Gershwin: My man's gone now (from Porgy and Bess)

Described as “The most exceptionally gifted young violinist I have ever encountered” by Ruggiero Ricci, Tamsin Waley-Cohen explores her European/American heritage in her debut disc, 'An American in Paris'.

Tamsin says of this project: 'Song is one of the primary connections between all the works on this disc; folk songs, cafe songs, blues songs, traditional songs. I grew up with many of them; the Ives and the Gershwin, and even the Blues in the Ravel, from my American Mother. Some, such as the cafe songs of the Poulenc, are part of my European heritage. The juxtaposition of the beauty of these songs with the sardonic humour and the macabre, which in particular inhabit both the Ives and the Poulenc, adds power and poignancy to the content of these works.'

Poulenc’s Violin Sonata, written while the composer was coming to terms with life under Nazi occupation, is dedicated to the memory of Federico Garcia Lorca, the poet and playwright who was murdered by opposition forces in the Spanish Civil War in 1936.

Ravel’s Sonata, composed between 1923 and 1927, contains long periods of refined, rather reserved music punctuated by moments of full-blooded passion and although influenced by blues is far from mere pastiche.

Decoration Day was first composed by Charles Ives in 1912 woven with themes from part-fictional, part-autobiographical recollection of personal childhood memories. The piece was reconstructed by the pianist and scholar John Kirkpatrick from surviving sketches after 1919.

George Gershwin visited Paris in 1928 and met, among other composers, Ravel, Poulenc, Prokofiev and Berg. Although Porgy and Bess (1935) attracted mixed reviews, songs such as the lullaby ‘Summertime’, ‘It ain’t necessarily so’ and the heartbreaking ‘My man’s gone now’ became instant hits. The arrangement by Heifetz heard here of half a dozen numbers from Porgy and Bess is testament to the high esteem in which the legendary violinist held his music.

Tamsin Waley-Cohen was born in London in 1986. She is currently associate artist with Orchestra of the Swan and performs as a soloist with others, including the Royal Philharmonic Orchestra, Orchestra of St John's, London Concert Orchestra. Since 2007 she has played the 1721 ex-Fenyves Stradivarius violin.

“Feldman’s big sound flowed authoritatively, communicating startling expressive power and control. With ardor and elegance, Feldman’s warm, handsome tone was flavored with the delectable ingredients of conviction and passion.” The Wellesley Townsman

The foregoing is typical of the effusive critical response to Emmanuel Feldman’s marvelous cello artistry, wherever he unleashes it. In Our American Roots – his first recording for Delos – Feldman applies his prodigious talent and skill to an all-American program of music for cello and piano – to include a pair of rarely heard (and recorded) cello sonatas by Samuel Barber and George Walker. The remainder of the program consists of winning arrangements of beloved musical Americana: arias from George Gershwin’s Porgy and Bess and his Preludes, as well as two movements from Aaron Copland’s ballet score Billy the Kid.

Feldman, a Curtis graduate, went on to study at the Paris Conservatoire Supérieur on scholarship before embarking on a singularly successful career encompassing solo recitals, chamber performances and concerto appearances with leading orchestras. He also teaches with distinction at Tufts University, Brown University and the New England Conservatory. Emmanuel, with the inspired and vibrant collaboration of piano sorceress Joy Cline Phinney, delivers his program with silky-smooth, yet robust tone and vivid musical colors, while alternating between spunky spirit and supremely soulful interpretive depth.

Celebrating the thirtieth anniversary of the Opera de Montreal with a stunning two disc set (at the price of one), the Directors said about this release: “Our great annual celebration of opera gives us the opportunity to present a magnificent showcase of Canadian talent. Brought together on the same stage are some of our finest voices who, along with the Orchestre Metropolitain conducted by Alain Trudel, perform some of the most beautiful arias and ensembles in the repertoire.”

Broadway musicals and jazz belong to the cultural heritage of America. But people thought differently in George Gershwin's day - the 1920s and 30s. Broadway shows were immensely popular, but were rarely considered as art. Jazz was a subculture secretly appreciated by many white Americans, but in the same way as they liked to see wild animals at the circus - at a safe distance. It had yet to be realised that amusement music was a unique and characteristic part of American culture. “American music is not jazz, and jazz is not music”, wrote the influential music critic Paul Rosenfeld in 1929. Precisely what, then, was American music? George Gershwin (1898-1937) was one of the first to show the world. (from: liner notes)

After recordings of English Renaissance and German romantic music, and twentieth- century works from France, The Gents venture across the ocean to the new world, with a CD that takes them to Broadway. Jetse Bremer has specially arranged the last compositions by George Gershwin for this combination of soloist, choir and instruments and the flexibility and homogeneous sound of The Gents matches these songs so well. For the singers of The Gents and soprano Johannette Zomer, with their classical background, this repertoire is a special challenge, raising the question where classical stops or changes into something else....

For her first solo CD, the intense and flamboyant soprano Marie-José Lloyd has picked her favourites from her repertoire of opera arias. Her selection includes Summertime and My man’s gone now from Porgy and Bess, Si mi chiamano Mimi from La Bohème and a world premiere recording, Le monde est stone from Starmania by Luc Plamondon and Michel Berger in Leclerc’s symphonic arrangement.