015

BBC Music Magazine

Christmas Choice

BBC Music Magazine Awards 2016

Opera Finalist

BR Klassik - up to 25% off

BR Klassik - 900129

(CD - 3 discs)

Normally: $31.25

Special: $24.06

(also available to download from $30.00)

In stock - usually despatched within 1 working day.

Rossini: Aureliano in Palmira

Rossini: Aureliano in Palmira

Live from the Rossini Opera Festival Pesaro, 2014


Michael Spyres (Aureliano), Jessica Pratt (Zenobia), Lena Belkina (Arsace) & Raffaella Lupinacci (Publia)

Orchestra Sinfonica G. Rossini & Chorus of the Teatro Comunale di Bologna, Will Crutchfield (conductor) & Mario Martone (stage director)

World Premiere Recording

Set Designer Sergio Tramonti

Costume Designer Ursula Patzak

Aureliano in Palmira celebrated its first première on 26 December 1813 at the Scala In Milan. Soon afterwards the work was played in different theatres all over Europe. Nevertheless Rossini’s piece fell into oblivion more and more compared to the great competitors like “Tancredi” or the “Barber of Seville” for which Rossini recycled musical parts of “Aureliano”. But since a few years there are ambitions to play this work about love, war, jealousy, loyalty and magnanimity more frequently. The direction in Pesaro was in the proven hands of the famous film director Mario Martone. Conductor Will Crutchfield contributes to the successful performance of the newly edited “Aureliano in Palmira” and masterfully directs the Orchestra Sinfonica G. Rossini.

Bonus: Making of “Aureliano in Palmira”

Sound Formats: PCM Stereo, dts-HD Master Audio 5.1

Picture Format: 16:9

Original Language: IT

Subtitles: IT, GB, DE, FR, KOR, JP

Blu-ray Disc 50 GB (Dual Layer)

Resolution: 1080i High Defi nition

Running Time: 201 mins & 14 mins (Bonus)

FSK: 0

“the staging by film director Mario Martone is simple without being static, pointful without being concept-bound...[Belkina] as handsome a young warrior as any Zenobia might wish for and a superb singer-performer to boot...Jessica Pratt is a vocally brilliant Zenobia, full-voiced even on the highest E flat...Spyres’s Aureliano withstands nobly the vocal challenges of a part which Rossini wrote for two different voices.” Gramophone Magazine, Awards Issue 2015

“[This production] is excellent and the singing on a very high level. The title role has the least interesting music, but Michael Spyres…makes what he can of it…[the lovers] are sung by Lena Belkina (Arsace, the male) and Jessica Pratt (the female), both of them evidently performers with a big future. There is a delightful pastoral scene, with three live goats (no vocal contribution) and the opera is briskly but sensitively conducted.” BBC Music Magazine, November 2015

GGramophone Magazine

DVD/Blu-ray of the Month - Awards Issue 2015

Blu-ray Disc

Region: all

Arthaus Musik - 109074

(Blu-ray)

$35.75

In stock - usually despatched within 1 working day.

Dvorak & Lalo: Cello Concertos

Dvorak & Lalo: Cello Concertos


Dvorak:

Cello Concerto in B minor, Op. 104

Lalo:

Cello Concerto in D minor


German-Canadian international soloist Johannes Moser recently signed an exclusive recording contract with PENTATONE. He regularly performs with the world's leading orchestras such as the Berlin Philharmonic, New York Philharmonic, Chicago Symphony, London Symphony, Royal Concertgebouw, NHK Symphony, Philadelphia and Cleveland Orchestras as well as the leading conductors of our time including Mariss Jansons, Valery Gergiev, Zubin Mehta and Gustavo Dudamel.

For his debut album with PENTATONE Johannes chose to record the pinnacle of the repertoire for cello and orchestra, the concerto by Antonín Dvořák. In this monumental work Dvořák explores the entire spectrum of human emotion, very much inspired by his own experiences, ranging from exhilarating bursts of life in New York City to the devastating tragedy of his unfulfilled love. In preparation for the recording, made with the PKF-Prague Philharmonia, Johannes Moser and conductor Jakub Hrůša had Dvořák's own manuscript at hand in order to come closer to the composer's intention rather than relying on unquestioned traditions and acquired habits, while paying tribute to the concerto's nickname, "Dvořák's 10th Symphony".

Moser completes his debut album with the Cello Concerto by Édouard Lalo. It is a work of great verve which fully embodies Spanish flair combined with romantic spirit. Besides being staples of the Romantic cello repertoire the two works have a lot in common. Johannes Moser says about the two concerti: "The unifying motif between these two Cello Concertos is a sense of yearning: From America, Dvořák yearned for his homeland and an unfulfilled love, whereas Lalo yearned for the typically Spanish flair and the Mediterranean temperament".

“Moser gives us an exciting, high-tension ride with an impressive sense of structure. He's a musician of alacrity, power and style: virtuosic passages benefit from his fleet effortlessness.” BBC Music Magazine, December 2015

“With rhythmically taut and well-drilled orchestral support under Jakub Hrůša, Johannes Moser projects a full tone with no loss of presence when he ventures among the instrument’s higher reaches...The recorded sound is, like the playing, absolutely top-notch...this new version is up there with the best of them and could happily serve as a credible first choice.” Gramophone Magazine, Awards Issue 2015

GGramophone Magazine

Editor's Choice - Awards Issue 2015

Super Audio CD

Format:

Hybrid Multi-channel

Pentatone - PTC5186488

(SACD)

$15.25

(also available to download from $10.00)

In stock - usually despatched within 1 working day.

Bach, J S: Goldberg Variations, BWV988

Bach, J S: Goldberg Variations, BWV988


Lars Vogt (piano)

Pianist Lars Vogt presents one of the classic works of the Baroque repertoire – Johann Sebastian Bach’s (1685–1750) famous Goldberg Variations.

Originally written for the harpsichord the Goldberg Variations, published in 1741, embody an Aria with 30 variations and a coda. Bach wrote the work for Johann Gottlieb Goldberg, who, as the narrative says, often played music as a cure for Count Kaiserling’s insomnia. Apparently the work was one of the successes that Bach had during his lifetime and it was also published during his lifetime.

Lars Vogt was appointed the first ever “Pianist in Residence” by the Berlin Philharmonic in 2003/04 and enjoys a high profile as a soloist and chamber musician.

“Vogt's feeling for the over-arching whole is impressive. He's not above a little 'guiding' either - pianist that he is, sometimes drawing attention to detail in a way denied to Bach's harpsichord. But he's sparing in the use of the pedal and, like András Schiff and Murray Perahia, inclined to let his fingers sing wherever possible - to laugh, too.” BBC Music Magazine, November 2015

“he seems to me to bring qualities of freshness and joie de vivre to the Goldbergs that have often been much less marked. He is not reverential and he has noted – correctly, surely – how entertaining the Variations are...Vogt is an artist with much to communicate, and this is a distinguished addition to the discography of the Goldberg Variations in all their glorious elegance.” Gramophone Magazine, Awards Issue 2015

“Informed by period performance practice but playing on a modern grand, Vogt uses very little pedal and keeps ornaments clean and graceful. Textures are transparent. The simplicity, wit and honesty of his approach makes this a wonderful addition to the catalogue by a versatile musician.” The Observer, 23rd August 2015 ****

GGramophone Magazine

Editor's Choice - Awards Issue 2015

Ondine - ODE12732

(CD)

$15.25

(also available to download from $10.00)

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

The Song of the Stars

The Song of the Stars

British Music for Upper Voice Choir


Chilcott:

The Song of the Stars

Holst:

Ave Maria, H49, Op. 9b

Choral Hymns from the Rig Veda, Op. 26: 3rd Group, H99

MacMillan:

New-made for a King

McDowall:

Regina Caeli

Mealor:

Lux Benigna

O'Regan:

A Light Exists in Spring

Alleluia, laus et gloria

Columba aspexit

Tavener:

Theotoke

Missa brevis: Agnus Dei

Whitbourn:

Festival Alleluia


Eleanor Turner (harp) & Elliot Launn (piano)

Wells Cathedral School Choralia, Christopher Finch

Beauty, purity, and expressivity mark out music for upper voice choirs. On this recording, performed by one of the UK’s leading vocal ensembles, the repertoire embraces classics of the genre such as Gustav Holst’s sublime Ave Maria and his third group of Hymns from the Rig Veda, as well as contemporary music. James MacMillan and Sir John Tavener are represented by works that explore their unique musical language, whilst Bob Chilcott’s technically demanding The Song of the Stars offers richly approachable pleasures.

“It’s impossible to express too emphatically just how good the girls of the Wells Cathedral School Choralia sound on this new collection of music for upper voices. The 24 singers together create a sound that is both blended and impeccably balanced, completely consistent throughout widely varied repertoire, but also capable of such constant reinvention.” Gramophone Magazine, Awards Issue 2015

GGramophone Magazine

Editor's Choice - Awards Issue 2015

Naxos - 8573427

(CD)

$7.50

(also available to download from $7.00)

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

Rossini: Aureliano in Palmira

Rossini: Aureliano in Palmira

Live from the Rossini Opera Festival Pesaro, 2014


Michael Spyres (Aureliano), Jessica Pratt (Zenobia), Lena Belkina (Arsace) & Raffaella Lupinacci (Publia)

Orchestra Sinfonica G. Rossini & Chorus of the Teatro Comunale di Bologna, Will Crutchfield (conductor) & Mario Martone (stage director)

World Premiere Recording on 2 DVDs

Set Designer Sergio Tramonti

Costume Designer Ursula Patzak

Aureliano in Palmira celebrated its first première on 26 December 1813 at the Scala In Milan. Soon afterwards the work was played in different theatres all over Europe. Nevertheless Rossini’s piece fell into oblivion more and more compared to the great competitors like “Tancredi” or the “Barber of Seville” for which Rossini recycled musical parts of “Aureliano”. But since a few years there are ambitions to play this work about love, war, jealousy, loyalty and magnanimity more frequently. The direction in Pesaro was in the proven hands of the famous film director Mario Martone. Conductor Will Crutchfield contributes to the successful performance of the newly edited “Aureliano in Palmira” and masterfully directs the Orchestra Sinfonica G. Rossini.

Bonus: Making of “Aureliano in Palmira”

Sound Formats: PCM Stereo, DD 5.1

Picture Format: 16:9

Original Language: IT

Subtitles: IT, GB, DE, FR, KOR, JP

2 x DVD 9 / NTSC

Running Time: 201 mins & 14 mins (Bonus)

FSK: 0

“the staging by film director Mario Martone is simple without being static, pointful without being concept-bound...[Belkina] as handsome a young warrior as any Zenobia might wish for and a superb singer-performer to boot...Jessica Pratt is a vocally brilliant Zenobia, full-voiced even on the highest E flat...Spyres’s Aureliano withstands nobly the vocal challenges of a part which Rossini wrote for two different voices.” Gramophone Magazine, Awards Issue 2015

“[This production] is excellent and the singing on a very high level. The title role has the least interesting music, but Michael Spyres…makes what he can of it…[the lovers] are sung by Lena Belkina (Arsace, the male) and Jessica Pratt (the female), both of them evidently performers with a big future. There is a delightful pastoral scene, with three live goats (no vocal contribution) and the opera is briskly but sensitively conducted.” BBC Music Magazine, November 2015

GGramophone Magazine

DVD of the Month - Awards Issue 2015

DVD Video

Region: 0

Format: NTSC

Arthaus Musik - 109073

(DVD Video - 2 discs)

$35.75

Usually despatched in 2 - 3 working days.

Forbidden Music in World War II

Forbidden Music in World War II


Belinfante:

Sonatine No. 3

Eleonore Pameijer (flute), Marcel Worms (piano)

Bosmans:

Concertstuk for flute and chamber orchestra

Jacques Zoon (flute)

Netherlands Radio Chamber Orchestra, Jac van Steen

Poème for piano and orchestra

Dimitri Ferschtman (piano)

Netherlands Radio Chamber Orchestra, Ed Spanjaard

Concertino for piano and orchestra

Ronald Brautigam (piano)

Netherlands Radio Chamber Orchestra, Ed Spanjaard

Nuit Calme

Doris Hochscheid (cello), Frans van Ruth (piano)

Cello Sonata

Doris Hochscheid (cello), Frans van Ruth (piano)

Delden:

Concerto for 2 String Orchestras, Op. 71

Royal Concertgebouw Orchestra, Eugen Jochum

Concerto for 12 Winds, Timpani, Percussion and Piano, Op. 67

Royal Concertgebouw Orchestra, Eugen Jochum

Musica Sinfonica, Op. 93

Royal Concertgebouw Orchestra, Bernard Haitink

Sinfonia No 3, Op. 45 "Facets"

Royal Concertgebouw Orchestra, George Szell

Violin Sonata, Op. 82

Isabelle van Keulen (violin), Ronald Brautigam (piano)

Dresden:

Dansflitsen (Dance flashes)

Royal Concertgebouw Orchestra, Rafael Kubelik

Flothuis:

Pour le tombeau d'Orphée, Op. 37

Eleonore Pameijer (flute), Erika Waardenburg (harp)

Sonata da Camera for Flute and Harp

Eleonore Pameijer (flute), Erika Waardenburg (harp)

Aubade for flute solo

Eleonore Pameijer (flute)

Sonata da Camera for flute and piano, Op. 17

Eleonore Pameijer (flute), Frans van Ruth (piano)

Gilse:

Concert Overture in C minor

Netherlands Radio Chamber Orchestra, Jac van Steen

Nonet

Viotta Ensemble

String Quartet (1922, unfinished)

Ebony Quartet

Trio (1927)

Members of the Ebony Quartet

Gokkes:

Adonoj moloch (Psalm 93)

Gilad Nezer (baritone)

Nederlands Kamerkoor, Klaas Stok

Tsaddik kattomor (Psalm 92)

Gilad Nezer (baritone)

Nederlands Kamerkoor, Klaas Stok

Min hametsar (Psalm 118)

Gilad Nezer (baritone)

Nederlands Kamerkoor, Klaas Stok

Hanf, B:

Kleine Suite

Jacobien Rozemond (violin), Marja Bon (piano)

Hillesum:

Prelude No. 1

Marianne Boer (piano)

Prelude No. 2

Marianne Boer (piano)

Kattenburg:

Allegro Moderato for viola and piano

Asdis Valdimarsdottir (viola), Marcel Worms (piano)

Piece for flute and piano

Eleonore Pameijer (flute), Marcel Worms (piano)

Escapades for two violins

Emi Ohi Resnick & Ursula Schoch (violins)

Palestinian Songs (7)

Irene Maessen (soprano), Marcel Worms (piano)

Compositions for piano four-hands (5)

Marcel Worms & Lodewijk Crommelin (pianos), Marieke van der Ven (tapdancing)

Romanian Melody

Ursula Schoch (violin), Stephan Heber (cello), Marcel Worms (piano)

Flute Sonata (1937)

Eleonore Pameijer (flute), Marcel Worms (piano)

Tempo di Blues

Marcel Worms (piano)

Alla Marcia

Ursula Schoch (violin), Marcel Worms (piano)

Quartet for flute, violin, cello and piano

Eleonore Pameijer (flute), Ursula Schoch (violin), Stephan Heber (cello), Marcel Worms (piano)

Kok:

Sept Mélodies Retrouvées

Irene Maessen (soprano), Ursula Schoch (violin), Marcel Worms (piano)

Lilien:

Modern Times Sonata for piano and violin

Frans van Ruth (piano), Marijke van Kooten (violin)

Divertimento

Eleonore Pameijer (flute), Frans van Ruth (piano)

Veronica

Anja van Wijk (mezzo-soprano), Frans van Ruth (piano)

Mietskaserne

Anja van Wijk (mezzo-soprano), Frans van Ruth (piano)

Herbst

Anja van Wijk (mezzo-soprano), Frans van Ruth (piano)

Chansons des mendiants (4)

Anja van Wijk (mezzo-soprano), Frans van Ruth (piano)

Les Indolents

Anja van Wijk (mezzo-soprano), Frans van Ruth (piano)

Rettich:

Concerto for flute & orchestra, Op. 19

Raymond Delnove (flute)

Het Brabants Orkest, Marc Soustrot

Hebräische Balladen, Book 1

Michal Shamir (soprano), Vag Papian (piano)

Richter, N:

Twee stukken for violin and piano

Marijke van Kooten (violin), Frans van Ruth (piano)

Trio for flute, viola and guitar

Eleonore Pameijer (flute), Edith van Moergastel (viola), Martin Kaaij (guitar)

String Quartet

Jacobien Rozemond (violin), Marijke van Kooten (violin), Edith van Moergastel (viola), Doris Hochscheid (cello)

Serenade for flute, violin and viola

Eleonore Pameijer (flute), Jacobien Rozemond (violin), Edith van Moergastel (viola)

Sonatine for piano

Frans van Ruth (piano)

Sibinga:

Trois Images for flute and harp

Eleonore Pameijer (flute), Erika Waardenburg (harp)

Smit:

Concertino for cello and orchestra

Pieter Wispelwey (cello)

Netherlands Radio Chamber Orchestra, Ed Spanjaard

Schemselnihar

Netherlands Philharmonic Orchestra, Ed Spanjaard

Concerto for viola and strings

Philippe Entremont (viola)

Netherlands Chamber Orchestra, Daniel Raiskin

Trio for Clarinet, Viola and Piano

Ivar Berix (clarinet), Edith van Moergastel (viola), Frans van Ruth (piano)

Sonate for flute and piano

Eleonore Pameijer (flute), Frans van Ruth (piano)

Tal, M:

La Chanson Fatale

Marjo Tal (piano)

Couplet de la rue de Bagnolet

Marjo Tal (piano)

Le dernier poème

Marjo Tal (piano)

Fille de Mars-Garçon d'Avril

Marjo Tal (piano)

Paris est tout petit

Marjo Tal (piano)

Wertheim:

Sonatine for cello and piano

Doris Hochschied (cello), Frans van Ruth (piano)

Violin Sonata (1931)

Ursula Schoch (violin), Marcel Worms (piano)

String Quartet (1932)

Utrechts String Quartet

Trois Morceaux for flute and piano

Eleonore Pameijer (flute), Marcel Worms (piano)

Three Preludes for 'Lancelot'

Ursula Schoch (violin), Asdis Valdimarsdottir (viola), Eleonore Pameijer (flute)

Trois Chansons for voice, flute and piano

Irene Maessen (soprano), Eleonore Pameijer (flute), Marja Bon (piano)

Zwei Lieder

Irene Maessen (soprano), Marcel Worms (piano)

Songs on Dutch Poems (4)

Irene Maessen (soprano), Marcel Worms (piano)


This CD box set, released seventy years after World War II ended, contains music composed by those who were persecuted during that same war; any performance of these works was strictly forbidden at the time. Nineteen Dutch composers were deported to concentration camps of which only six survived the atrocities. Others went into hiding or they survived using fake identities. Almost all saw their musical career end inopportunely.

The untimely loss of these composers dealt a severe blow to Dutch music history and as a result the musical landscape was completely altered. A new generation of musicians was eager to fill the void and during these years of reconstruction a new type of music evolved rapidly moving towards what was later called modernism. The new aesthetics pushed composers away from writing a charming melody, using harmonious chords, or pleasing and moving the audience. Pre-war music was considered corny, dilettantish, conservative and hopelessly outdated. Instead, atonality, extremism and a conceptual outlook dominated the scene. Therefore, this box set is designed to revalidate the generation of composers that was lost in the war. Over the past twenty years, The Leo Smit Foundation has done research on these maltreated, forgotten composers and their works. Artistic manager Eleonore Pameijer assisted Etcetera in assembling the set from a collection of previously released recordings on a range of other labels. CD no. 10 however, contains a number of surprises and premières on CD.

“Throughout, the set testifies to the courage of those for whom music became an existential assertion of identity in the face of atrocity...The sincerity of Pameijer’s playing impresses and moves throughout... this is a major issue...It breaks your heart, and opens minds and ears to much we haven’t encountered before. Outstanding.” Gramophone Magazine, Awards Issue 2015

GGramophone Magazine

Re-issue of the Month - Awards Issue 2015

Etcetera - KTC1530

(CD - 10 discs)

$38.50

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.

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