harmonia mundi UK
Classical new releases
available April 29th 2016, call-off April 22th
APRIL 29
RELEASE DATE 29TH APRIL 2016
Du Mont: Motets & Élévations for the Chapel of Louis XIV Ensemble Correspondances Sébastien Daucé For 20 years (from 1663 to 1683) Henry Du Mont directed the music of the Sun King’s chapel. For the daily Mass there he built up a new repertory consisting of motets for full chorus and more intimate pieces for solo voices. The former aimed to transpose to the context of ‘ordinary’ the format of the large-scale works conceived for extraordinary ceremonies. Sébastien Daucé presents an innovative approach to these grands motets, that at once links specific musical features with historical data, for each of which he adopts a specific instrumental scoring.
Label: harmonia mundi File Under: Classical/Secular Vocal music Catalogue No: HMC902241 Barcode: 3149020224120 NORMAL Price Format: 1 CD Packaging: digipack Ensemble Correspondances Sébastien Daucé [organ, direction] SOURCES: Motets pour la Chapelle du Roy, Paris, Christophe Ballard, 1686 (1, 4, 6, 9,12) Motets in 3, 3, 4 parts, Christophe Ballard, 1681 (2, 3, 5, 8, 11) Motets for 2 voices, Paris, Robert Ballard, 1668 (10) Cantica sacra, Paris, Robert Ballard, 1652 (7)
1 | Memorare 7’36 2 | Jesu dulcedo cordium* 3’41 3 | Desidero te millies* 3’07 4 | O æterne misericors Deus 8’50 5 | Sub umbra noctis profundæ* 4’21 6 | O Mysterium 7’19 7 | Allemanda Gravis 3’10 8 | Ave Regina cælorum* 3’29 9 | O dulcissima 10’55 10 | Quam pulchra es* 4’57 11 | O præcelsum* 3’27 12 | Super flumina Babylonis 10’18 ALSO AVAILABLE: HMC952223/24 Le concert Royal de la Nuit “It’s obviously been a labour of love for [Dauce], reconstructing what he can of the various ballets from disparate sources, texts and composers, re-writing and re-composing the music where necessary...the lavish texts and illustrations in the book that surrounds these two CDs helps create context and bring the dawn of the Sun King to life.” BBC Radio 3, CD Review, September 2015 Gramophone Editor's Choice, November 2015 Feature in May Gramophone focussing on Sebastien Dauce’s research into music of the period at Versailles, including the Louis XIV project but mainly focusing on this new Du Mont recording
RELEASE DATE 29TH APRIL 2016
WOLF: Kennst du das Land lieder by Goethe, Eichendorff, Mörike
Sophie Karthäuser Eugene Asti
Label: harmonia mundi File Under: Classical/Secular Vocal music Catalogue No: HMC902245 Barcode: 3149020224526 NORMAL Price Format: 1 CD Packaging: digipack Sophie Karthäuser [soprano] Eugene Asti [piano]
The brief period between 1888 and 1897, between the great cycles devoted to single poets and the songs on sonnets of Michelangelo, saw Wolf at the zenith of his creativity. That period saw the genesis of the songs later published in anthologies after Mörike, Eichendorff and Goethe. Although even the early songs before 1888 reveal no arbitrariness in the choice of texts, it is this concentration on individual literary figures that characterises the highpoint of Wolf’s output. Their names resound in the ears of all who love German Romantic literature and are familiar with its transposition into the world of the lied. While Schubert often mined an unexpected vein of poetry in lesser authors, his distant successor Hugo Wolf drank at the source of these giants. Wolf was undoubtedly a virtuoso in the art of making audible the huge dimension of what remains unsaid, though implied. Perhaps he had only one true peer: his former Viennese fellow student Gustav Mahler. Belgian soprano Sophie Karthäuser studied with Noelle Barker at the Guildhall School of Music and Drama in London. She is now in great demand, especially as a Mozart singer. She sang her first Pamina (Die Zauberflöte) under René Jacobs and her first Susanna (Le nozze di Figaro) under William Christie. Since winning the Audience Prize at the Wigmore Hall Song Contest she has developed an acclaimed career as a recitalist, enjoying a particularly close artistic partnership with the distinguished American pianist Eugene Asti. Mignon I. Heiß mich nicht reden (Goethe), Mignon II. Nur wer die Sehnsucht kennt, weiß , was ich leide! Mignon III. So lasst mich scheinen, bis ich werde, Mausefallensprüchlein, Das verlassene Mägdelein, Nixe Binsefuß (Mörike), Blumengruß, Frühling über’s Jahr, Anakreons Grab, Mignon: Kennst du das Land, wo die Zitronen blühn? (Goethe), Im Frühling, Bei einer Trauung, Agnes, Elfenlied (Mörike), Die Spröde, Die Bekehrte (Goethe), Verschwiegene Liebe (Eichendorff), Der Knabe und das Immlein, Ein Stündlein wohl vor Tag, Er ist’s, An eine Äolsharfe, Erstes Liebeslied eines Mädchens (Mörike), Wiegenlied im Sommer (Reinick) ALSO AVAILABLE: HMC902179 Poulenc Les anges musiciens, Mélodies
RELEASE DATE 29TH APRIL 2016
SCRIABIN: Symphonies 1 & 2
Label: LSO Live File Under: Classical/Orchestral Catalogue No: LSO0770 Barcode: 822231177029 BUDGET Price Format: 2 SACD Packaging: cristal Ekaterina Sergeeva [mezzo soprano] Alexander Timchenko [tenor] London Symphony Chorus, London Symphony Orchestra Valery Gergiev
Valery Gergiev and the London Symphony Orchestra bring to a close their revelatory Scriabin cycle with the release of Symphonies 1 & 2. Epic in scope, Scriabin’s highly original First Symphony was composed at the turn of the 20th century. An ambitious work, it consists of six movements; the last of which features a chorus and two vocal soloists, sung here by mezzo Ekaterina Sergeeva, tenor Alexander Timchenko and the London Symphony Chorus. In the monumental choral finale, which brings the symphony to a rousing conclusion, Scriabin uses a text of his own composition to praise the supreme power of art: ‘Come, all peoples of the world, Let us sing the praises of Art! Glory to Art, Glory forever!’ Premiered two years after Symphony No 1, the Second Symphony contains echoes of Strauss, Tchaikovsky and Wagner, alongside Scriabin’s own deeply personal sound. While relatively more restrained in style than Scriabin’s other symphonic output, over the course of its five movements there are sweeping climaxes, swirling colours and passages of majestic intensity. Ekaterina Sergeeva has been a soloist with the Mariinsky Academy of Young Singers since 2005. She appeared as Elektra’s Trainbearer, on the LSO Live recording of 'Elektra' with Valery Gergiev and the London Symphony Orchestra. Tenor Alexander Timchenko performed the role of Shepherd in Stravinsky's 'Oedipus Rex' with Valery Gergiev and the LSO in 2012, and, also Stravinsky, 'Les Noces', with the Mariinsky Orchestra & Chorus. CONCERT REVIEWS: "These were fine, controlled performances, correctly free in style but never rambling or diffuse, and wonderfully well-played by a full-strength LSO. In both quality and quantity, the sound – orchestral and choral – was terrific." The Arts Desk ( No 1) "Gergiev was in his element, firing up the musicians in the boisterous outer movements and stressing elegance in the slow centrepiece." Financial Times (Symphony No 2) ALSO AVAILABLE:
LSO0771 Scriabin Symphonies Nos 3 & 4
"The thrill of a live performance comes over with more immediacy with Gergiev and the LSO… some deliciously seductive playing from the LSO." BBC Radio 3, CD Review
RELEASE DATE 29TH APRIL 2016
SCARLATTI 4 Sonatas K.45, 133, 144, 201, 204a, 208, 212, 247, 279, 302, 381, 402-03, 405, 456-57 & 533
Pierre Hantaï A fourth volume of Domenico Scarlatti's Sonatas from the doyen of French harpsichordists, Pierre Hantaï, of whom Gramophone said: "an astonishing display of dexterity in which the harpsichord he uses (a 1999 copy of an anonymous Thuringian instrument of 1720) and the acoustic help in preserving total clarity. Even at maximum velocity (did Scarlatti and his pupil reach such speeds?) he manages to shape his phrases with micro-second dwellings. It isn't only the speedy sonatas that are impressive; Kk208 exemplifies his skilful shifts to either side of the pulse in giving the lines a natural 'vocal' quality. It also illuminates Kk185, 310, 199 and 162, in the last of which it's more evident in the playful quicker 'interludes'. The irresistible disc is splendidly annotated by Hantaï and beautifully packaged.” Gramophone Classical Music Guide, 2010
Label: Mirare File Under: Classical/Instrumental Catalogue No: MIR285 Barcode: 3760127222859 NORMAL Price Format: 1 CD Packaging: digipack Pierre Hantaï [harpsichord]
Scarlatti Sonatas 1 (MIR9188) Gramophone Editor's Choice, May 2003 BBC R3 Building A Library Choice January 2005 Scarlatti Sonatas 2 (MIR9920)
“[Hantaï] gives us the essence of Scarlatti, concentrated, not hard driven, but single-minded and intense.” BBC R3 Building a Library Choice, 14 May 2005
Scarlatti Sonatas 3 (MIR007) BBC Music Magazine Instrumental Choice March 2006 Scarlatti 50 Sonatas for Harpsichord (MIR273 Vols 1-3)
“Hantai’s agility is something to marvel at, especially as his playing is so clear and rhythmical, even at daringly fast speeds … this is an exceptional Scarlatti collection: three varied programmes performed quite brilliantly on instruments that are ideally suited to the music.” International Record Review, February 2015
RELEASE DATE 29TH APRIL 2016
SCHUBERT: Benjamin Appl, Graham Johnson Recorded live at Wigmore Hall, London, on 27 March 2015
Benjamin Appl Graham Johnson
Label: Wigmore Hall Live File Under: Classical/Secular Vocal music Catalogue No: WHLIVE0082 Barcode: 5065000924836 MID Price Format: 1 CD Packaging: cristal Benjamin Appl (baritone) Graham Johnson (piano)
Outstanding German baritone Benjamin Appl joins forces with Graham Johnson, one of the world’s leading Schubertians, for an exciting recital. Through the course of this programme we explore the full expressive gamut of some of Schubert’s finest Lieder, recorded live in concert at Wigmore Hall. From the tenderness of ‘Am Bach im Frühling’ to the dramatic story-telling in ‘Der Zwerg’ and the tranquility of ‘Im Abendrot’, Schubert’s unparalleled depiction of human emotion is captured in unique clarity. Benjamin Appl graduated from the Guildhall School of Music and Drama, and now continues his studies with Rudolf Piernay. He had the great fortune to be mentored by Dietrich Fischer-Dieskau. Appl joined the BBC New Generation Artists scheme from 2014 until 2016, and was an ECHO Rising Stars artist for the 2015/16 season. Recital appearances include Graham Johnson’s ‘Young Songmakers Almanac’ in London and his debut at Carnegie Hall 2014. Benjamin’s many appearances with the Schubertiade Festival include a ‘Liederabend’, accompanied by Helmut Deutsch, and performances of 'Die schöne Müllerin' with Martin Stadtfeld and Graham Johnson. He made his first appearances at the BBC Proms in 2015 with the Brahms Triumphlied and Carmina Burana "Being a BBC New Generation Artist guarantees high level coverage. Careers are launched, though in some cases one wonders if marketability isn't part of success. Benjamin Appl, though, is probably the real thing." classical-iconoclast.blogspot.co.uk "A very classy young Schubertian: beautiful lyric baritone, excellent delivery of text, assured stage presence." Hugh Canning [Twitter] Am Bach im Frühling D361, Der Wanderer an den Mond D870, Im Freien D880, Geheimes D719, Das Lied im Grünen D917, Fischerweise D881, Verklärung D59, An den Tod D518, Der Zwerg D771, An die Leier D737, Gruppe aus dem Tartarus D583, Memnon D541, Alinde D904, Der Kampf D594, Die Gebüsche D646, Im Abendrot D799, Wiedersehen D855, Die Taubenpost D965a
RELEASE DATE 29TH APRIL 2016
Pierre Boulez: Young Composer and Conductor Debussy, Bartok, Stravinsky, Boulez Darius Milhaud, French composer of an earlier and more conservative generation, paid Boulez what must be the ultimate compliment - “He despises my music, but conducts it better than anyone”. Boulez (1925-2016) started conducting in order to perform his own music and that of major 20th century composers such as Debussy, Bartók and Stravinsky, and went on to great heights with the grand repertoire including Wagner and Mahler (but avoiding Brahms). These recordings offer a foretaste of his conducting genius and allow us to remember a great artist the world recently lost.
Label: Praga Digitals File Under: Classical/Orchestral Catalogue No: PRD250332 Barcode: 3149028083125 NORMAL Price Format: 1 CD Packaging: cristal 2-3 Yehudi Menuhin [violin] 1-4 Royal Concertgebouw Orchestra/Boulez 5-6 Orchestre du Domaine musicale/Boulez 7-8 Josephine Nendick [soprano], Barry McDaniel [baritone], Louis Devos [tenor] BBC Symphony Chorus & Orchestra Pierre Boulez [conductor]
1 STRAVINSKY: Le Chant du Rossignol 2-3 BARTOK: Violin Concerto 4 DEBUSSY: Jeux 5 STRAVINSKY: Symphonies of Wind Instruments 6 STRAVINSKY: Concertino for 12 instruments 7-8 BOULEZ: Le Soleil des Eaux [1958 version] 1-4 Live Concertgebouw, 5-6 Paris, 7-8 London - 1962
RELEASE DATE 29TH APRIL 2016
MOZART: Piano Concertos No. 21 & 23 BARTOK: Piano Concerto No.3 Sz119 Annie Fischer Bavarian Radio Orchestra / Ferenc Fricsay Philharmonia Orchestra / Adrian Boult, Wolfgang Sawallisch Ferenc Fricsay, the great Hungarian conductor who died prematurely (1914-1963), contended that musicians had to work on Bartók’s major works in order to master Mozart’s unique combination of profundity and giocoso. His compatriot, the great pianist Annie Fischer, provides eloquent proof of this here, in the andante movement of the 21st Concerto (famously featured in Bo Widerberg’s film 'Elvira Madigan'), reflecting her intimacy with Bartók’s last concerto, composed for his wife Ditta from his deathbed.
Label: Praga Digitals File Under: Classical/Orchestral Catalogue No: PRD250326 Barcode: 3149028075120 NORMAL Price Format: 1 CD Packaging: cristal Annie Fischer [piano] Philharmonia Orchestra / Wolfgang Sawallisch [Mozart 21, London February 1958] Philharmonia Orchestra / Adrian Boult [Mozart 23, London April 1959] Bavarian Radio Orchestra / Ferenc Fricsay [Bartok, live, Munich 24/11/1960]
RELEASE DATE 29TH APRIL 2016
Giovanni Battista COSTANZI: Sonate per violoncello / Cello Sonatas Giovanni Sollima Monika Leskovar Arianna Art Ensemble
Label: Glossa File Under: Classical/Instrumental Catalogue No: GCD923801 Barcode: 8424562238015 NORMAL Price Format: 1 CD Packaging: digipack Giovanni Sollima [cello] Monika Leskovar [cello] Arianna Art Ensemble: Andrea Rigano [cello] Paolo Rigano [archlute], Cinzia Guarino [harpsichord]
The inspired decision by cellist and composer Giovanni Sollima to investigate the instrumental music of his 18th-century counterpart, Giovanni Battista Costanzi, is yielding its first recording with a new Glossa release of cello sonatas. Costanzi’s place in the history of the cello has all but slipped from view and yet his solo cello sonatas display a remarkable freshness in handling the late Baroque sonata genre as instigated by Arcangelo Corelli. They also impose substantial technical demands upon the soloist – including playing in the instrument’s highest register – making powerful use of the cello’s expressive capabilities. Five sonatas scored for cello and continuo have been selected by Giovanni Sollima for this recording, the first to assess this aspect of the Roman composer’s output. Not content with attending to Costanzi’s works Giovanni Sollima composes one of his own – Il mandataro – which reflects the labours of an apparently marginal member of the Roman court in the time of Costanzi’s patron, Cardinal Ottoboni: a courier or messenger charged with keeping the musicians informed of their duties. Sollima, who has previously recorded Neapolitan cello concertos for Glossa (backed by Antonio Florio and I Turchini), is joined for this new recording by fellow cellist Monika Leskovar (a pair of the sonatas are for two cellos) and the Arianna Art Ensemble. Scholar Imma Battista supplies pertinent biographical information for this overlooked Baroque composer. 01-04 Sonata in G major 05-08 Sonata in C minor 09-11 Sonata in F major for two cellos 12-14 Sonata in B flat major 15-17 Sonata in F major 18-20 Sonata in G minor 21-23 Sonata in C major for two cellos 24 Giovanni Sollima: Il mandataro
RELEASE DATE 29TH APRIL 2016
The Art of Heinrich Scheidemann Le Concert Brisé William Dongois Heinrich Scheidemann (1596-1663), student and follower of Jan Pieterszoon Sweelinck, was organist at St. Catherine’s Church in Hamburg from 1629 until his death. Mere traces of his music have survived in manuscript form that were transcribed from performances. A reason for Scheidemann’s oeuvre being nearly forgotten may be the high technical standard required for the execution of his music. Due to his talent for improvisation, Scheidemann wrote very virtuosic compositions emerging from various musical works in which seriousness and exuberance play side by side. The improviser’s demeanour can be felt in every note of these compositions. For contemporary musicians dealing with early music, a composition merely represented a framework upon which the musicians could improvise. In order to appreciate Scheidemann’s masterpieces of diminution and improvisation, William Dongois and Le Concert Brisé presents a programme with adaptations of his works on the present CD. The arrangement became a rewriting but one in which the basic form and intention of the original was never discarded.
Label: Accent Records File Under: Classical/Instrumental Catalogue No: ACC24302 Barcode: 4015023243026 NORMAL Price Format: 1 CD Packaging: digipack Le Concert Brisé William Dongois [cornets] Alice Julien-Laferrière [violin] Odile Bernard [recorder] Jean-Christophe Leclere [organ]
Praeambulum in D; Surrexit pastor bonus (after Hassler), Dic nobis Maria (after Bassano) Benedicam domino (after Praetorius), In dich hab ich gehoffet, Herr, Fuga in D, Alleluia, Laudem dicite nostro (after Hassler), Choral "Jesus Christus unser Heiland", Verbum caro factum est (after Lassus), Dixit Maria ad Angelum (after Hassler), Betrübet ist zu dieser Frist (Anonymus), Englische Mascarata in g (Anonymus), Pavan lachrymae (after Dowland), Galliarda & Variatio (Anonymus)
RELEASE DATE 29TH APRIL 2016
Die Nibelungen Suite from the original motion picture score
Frankfurt Radio Symphony Frank Strobel
Label: Pan Classics File Under: Classical/Orchestral Catalogue No: PC10346 Barcode: 7619990103467 NORMAL Price Format: 1 CD Packaging: digipack Frankfurt Radio Symphony Frank Strobel [direction]
The film director Fritz Lang cast Gottfried Huppertz (1887-1937) in several of his films before asking him to write the original score for 'Die Nibelungen' (1924), which he composed using the shooting script as a silent libretto. It was Huppertz’s first major project and his mastery of orchestration is nothing short of remarkable. Huppertz wrote in a lush, late-Romantic idiom. With 'Die Nibelungen', he evokes Wagner's take on Teutonic mythology through a highly lyrical and orchestrally expansive score that resists being imitative. The music echoes Wagner without attempting to mimic it. At the same time, Huppertz’s musical language resembles Alexander von Zemlinsky, Franz Schreker, Walter Braunfels and Eugene D’Albert. This CD presents a suite with highlights from Huppertz’s original score whose total length is more than four hours. The pieces for the suite were selected by Frank Strobel, Germany’s leading film music conductor and musical director of this recording with the hr-Sinfonieorchester (Frankfurt Radio Symphony). Also available: PC10345 Gottfried Huppertz – Die Nibelungen (4 CDs) – Complete Score Frankfurt Radio Symphony, Frank Strobel