Gramophone Magazine Editor's Choice

March 2016

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.
Elgar & Walton: Cello Concertos

Awards:

Presto Disc of the Week

19th February 2016

Gramophone Magazine

Disc of the Month - March 2016

BBC Music Magazine

Instrumental Choice - March 2016

Label:

Hyperion

Catalogue No:

CDA68077

Discs:

1

Release date:

26th Feb 2016

Barcode:

0034571280776

Medium:

CD

Hyperion & Helios - up to 50% off

click here for full details

special offer ends 20/11/2017

| Share

Elgar & Walton: Cello Concertos


Elgar:

Cello Concerto in E minor, Op. 85

Philharmonia Orchestra, Paavo Järvi

Holst:

Invocation

Philharmonia Orchestra, Paavo Järvi

Holst, I:

The Fall of the Leaf

Walton:

Cello Concerto

Philharmonia Orchestra, Paavo Järvi


CD

Normally: $15.25

Special: $11.89

In stock - usually despatched within 1 working day.

Read Presto's complete review of this disc here, and watch Chris O'Reilly's exclusive video-interview with Steven Isserlis here.

Sir Edward Elgar’s sublime Cello Concerto receives an impassioned new performance from Steven Isserlis, the Philharmonia Orchestra and Paavo Järvi. With additional works by Sir William Walton and Gustav Holst, as well as a miniature suite for solo cello by Imogen Holst, this is unquestionably one of the year’s most eagerly awaited releases.

Edward Elgar: Cello Concerto in E minor, Op. 85

1. Adagio; Moderato

2. Lento; Allegro Molto

3. Adagio

4. Allegro

Gustav Holst: Invocation

Invocation

William Walton: Cello Concerto

1. Moderato

2. Allegro Appassionato

3. Tema & Improvvisazioni: Lento; Allegro Molto

Imogen Holst: The Fall of the Leaf

1. Theme

2. Vivace

3. Poco Adagio

4. Presto

5. Theme (Da Capo): Andante Molto Moderato

Steven Isserlis discusses Elgar and Walton with Presto Classical's Chris O'Reilly.

BBC Music Magazine

March 2016

“This mesmerising meditation couldn't be in better hands”

Sunday Times

28th February 2016

“Isserlis’s playing of the solo part in the Elgar evokes an elegy for a lost world, while he captures perfectly the bittersweet languor of the Walton.”

The Guardian

3rd March 2016

“older, wiser and even more convincing [than his first recording of the Elgar]...Isserlis’s cello rages against the dying of the light, sounding angry yet still beautiful, and under Järvi the orchestra is full-bodied but focused.”

Presto Classical

Chris O'Reilly

19th February 2016

“So, how much has he re-thought the work during the past 25 years? The answer is not dramatically, but everything evolves a little with time, and there is definitely more musical conviction to the phrasing and general direction in the new recording - giving each movement (and indeed the whole work) a tighter and much more defined structure.”

Gramophone Magazine

March 2016

“With his immaculate technical address and ravishingly songful, mellow tone, Isserlis strikes precisely the right balance between classical strength and private introspection, his contribution as full of radiant spontaneity and tumbling fantasy as one could wish...An unmissable release.”

classicalsource.com

“Isserlis gives a deeply touching account, the sort that restores faith in a too-often-performed work, here reclaimed as the masterpiece that it is, personal and private, yes, but outgoing in a consoling way without negating buoyancy or go-getting...There is universal appeal to this reading, thankfully without the mawkishness or exaggeration that some interpreters impose upon it.”

MusicWeb International

April 2016

“no praise can be too high for Isserlis’s splendid playing, eloquent without being indulgent and technically always in complete command.”

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

Editor's Choice

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

Copland: Orchestral Works, Vol. 1 - Ballets

Copland: Orchestral Works, Vol. 1 - Ballets


Copland:

Fanfare for the Common Man

El Salón México

Billy the Kid - Suite

Appalachian Spring - Suite

Rodeo (Four Dance Episodes)


Read Presto's complete review of this disc here.

For this new series, the conductor, arranger, and light music specialist John Wilson, a BBC Proms favourite, for the first time joins the BBC Philharmonic on Chandos, in orchestral works by Aaron Copland. This first volume features the suites from the American composer’s most famous ballets. Written in 1938, the hugely successful Billy the Kid is a fine illustration of the limpid orchestration and clarity that Copland achieved in works made famous thanks to their popular accessibility. Similarly, four years later, in Appalachian Spring, he created a lastingly influential American soundworld, firmly rooted in the diatonicism of simple folk melodies. A third ‘nationalist’ ballet, Rodeo, and Fanfare for the Common Man were composed in the same year, 1942, the latter being possibly the most instantly recognizable piece in the history of American orchestral music. The energetic dances and national melodies of El Salón México reveals Copland’s other use of folk material, as a musical souvenir of foreign lands that had made an impression of him.

This album was recorded two months after a highly successful concert broadcast live on BBC Radio 3.

“Wilson is in his element here, coaxing razzmatazzy playing from the BBC Philharmonic in the rhythmically charged Mexican Dance and battle scene from Billy the Kid, and the Buckaroo Holiday and Hoe-Down from Rodeo. There is tenderness, too, even a touch of Leonard Bernsteinesque wallowing in the unforgettable folksy melodies of Appalachian Spring” Sunday Times, 17th January 2016

“Wilson's performances are…impressive, and he secures superb playing from the BBC Philharmonic…the three ballets receive strongly characterised interpretations, as piquant and affecting in the slower passages as they are punchy and ebullient in the faster ones…I enjoyed listening to this disc enormously.” Gramophone Magazine, March 2016

“John Wilson shows an instinctive flair for Copland's syncopated and changing rhythms, and brings out all the music's broad humour and intimate poetry” BBC Music Magazine, March 2016

“His lifelong immersion in the sound-world of 30s and 40s American music is evident from the off, with the distant trumpets in Fanfare for the Common Man glowing with that vibrato-warmed vintage brass sound that’s so distinctive in his recordings of the great musicals...every single phrase of all the works presented here feels truly balletic, and the music never stops dancing.” Katherine Cooper, Presto Classical, 29th January 2016

“The conductor is a natural in Copland’s most celebrated ballet scores: Billy the Kid, Rodeo and Appalachian Spring.” The Times, December 2016

Presto Disc of the Week

29th January 2016

Presto Discs of 2016

Winner

GGramophone Magazine

Editor's Choice - March 2016

BBC Music Magazine

Orchestral Choice - March 2016

Super Audio CD

Format:

Hybrid Multi-channel

Chandos - up to 40% off

Chandos - CHSA5164

(SACD)

Normally: $15.25

Special: $12.96

(also available to download from $10.00)

In stock - usually despatched within 1 working day.

New Year's Concert 2016

New Year's Concert 2016


Hellmesberger:

Ball Scene

Stolz, R:

Uno-Marsch

Strauss, E:

Mit Extrapost, Op. 259

Strauss, J, I:

Seufzer Galopp, Op. 9

Strauss, J, II:

Schatz-Walzer, Op. 418

Violetta, Op. 404

Vergnügungszug, Op. 281

Eine Nacht in Venedig Overture

Sängerlust (Joy Of Singing), Op. 328

Fürstin Ninetta (Princess Ninetta): Entr'acte

Kaiser-Walzer, Op. 437

Auf der Jagd, Op. 373

Strauss, Josef:

Sphärenklänge, Op. 235

Auf Ferienreisen - Polka schnell, Op. 133

Die Libelle - Polka mazur, Op. 204

Waldteufel:

Espana, Op. 236

Ziehrer:

Weaner Mad'ln, Walzer, Op. 388


The New Year’s Concert live from Vienna is one of the world’s most famous and spectacular classical music events. It will be broadcast on TV and radio and reaches over 90 countries around the world with more than 40 million viewers. The live recordings from this event with works from the Strauss dynasty and their contemporaries are among the classical market's most important releases. After widely acclaimed New Years Concerts in 2006 and 2012, world-class conductor Mariss Jansons returns for the third time. He belongs to the circle of conductors with whom the Vienna Philharmonic feels a special bond and collaborates regularly.Mariss Jansons ranks among the outstanding podium personalities of our time. He has been the Chief Conductor of the Chor und Symphonieorchester des Bayerischen Rundfunks since 2003. After several exceptionally successful seasons, his contract was prolonged until 2018. Until recently he was also the chief conductor of the Koninklijk Concertgebouworkest in Amsterdam (2004-2015) and held both prestigious positions of a chief conductor at both orchestras. Both ensembles made the top 10 in a 2008 Gramophone list of the world's top 20 orchestras. Marketing activity. DVD & Blu-Ray formats released laer in January.

“Here is music and music-making in which elegance, dash and lightness of spirit sit side by side with pools of emotional quiet which can haunt the mind for days to come” Gramophone Magazine, March 2016

GGramophone Magazine

Editor's Choice - March 2016

Sony - 88875174772

(CD - 2 discs)

$17.50

(also available to download from $11.00)

In stock - usually despatched within 1 working day.

Bach, J S: Mass in B minor, BWV232

Bach, J S: Mass in B minor, BWV232


Maria Keohane (soprano), Joanne Lunn (soprano), Alex Potter (countertenor), Jan Kobow (tenor), Peter Harvey (bass)

Concerto Copenhagen, Lars Ulrik Mortensen

The Concerto Copenhagen, the leading Scandinavian ensemble for historical performance practice, is currently regarded worldwide as one of the most remarkable and imaginative orchestras in this field under its artistic director Lars Ulrik Mortensen. The orchestra’s vitality, sense of style, and communicative talent have become its trademarks.

Accordingly, we have decided to release Bach’s Mass in B minor on two SACDS (moreover, in quality surround sound) featuring this extraordinary ensemble and top-class soloists.

“To my mind, Mortensen’s special performance, which is full to the brim with insightful musicianship and has a refreshing avoidance of contrived formulas, comfortably joins Parrott (EMI), Junghänel and John Butt (Linn) as the finest examples of this kind of perspective on performing Bach’s monumental sacred masterpiece.” Gramophone Magazine, March 2016

“I’ll highlight ‘Confiteor’ (Credo) where the solace derived from the ‘remission of sins’ is realised in Mortensen’s performance with translucent tenderness…[Mortensen’s concertino team] is the strongest I’ve yet heard” Early Music Today, August 2016 *****

GGramophone Awards 2016

Shortlisted - Baroque Vocal

GGramophone Magazine

Editor's Choice - March 2016

Building a Library

First Choice - February 2017

Super Audio CD

Format:

Hybrid Multi-channel

CPO - 7778512

(SACD - 2 discs)

$30.25

(also available to download from $20.00)

In stock - usually despatched within 1 working day.

Abrahamsen: Let me tell you

Abrahamsen: Let me tell you


Read Katherine's exclusive interview with Hans Abrahamsen about the project here.

Premiered by soprano Barbara Hannigan [with the Berlin Philharmonic] and conductor Andris Nelsons in 2013. 'Let me tell you', winner of the 2016 Gawemeyer Award, is a setting of a libretto by Paul Griffiths. The work is based on Griffiths’ 2008 novel of the same name, using the limited vocabulary which Shakespeare afforded Ophelia to create a more complex idea of the character. Comprising seven poems, the work is divided into three parts devoted to Ophelia’s past, present and future.

Danish composer Hans Abrahamsen was smitten by the idea of scoring Paul Griffiths’ novella 'let me tell you'; Barbara Hannigan, asked to sing at a surprise party for the writer and critic, dared to suggest a commission to the Berlin Philharmonic. Before she knew it, they had accepted. While many world premieres fall into oblivion, she has ensured subsequent performances with the Gothenburg Symphony, Rotterdam Philharmonic and the City of Birmingham Symphony this season; other orchestras have plans to programme the work further down the line. The soprano, who has sung some 80 premieres, feels such a strong sense of responsibility that she compares the piece to a baby: "Don’t drop it," she wants to say, "keep it clothed and nourished." This is the second time that a musical setting of a text by Paul Griffiths has won the Grawemeyer (Tan Dun's Marco Polo won in 1998). The piece also won the 2014 Royal Philharmonic Society award for large-scale composition, which described it as "a work of exquisite beauty whose ravishing surface belies a meticulously imagined and innovative score". Abrahamsen’s other accolades include the Carl Nielsen Prize (1989) and the Wilhelm Hansen Composer Prize (1998).

Hannigan has revealed just how involved she was at the early stages of the composition process: this being the composer’s first sung work, she [Hannigan] gave him a four-hour session in vocal music from Renaissance to 12-tone. "I think that’s why the writing doesn’t feel like modern music to me," she says. "I feel like it has always been there. Even though the intervals and rhythms might be difficult, the lyricism has a timeless quality."

“It was created for soprano Barbara Hannigan and is a stunning vehicle for her, with its floating, effortless-sounding high notes and pure, expressive tone. Her Ophelia is intense and fragile, sensuous and febrile; her phrasing is elastic and tasteful...The piece won this year’s $100,000 Grawemeyer award and it’s easy to hear why.” The Guardian, 14th January 2016 *****

“the piece, a winner of a Grawemeyer and an RPS award, contains a whole ocean of melancholy and ferocity. This is realised by the extraordinary soprano Barbara Hannigan and by Abrahamsen’s wondrous score, which embraces Romantic echoes and fascinating microtonal clusters … What emerges is a postmodern portrait of a woman with much more of an inner life than even the Bard may have realised.” The Times, 5th February 2016 *****

“Abrahamsen expresses both the fragility and force of Griffiths's imagined Ophelia through glinting, gauze-like textures and moments of clattering tumult…Barbara Hannigan's agile, luminous voice is ideal, and sings with power and subtlety, superbly matched by Andris Nelsons and the Bavarian Radio Symphony Orchestra” BBC Music Magazine, May 2016 *****

“The spare yet pregnant lines of text meet Abrahamsen’s finely spun textures and each word feels felt and weighed in music. Possibly you don’t even need to know that Barbara Hannigan is singing Ophelia’s words any more, yet her vehemence and passion suggest she thinks justice is finally being done to a woman who never did get much chance to tell her side of the story” Gramophone Magazine, March 2016

“Abrahamsen’s ethereal magic brilliantly treats Paul Griffith’s patchwork of lines from Shakespeare’s Ophelia, and there can be no better advocate for any composer than Ms. Hannigan. Mr. Nelsons’s conducting is smooth, the Bavarians’ playing revealing and true.” New York Times, 15th December 2016

Presto Discs of 2016

Finalist

GGramophone Awards 2016

Winner - Contemporary

GGramophone Magazine

Editor's Choice - March 2016

Contemporary Music - up to 25% off

Winter and Winter - 9102322

(CD)

Normally: $15.75

Special: $12.12

(also available to download from $10.00)

In stock - usually despatched within 1 working day.

Ravel: Complete works for solo piano

Ravel: Complete works for solo piano


Casella:

Almanzor ou le mariage d' Adelaïde (arrangement de l'oeuvre éponyme de Ravel)

Ravel:

Jeux d'eau

Pavane pour une infante défunte

A la manière de Chabrier

Miroirs, 5 pieces for piano

Menuet antique

Sérénade grotesque

A la manière de Borodine

Valses nobles et sentimentales

Gaspard de la Nuit

Menuet in C sharp minor

Sonatine

Prélude

Le Tombeau de Couperin

Menuet sur le nom de Haydn

Siloti:

Kaddish – Hebrew melody in C minor (1915) (arrangement of l'oeuvre éponyme de Ravel)


For his second release on Erato, Bertrand Chamayou is dedicating two CDs to the complete solo piano music of Ravel. “My style of playing and the way I imagine sound can be largely attributed to Ravel,” says Chamayou. “Recording his music is not just a return to my roots, but also a natural stage in my development.” This new set makes a fitting successor to Chamayou’s debut disc for the label: released in early 2014 and devoted to music by Schubert, it was praised by the Sunday Times as an “affecting, beautifully performed disc,” by Pianist magazine for “playing of intellectual conviction paired with a singing tone of heart-breaking beauty,” and by the Telegraph for “playing that radiates a generous Schubertian spirit, thoughtful in its shaping, structurally cohesive, absorbing in a spectrum of pianism that draws you into the music’s expressive heart.”

Schubert was one of the composers who inspired Ravel – notably in Valses nobles et sentimentales – as was Franz Liszt, whose transcriptions of Schubert songs were a feature of Chamayou’s debut album. His influence is evident in Ravel’s dauntingly virtuosic Gaspard de la nuit and glittering Jeux d'eau. The latter was the first ‘modern’ score that Chamayou saw as a child, and he began to play it at the age of eleven or twelve. The pianist even has a connection to the composer through one of his teachers at the Paris Conservatoire, Jean François Hessier; he was a student of Vlado Perlemuter who was mentored by Ravel himself. “I admire the purity and simplicity of Perlemuter’s approach, which seems in keeping with the famous – and probably exaggerated – statement attributed to the composer: ‘I don’t expect people to interpret me, just to play me.’”

In October 2015, Chamayou gave an all-Ravel recital at London’s Wigmore Hall. Seen and Heard International finished an enthusiastic review by saying: “Chamayou brought a perfect blend of high-voltage virtuosity and cultivated musicianship to this recital – superb stuff!”, while Music OMH awarded five stars to a concert that “justifiably brought members of the usually settled Wigmore Hall audience to their feet.”

Like Ravel, Chamayou was born in southern France, though in Toulouse rather than the coastal Basque country. As he told the journalist Vincent Agrech in an interview for the French magazine Diapason: “When I was growing up in Toulouse, I was fascinated by the music and the objective approach of northern culture. The Darmstadt School and Boulez, the ‘distanced’ mindset and playing of Glenn Gould … [Now] my playing, with its ideal of clarity and lightness, has gradually been enriched by a need for lyricism and colours which, somewhat clichéd though it might seem, evokes my southern roots.” Chamayou has since pointed out that “I recognise myself in Ravel’s mixture of rigour and hedonism … Beyond his rigour … there is a sense of freedom and a taste for sonic alchemy, for instance in the chromatic progressions of Valses nobles et sentimentales.”

Part of Ravel’s genius – particularly in a piano work like Le Tombeau de Couperin, written to commemorate friends killed in World War I – lies in his ability to touch the heart with music that has an apparently cool surface. While praising Chamayou’s Schubert disc, the reviewer on the German radio station Bayerische Rundfunk spoke of achieving a “balancing act between emotion and rigour, between fidelity to the score and the search for a distinctive inflection that can only come to life when the imagination of the interpreter runs free.” Those words could apply equally to Ravel. As Chamayou says: “The most difficult thing is to find one’s personal voice, which presupposes a certain liberty, when immersed in scores of such extraordinary precision. I have worked on them in the greatest detail …You have to polish and refine and adjust the lighting, but you should never underline anything. It all happens between the lines.”

“Chamayou has the right pedigree for Ravel: he studied with teachers at the Paris Conservatoire, whose lineage goes straight back to the composer, and it shows in the rock-solid technique and unfussy, unwavering interpretations he brings to this collection.” The Guardian, 11th February 2016 ***

“These recordings of Ravel’s most important piano works are his first at the height of his powers...[in Gaspard] he summons an almost orchestral palette of colours, evoking the protean water nymph of Ondine in cascading arabesques and delicate, darting flourishes, while Le Gibet and Scarbo have rarely been imbued with so much mystery.” Sunday Times, 14th February 2016

“Revelatory performances of breathtaking beauty and incomparable power. Most striking, perhaps, is their unforced naturalness...Everything flows with the inevitability of speech, precisely articulated, direct and unmistakably sincere...No one who loves French music or exquisite piano-playing will want to miss this.” Gramophone Magazine, March 2016

“Steeped in the French piano tradition and with formidable facility, Bertrand Chamayou is certainly not tripped up by the finger-bending virtuosity of Miroirs or Gaspard, while conveying the cut-glass elegance of Ravel’s nods to the past…an exceptional job.” BBC Music Magazine, May 2016 ***

“a warm, full tone, coloured (or not) where necessary, allied to intuitive rubato, control and real panache…Gaspard is a worthy successor to Michelangeli and Bavouzet, inspired and boldly individual” Classical Music, August 2016 *****

Presto Discs of 2016

Finalist

GGramophone Awards 2016

Finalist - Instrumental

GGramophone Magazine

Editor's Choice - March 2016

Erato - 2564602681

(CD - 2 discs)

$15.50

(also available to download from $13.00)

In stock - usually despatched within 1 working day.

Tippett: String Quartets Nos. 1 - 5 (Complete)

Tippett: String Quartets Nos. 1 - 5 (Complete)


Recorded live at Wigmore Hall, London, on 3 December 2013, & 17 January, 16 March and 26 April 2014.

Sir Michael Tippett’s complete String Quartets are given fresh perspectives by the vibrant and adventurous Heath Quartet. The first ensemble in 10 years to receive the Royal Philharmonic Society’s Young Artist Award, the Heaths bring irresistible energy to these works.

From Quartet No. 1, premièred in what was the first professional performance of the composer’s music, and Quartet No. 3, written during the Second World War whilst Tippett, a committed pacifist, faced a prison sentence, to his landmark fifth and final quartet, Tippett’s stirring and powerfully individual writing is recorded in the intimate acoustic of Wigmore Hall.

Since being selected by YCAT and winning 1st Prize at the Tromp Competition in 2008 the Heath Quartet has forged a strong international presence. In 2011 they were awarded a prestigious Borletti-Buitoni Special Ensemble Scholarship and undertook complete Beethoven cycles at the Facyl Festival in Salamanca and in Edinburgh. Highlights over the last year have included recitals at Wigmore Hall as part of the Emerging Talent scheme, including the premiere of a new work by Luke Bedford and collaborations with Stephen Hough and Ian Bostridge. Future engagements include complete Tippett and Bartók cycles, and a recital with the soprano Anna Caterina Antonacci at Wigmore Hall, debut recitals at the Louvre and Musée d’Orsay in Paris, return visits to the Concertgebouw and their USA debut.

“The admirable Heath Quartet, formed at the Royal Northern College in 2002, played [Tippett’s String Quartet] cycle in four concerts at Wigmore Hall, from which these incisive, vibrant performances are taken. Each quartet has a distinctive character…well worth exploring” The Guardian, 17th January 2016 ****

“They bring a sort of lightness to this music, because there’s a lot of fugues and a rhythmic energy of this music to which they almost dance in places, but they find the intensity as well that’s required.” CD Review, 16th January 2016

“Recorded live over two evenings, the Heath Quartet’s 2CD set is authoritative even in music deemed unplayable when it was written — a workout for the intellect and the spirit alike.” Financial Times, 8th January 2016

“The Heath players manage the perennially tricky idiom with flair.” Sunday Times, 17th January 2016

“This is a terrific set. Some composers are justly neglected. Tippett isn't one of them – all hail the Heath Quartet for making this absorbing music available in such exciting performances.” The Arts Desk, 30th January 2016

“With warmth and dash aplenty, this young quartet really has the measure of these remarkable works: rhythms are deftly pointed, yet the sheer beauty of Tippett’s writing is never sacrificed.” Classical Music, February 2016

“infused with the energy of a live performance…it is good to see a quartet of the next generation carrying Tippett's music forward.” BBC Music Magazine, March 2016 ****

“No one has dramatised the finale's palindrome, with a spooky hall of mirrored harmonics at its centre, with the poise of the Heaths. A tremendous achievement” Gramophone Magazine, March 2016

“These works are all rewarding and do not suffer from the same failings as some of his later works in other genres. The Heath Quartet bring to them splendid energy and commitment … if you want a recent set played by an ensemble which accepts these works on their own terms as part of the repertory the Heath Quartet will do very well.” MusicWeb International, March 2016

“an unqualified triumph … as a former Tippett scholar I rejoiced at the gleaming new insights provided at every twist and turn of sustained arguments … an essential set for any true music lover.” The Strad, April 2016

“[the] live recording captures the guts and commitment, the self-questioning struggle, the valiance.” Herald Scotland, 21st December 2016

GGramophone Awards 2016

Winner - Chamber

GGramophone Magazine

Editor's Choice - March 2016

Wigmore Hall Live - WHLIVE0080/2

(CD - 2 discs)

$16.25

(Sorry, download not available in your country)

In stock - usually despatched within 1 working day.

Christian Tetzlaff plays Dvorak & Suk

Christian Tetzlaff plays Dvorak & Suk


Dvorak:

Violin Concerto in A minor, Op. 53

Romance in F minor, Op. 11

Suk:

Fantasy for Violin & Orchestra, Op. 24


Ondine is proud the present this exciting program by the award-winning violinist Christian Tetzlaff. This new recording includes works for violin andorchestra by two Czech composers closely connected to each other, AntonínDvořak and Josef Suk. Tetzlaff is accompanied by the HelsinkiPhilharmonic Orchestra conducted by John Storgårds.

“John Storgårds inspires energetic playing from the Helsinki Philharmonic…once into the fray Tetzlaff draws on an exceptionally wide range of colours and nuances…individual but utterly persuasive…excellent, full-bodied sound.” Gramophone Magazine, March 2016

“[Tetzlaff is] the kind of musician who gets under the skin of a piece and gives what the music needs, rather than applying his own house style no matter what. His performance of Dvořák’s Concerto in A minor is glorious and questioning... But the real brilliance is in the vulnerability and tenderness he reveals in quiet melodies.” The Guardian, 10th March 2016 ****

“John Storgards and the Helsinki Philharmonic provide attentive and flexible accompaniment, and Tetzlaff’s tone throughout is unfailingly beautiful…this well recorded account will appeal to those who favour the Romantic over the Classical.” BBC Music Magazine, June 2016 ****

Presto Discs of 2016

Finalist

GGramophone Awards 2016

Shortlisted - Concerto

GGramophone Magazine

Editor's Choice - March 2016

Super Audio CD

Format:

Hybrid Multi-channel

Ondine - ODE12795

(SACD)

$15.25

(also available to download from $10.00)

In stock - usually despatched within 1 working day.

New Year's Concert 2016

New Year's Concert 2016


Hellmesberger:

Ball Scene

Stolz, R:

Uno-Marsch

Strauss, E:

Mit Extrapost, Op. 259

Ausser Rand und Band - Polka schnell, Op. 168

Strauss, J, I:

Seufzer Galopp, Op. 9

Strauss, J, II:

Schatz-Walzer, Op. 418

Violetta, Op. 404

Vergnügungszug, Op. 281

Eine Nacht in Venedig Overture

Sängerlust (Joy Of Singing), Op. 328

Fürstin Ninetta (Princess Ninetta): Entr'acte

Kaiser-Walzer, Op. 437

Auf der Jagd, Op. 373

Strauss, Josef:

Sphärenklänge, Op. 235

Auf Ferienreisen - Polka schnell, Op. 133

Die Libelle - Polka mazur, Op. 204

Waldteufel:

Espana, Op. 236

Ziehrer:

Weaner Mad'ln, Walzer, Op. 388


As a brand name, the Vienna New Year’s Concert can trace back its origins to 31 December 1939. In other words, the concert initially took place on the last day of the year. By 1941, however, it was being held on 1 January, when the Vienna Philharmonic established a tradition that continues to flourish to this day.

The list of names of leading conductors who have led the Vienna Philharmonic’s New Year’s Concerts reads like a veritable who’s who of great maestros: including Herbert von Karajan, Lorin Maazel, Claudio Abbado, Carlos Kleiber, Zubin Mehta, Riccardo Muti, Nikolaus Harnoncourt, Seiji Ozawa, Mariss Jansons, and Franz Welser-Möst.

It is not least thanks to this illustrious succession of great conductors that the Vienna New Year’s Concert remains unique, ushering in the New Year in a way that has often been imitated but never equalled. Its universal popularity is undoubtedly due to the direct – or deferred – live broadcast from the flower-filled Golden Hall of the Vienna Musikverein. The first broadcast went out on Eurovision in 1959, the first colour relay in 1967. Now the concert is shown in countries throughout almost the entire world.

It continues to be works by members of the Strauss family – Johann Strauss Father and Son as well as Eduard and Josef Strauss – that are central to this media event. Old favourites from their output are heard alongside others that have never been recorded or are only rarely heard; all of them programmed around two fixed points in the concert: the Blue Danube Waltz and the Radetzky March.

Mariss Jansons ranks among the outstanding podium personalities of our time. He has been the Chief Conductor of the Chor und Symphonieorchester des Bayerischen Rundfunks since 2003. After several exceptionally successful seasons, his contract was prolonged until 2018. Until recently he was also the chief conductor of the Koninklijk Concertgebouworkest in Amsterdam (2004-2015) and held both prestigious positions of a chief conductor at both orchestras. Both ensembles made the top 10 in a 2008 Gramophone list of the world's top 20 orchestras.

“Here is music and music-making in which elegance, dash and lightness of spirit sit side by side with pools of emotional quiet which can haunt the mind for days to come.” Gramophone Magazine, March 2016

GGramophone Magazine

Editor's Choice - March 2016

Blu-ray Disc

Region: all

Sony - 88875174799

(Blu-ray)

$22.00

In stock - usually despatched within 1 working day.

Nielsen: Saul & David

Nielsen: Saul & David


Johan Reuter (Saul), Ann Petersen (Mikal), Morten Staugaard (Samuel), Susanne Resmark (Witch of Endor), Leif Jone Ølberg (Abner), Signe Sneh Schreiber (Abishai), Niels-Jorgen Riis (David), Michael Kristensen (Jonathan)

The Royal Danish Orchestra & The Royal Danish Opera Chorus, Michael Schønwandt

This DVD presents a spectacular new production of Carl Nielsen's dramatic debut opera, Saul & David from 1901 - a production marking the Royal Danish Opera’s celebration of the composer's 150th anniversary in 2015.

King Saul, bitterly jealous of young David, who won the favour of the people by defeating the giant Goliath, is staged in a highly original fashion by acclaimed English director and Nielsen enthusiast David Pountney, who updates the Biblical story to our own time, lending it psychological and political undertones.

The performance is conducted by Nielsen expert Michael Schønwandt and presents an array of Denmark's leading singers with Johan Reuter in the demanding role of King Saul, Niels-Jørgen Riis as David and Ann Petersen as his beloved Mikal.

“Johan Reuter is overwhelmingly good in what may be the best role of his life.” Opernwelt

“The renowned Nielsen interpreter Michael Schønwandt conducted with great love for the music that never smothered it: drawing warm and polished playing from the orchestra, he gave the impression of really channeling and shaping the music as it pulsed through him” Opera Magazine

Total duration: 2h 12min (132 minutes)

Booklet essays by director David Pountney and Nielsen scholar Knud Ketting

“a riveting performance by Johan Reuter in both voice and acted intensity...Pountney's direction and the conducting of Michael Schonwandt help make much of characters who might easily remain sinecures...Orchestra and conductor unroll their home composer's score with richness and dexterity...Hugely recommended.” Gramophone Magazine, March 2016

“Michael Schønwandt's expansive conducting conveys its epic scale and lyrical sweep…[Johann Reuter is] excellent here…his stage presence, arrogant yet vulnerable, is compelling. Niels-Jorgen Riis sings and portrays David more ardently than most…[and] Michael Kristensen makes a stronger than usual impression as the put-upon Jonathan…this is a strong performance which works well on screen.” BBC Music Magazine ****

GGramophone Magazine

DVD of the Month - March 2016

DVD Video

Region: 0

Format: NTSC

Dacapo - 2110412

(DVD Video)

$29.75

Usually despatched in 2 - 3 working days.

Bach, J S: Sonatas for Violin & Harpsichord Nos. 1-6, BWV1014-1019

Bach, J S: Sonatas for Violin & Harpsichord Nos. 1-6, BWV1014-1019


Leila Schayegh (violin) & Jörg Halubek (harpsichord)

Two rising stars in today’s firmament of Baroque music performance, Leila Schayegh and Jörg Halubek, join forces to record one of the major challenges in their joint repertory: the six Bach Violin Sonatas, BWV 1014-1019. The collection’s title, 'Sei Suonate à Cembalo certato è Violino Solo', reflects the close partnership demanded of the violin and harpsichord players, with Bach moving away from the idea of continuo support for a solo instrument and constantly making new technical demands on the musicians and thereby approaching the concept of the triosonata. Completed by around 1725, most of these richly characterful works combine the Italian style and a cantabile tone with elements of German contrapuntal style. The artistic partnership of Schayegh and Halubek, now in its tenth year, has seen them record chamber music by Jean-Marie Leclair, CPE Bach and Giovanni Mossi but the Bach Violin Sonatas represents their first joint recording for Glossa. Leila Schayegh has been part of the recent much-acclaimed recording of Caldara Trio Sonatas, Op 1 with Amandine Beyer, as well as regularly having featured on many of La Risonanza’s Glossa releases. As Schayegh and Habulek mention in their shared booklet essay guiding the listener through the Violin Sonatas (and through the 12 represented keys which are also reflected in the set’s graphic design), they have added two movements from the earlier version of the final Sonata, BWV 1019a as a kind of cheerful and delightful encore.

“these two performers give us an exciting yet sensitive and generally tasteful interpretation of the sonatas … The bonus on the disc is the addition of the two alternative earlier movements of Sonata VI. On balance, this is a recording that is well worth the investment.” Early Music Review, 10th January 2016

“[Schayegh] tackles repertoire that is not only considerably higher in quality but which also has a discography which features most of the best Baroque violinists of the last 40 years. That she does so with distinction is testament to her secure technique and shining tone…as well as to the clear vision she and Halubek share of how each of the sonata expresses itself…this recording is a true joy.” Gramophone Magazine, March 2016

GGramophone Magazine

Editor's Choice - March 2016

Glossa - GCD923507

(CD - 2 discs)

$24.25

(also available to download from $20.00)

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

Rosa Feola: Musica e Poesia

Rosa Feola: Musica e Poesia


Liszt:

Sonetti di Petrarca (3) for voice & piano, S270

Martucci:

Tre pezzi, Op. 84

Ponchielli:

Sonetto di Dante: ‘Tanto gentile e tanto onesta pare’

Respighi:

Quattro Rispetti toscani

Deita silvane


Rosa Feola (soprano) & Iain Burnside (piano)

Young soprano Rosa Feola captured international attention as a treble prize-winner at the Plácido Domingo World Opera Competition (2010). Attributed ‘blazing star potential’ for her sensitive phrasing and imaginative colouring of words (Telegraph), she brings her feel for text to this celebration of music and Italian poetry, in which master orchestrator Respighi paints Tuscan folk scenes and woodland deities and the virtuoso Liszt is inspired by Petrarch. Presenting the major singers of today and the stars of tomorrow, the Rosenblatt Recitals are London's only world-class season of opera recitals.

“[Feola's] singing is marked by poise and eloquence, and she spins out seamless phrases with unflagging care for the words…even in the Liszt, which takes Feola into the higher, more dramatic reaches, there is no sense of her communication being hemmed in by vocal limitations. Pianist Iain Burnside is supportive and vivid throughout” The Guardian, 7th January 2016 ****

“Feola is everything that Rosenblatt Recitals hope to discover - a beautiful voice in its youthful prime, an artist upon the threshold of an auspicious career...at the close of 'Pace non trovo', she rises to an effortless D flat - a high point, in every sense, of singing that is graced everywhere with an elegant sweetness without ever feeling sentimental or saccharine.” Gramophone Magazine, March 2016

GGramophone Awards 2016

Shortlisted - Solo Vocal

GGramophone Magazine

Editor's Choice - March 2016

Opus Arte Rosenblatt Recitals - OACD9039D

(CD)

$16.00

(also available to download from $10.00)

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

New Year's Concert 2016

New Year's Concert 2016


Hellmesberger:

Ball Scene

Stolz, R:

Uno-Marsch

Strauss, E:

Mit Extrapost, Op. 259

Ausser Rand und Band - Polka schnell, Op. 168

Strauss, J, I:

Seufzer Galopp, Op. 9

Strauss, J, II:

Schatz-Walzer, Op. 418

Violetta, Op. 404

Vergnügungszug, Op. 281

Eine Nacht in Venedig Overture

Sängerlust (Joy Of Singing), Op. 328

Fürstin Ninetta (Princess Ninetta): Entr'acte

Kaiser-Walzer, Op. 437

Auf der Jagd, Op. 373

Strauss, Josef:

Sphärenklänge, Op. 235

Auf Ferienreisen - Polka schnell, Op. 133

Die Libelle - Polka mazur, Op. 204

Waldteufel:

Espana, Op. 236

Ziehrer:

Weaner Mad'ln, Walzer, Op. 388


As a brand name, the Vienna New Year’s Concert can trace back its origins to 31 December 1939. In other words, the concert initially took place on the last day of the year. By 1941, however, it was being held on 1 January, when the Vienna Philharmonic established a tradition that continues to flourish to this day.

The list of names of leading conductors who have led the Vienna Philharmonic’s New Year’s Concerts reads like a veritable who’s who of great maestros: including Herbert von Karajan, Lorin Maazel, Claudio Abbado, Carlos Kleiber, Zubin Mehta, Riccardo Muti, Nikolaus Harnoncourt, Seiji Ozawa, Mariss Jansons, and Franz Welser-Möst.

It is not least thanks to this illustrious succession of great conductors that the Vienna New Year’s Concert remains unique, ushering in the New Year in a way that has often been imitated but never equalled. Its universal popularity is undoubtedly due to the direct – or deferred – live broadcast from the flower-filled Golden Hall of the Vienna Musikverein. The first broadcast went out on Eurovision in 1959, the first colour relay in 1967. Now the concert is shown in countries throughout almost the entire world.

It continues to be works by members of the Strauss family – Johann Strauss Father and Son as well as Eduard and Josef Strauss – that are central to this media event. Old favourites from their output are heard alongside others that have never been recorded or are only rarely heard; all of them programmed around two fixed points in the concert: the Blue Danube Waltz and the Radetzky March.

Mariss Jansons ranks among the outstanding podium personalities of our time. He has been the Chief Conductor of the Chor und Symphonieorchester des Bayerischen Rundfunks since 2003. After several exceptionally successful seasons, his contract was prolonged until 2018. Until recently he was also the chief conductor of the Koninklijk Concertgebouworkest in Amsterdam (2004-2015) and held both prestigious positions of a chief conductor at both orchestras. Both ensembles made the top 10 in a 2008 Gramophone list of the world's top 20 orchestras.

“Here is music and music-making in which elegance, dash and lightness of spirit sit side by side with pools of emotional quiet which can haunt the mind for days to come.” Gramophone Magazine, March 2016

GGramophone Magazine

Editor's Choice - March 2016

DVD Video

Region: 0

Sony - 88875174789

(DVD Video)

$14.00

Usually despatched in 3 - 4 working days.

Hans Abrahamsen: Let me tell you - Vinyl Edition

Hans Abrahamsen: Let me tell you - Vinyl Edition


Abrahamsen:

Let me tell you


Read Katherine's exclusive interview with Hans Abrahamsen about the project here.

Premiered by soprano Barbara Hannigan [with the Berlin Philharmonic] and conductor Andris Nelsons in 2013. 'Let me tell you', winner of the 2016 Gawemeyer Award, is a setting of a libretto by Paul Griffiths. The work is based on Griffiths’ 2008 novel of the same name, using the limited vocabulary which Shakespeare afforded Ophelia to create a more complex idea of the character. Comprising seven poems, the work is divided into three parts devoted to Ophelia’s past, present and future.

Danish composer Hans Abrahamsen was smitten by the idea of scoring Paul Griffiths’ novella 'let me tell you'; Barbara Hannigan, asked to sing at a surprise party for the writer and critic, dared to suggest a commission to the Berlin Philharmonic. Before she knew it, they had accepted. While many world premieres fall into oblivion, she has ensured subsequent performances with the Gothenburg Symphony, Rotterdam Philharmonic and the City of Birmingham Symphony this season; other orchestras have plans to programme the work further down the line. The soprano, who has sung some 80 premieres, feels such a strong sense of responsibility that she compares the piece to a baby: "Don’t drop it," she wants to say, "keep it clothed and nourished." This is the second time that a musical setting of a text by Paul Griffiths has won the Grawemeyer (Tan Dun's Marco Polo won in 1998). The piece also won the 2014 Royal Philharmonic Society award for large-scale composition, which described it as "a work of exquisite beauty whose ravishing surface belies a meticulously imagined and innovative score". Abrahamsen’s other accolades include the Carl Nielsen Prize (1989) and the Wilhelm Hansen Composer Prize (1998).

Hannigan has revealed just how involved she was at the early stages of the composition process: this being the composer’s first sung work, she [Hannigan] gave him a four-hour session in vocal music from Renaissance to 12-tone. "I think that’s why the writing doesn’t feel like modern music to me," she says. "I feel like it has always been there. Even though the intervals and rhythms might be difficult, the lyricism has a timeless quality."

“It was created for soprano Barbara Hannigan and is a stunning vehicle for her, with its floating, effortless-sounding high notes and pure, expressive tone. Her Ophelia is intense and fragile, sensuous and febrile; her phrasing is elastic and tasteful...The piece won this year’s $100,000 Grawemeyer award and it’s easy to hear why.” The Guardian, 14th January 2016 *****

“the piece, a winner of a Grawemeyer and an RPS award, contains a whole ocean of melancholy and ferocity. This is realised by the extraordinary soprano Barbara Hannigan and by Abrahamsen’s wondrous score, which embraces Romantic echoes and fascinating microtonal clusters … What emerges is a postmodern portrait of a woman with much more of an inner life than even the Bard may have realised.” The Times, 5th February 2016 *****

“It was created for soprano Barbara Hannigan and is a stunning vehicle for her, with its floating, effortless-sounding high notes and pure, expressive tone. Her Ophelia is intense and fragile, sensuous and febrile; her phrasing is elastic and tasteful...The piece won this year’s $100,000 Grawemeyer award and it’s easy to hear why.” The Guardian, 14th January 2016 *****

GGramophone Magazine

Editor's Choice - March 2016

Contemporary Music - up to 25% off

Winter and Winter - LP9172321

(Vinyl)

Normally: $29.75

Special: $22.90

Usually despatched in 4 - 5 working days.

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