Releases: Outhere Distribution_May2014

New Releases May 2014

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Label of the Month Oehms is the brainchild of Dieter Oehms. After working for 35 years in the recording industry (DG/Poygram and Arte Nova/BMG), he created this independent label in 2003. It is also the German label of the Australian conductor Simone Young and her Hamburg Philharmonic, who have recorded a landmark series of Bruckner symphonies in their original versions, and Wagner’s Die Walküre with Australian tenor Stuart Skelton. Other notable titles and artists include a charming operetta series with the Mörbisch Festival Orchestra, Pascal Rogé, and a series with James Levine documenting his time with the Munich Philharmonic.

David Ianni Susan Lang

Tonkünstler-Orchester Niederösterreich

Marie-Claudine Papadopoulos

Sachiko Furuhata-Kersting Xiaoming Han Simone Young

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Ac ce nt 1 CD PPD : 12,95€

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Total time : 67’55

Total time : 184’ 3 CD

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PPD : 29,00€

Total time : 59’27 1 CD PPD : 12,95€

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ACC 24291 Dietrich Buxtehude SONATAS WITH CORNETT Le Concert Brisé ; William Dongois, cornett ; Stefan Legée, baroque trombone ; Pierre-Alain Clerc, organ William Dongois is one of the best known cornett players of our time. He is able to perform the repertoire of his instrument – the cornett resembles a flute in its construction, whereas its wooden mouthpiece is used similarly to that of the trumpet – with dancelike elegance, rhetorical conciseness and, often, even with a certain «groove». In the late 16th century, the cornett developed into a highly virtuosic solo instrument, but the gradual decline of the cornett began with the rise of the violin beginning in about 1630.

On the present CD, William Dongois has concentrated on works of Dieterich Buxtehude that were actually intended for the «competing instrument», the violin. Together with Stefan Legée (baroque trombone) and Pierre-Alain Clerc (organ), he has adapted trio sonatas by Dieterich Buxtehude (originally for violin, gamba and continuo) for two winds with concertante organ – a type of arrangement that cannot be historically verified, but is all the more convincing in its sound. These sonatas are supplemented by several original organ works composed by Buxtehude. This composer’s oeuvre has only survived to the present day thanks to several manuscripts; with just a few exceptions, astonishingly, it was not published during his lifetime.

ACC 26401 Georg Friedrich Händel - SIROE, RE DI PERSIA (Live from Göttingen International Handel Festival, 20 May 2013) FestspielOrchester Göttingen ; Laurence Cummings, direction

Live recording from the Göttingen International Händel Festival 2013 Betrayal, revenge, inheritance conflicts and forbidden love at the Persian court – in 1728 this explosive mixture inspired Handel to compose the successful opera Siroe, Re di Persia, one of his last compositions for the Royal Academy of Music at the King’s Theatre. Handel based his work on the libretto by the famous poet Pietro Metastasio. In its first season Siroe was performed on 18 successive evenings, but it was never subsequently revived in Handel’s lifetime.

The opera received its first performance in Göttingen with a top-rank cast performing under the musical direction of Laurence Cummings. The Financial Times wrote about the premiere: “This is new artistic director Laurence Cummings’ first opera in Göttingen, and it must count as a high point in the festival’s history ... Cummings hits every tempo bang in the middle, so that phrases are light and airy, architecture is solid yet soaring, recitatives feel like free speech, and it is often hard not to stand up and dance. His orchestra is superb. This is both musical discovery and pure joy; this is how Handel should be.”

The live recording will be the only available release on CD of Handel’s “Siroe” at the time. It is the beginning of a new cooperation between the Label Accent and the Göttingen International Händel Festival which plans the release of a series with opera productions on CD.

Alpha 195 KAPSBERGER ; Labirinto d’amore Thomas Dunford – arciliuto ; Anna Reinhold –mezzo-soprano The ‘Eric Clapton of the lute’ (BBC Magazine) comes back to the Alpha microphones, this time with the soprano Anna Reinhold.

Here, Thomas Dunford applies his truly prodigious virtuosity to the eight Toccatas from the first book by Meister Kapsberger, giving us a veritable concert such as the composer himself might have proposed with, in counterpoint to the toccatas, a few of the loveliest airs by Caccini, Merula et al.

The beauty of Anna Reinhold’s voice (a young talent noticed especially in William Christie’s ‘Jardin des voix’) has a freshness and energy that bring to mind the young performers at work in Alpha’s earliest recordings. This goes to prove that there still remains much distance to cover in the discovery of Baroque art.

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ALPHA 820 L.W. BEETHOVEN - Piano concertos

Total time : 69’50+69’+59’33 3 CD

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PPD : 17,65€

Total time : 75’42 1 CD

Alpha proposes rediscovering the three discs of the complete recording made between 2004 and 2008 by Arthur Schoonderwoerd, conducting the Ensemble Cristofori from the keyboard.

These recordings had been widely hailed by the international press at the time of their release. Beyond that success, it was the singularity and profundity of Arthur Schoonderwoerd’s approach that convinced Alpha to assemble these discs in the same box, offered at an attractive price.

Since the dawn of sound recording, this great Beethoven cycle has motivated a large number of artists and given rise to memorable interpretations. No doubt that, thanks to its aesthetic coherence and the originality of the musical options retained, this reference on early instruments will convince even more widely than in its initial edition on separate discs.

Classical Release

Arthur Schoonderwoerd & Cristofori

ALPHA 956 Les Grandes Eaux musicales de Versailles Ensemble Pygmalion – Le Poème Harmonique – Les Musiciens de St Julien – Ensemble Ausonia – Café Zimmermann – Capriccio Stravagante – Eugénie Warnier, soprano The event known as ‘Les grandes eaux Musicales de Versailles 2012’, when all the fountains are working, accompanied by music, is presented by the Palace of Versailles in collaboration with Alpha. The music consists of a selection of absolute masterpieces of French Baroque music, from seventeenth-­‐‑ and eighteenth-­‐‑century songs to great classics of the operatic repertoire, performed by some of the label’s leading artists, including the ensemble Pygmalion, Le Poème harmonique, Café Zimmermann and others.

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AN2 8764 HANDEL & PORPORA… ...The opera war!

Julie Boulianne, mezzo soprano ; Clavecin en concert ; Luc Beauséjour, harpsichordist and artistic director

1 CD PPD : 12,95€

London, 1734: the political atmosphere between Robert Walpole’s (Whig Party) supporters and opponents was explosive. There was a special kind of war on the horizon. The battle field: the Opera. A certain composer who had moved from Germany a few years earlier was seeing his popularity rise to new heights. His name: Georg Friedrich Handel. But this rise was not to be without hurdles. Nicolo Porpora, the rising star of Europe’s musical atmosphere, and whose magnificent reputation spoke for itself, was called upon. Both sides confronted one another and upped the ante: on one side, the Royal Academy of Music, with Handel, favourite of the royal power; on the other side, the Opera of Nobility, established by a group of nobles who wanted to counter Handel’s dominance. At the end of this long struggle, which will have incurred substantial financial losses on both sides, Handel and Porpora will nonetheless have left a few masterworks for generations to come.

From Handel, here are some arias from Serse, one of the most played operas to this day, with its most famous aria “Ombra mai fu”. Are also on the program, an aria from the opera Alcina, a true masterpiece, and another from Ariodante, one of the famed composer’s most inventive works. From Porpora, two of the album’s pieces feature the natural flow of the opera Polifemo; an opera composed for the “star” of that era, castrato Carlo Broschi, known as Farinelli.

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La Galanía ; Raquel Andueza A compilation of Antonio Cesti’ʹs most beautiful arias and cantatas. The 95% of this CD contains world première recordings.

Antonio Cesti was one of the leading composers of the XVIIth Century. His wonderful melodies and harmonies from his compositions make clear why Medici family was so interested in having him as a regular composer. He worked in Italy and in Austria as well, but the Italian style accompanies all his work. Love, passion, tenderness, fire, all presented by La Galanía and the spanish soprano Raquel Andueza.

PPD : 12,95€

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Classical Release

Total time : 61’06

Aec003 ANTONIO CESTI - ALMA MIA

A375 GIOVANNI BENEDETTO PLATTI - Concerti per il cembalo obligato Luca Guglielmi ; Concerto Madrigalesco ; Paolo Grazzi

Total time : 71’47 1 CD

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PPD : 12,95€

Total time : 68’43 1 CD PPD : 12,95€

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Twelve years younger than Bach and Handel, Giovanni Benedetto Platti left us a collection of nine Concerti per il cembalo obligato which rank not only among the very early examples of composition for keyboard instrument and strings, but also and above all, the first specimens especially conceived for the fortepiano, the new instrument invented by Bartolomeo Cristofori.

Brilliant soloist and regular keyboard player of Zefiro, Luca Guglielmi offers us, for the first time on period instruments three brilliant and foreseeing piano concertos, interspersed with the large-scale Piano Sonata in C minor, a very widespread composition at the time, and the baroque Sonata for oboe, with a special appearence by Paolo Grazzi.

An astonishing music from a composer who deserves to be recognized as one of the greatest of his time.

900124 STRAUSS, J. Alpensinfonie / «Intermezzo» Symphonieorchester des Bayerischen Rundfunks ; Franz Welser-Moest For the Strauss year of 2014, the Symphonieorchester des Bayerischen Rundfunks – under the baton of Franz Welser-Moest, a popular guest conductor of the orchestra for 25 years now – presents a selection of works focusing on the two most important genres in the oeuvre of Richard Strauss: the symphonic poem and the opera. These are represented by his «Alpine Symphony» as well as the four symphonic interludes from his 1924 opera «Intermezzo». The lightweight and entertaining music of this «bourgeois comedy» contrasts starkly with the poetic and powerfully sonorous symphonic treatment given to its four interludes. These were transferred by Strauss from the opera to the concert hall, where they are still firmly established today. For Richard Strauss, writing poetry in tones was a central artistic credo. What Beethoven, Berlioz and Liszt had begun was perfected in the Munichborn composer’s great tone poems: «Don Juan», «Till Eulenspiegel», «Thus Spake Zarathustra», and his final work of symphonic programme music «An Alpine Symphony», completed in 1915. In this work, which is a summit in the musical depiction of nature in its own right, Strauss sends the listener on a tour through the mountains and has him experience pastures, waterfalls, undergrowth, glaciers, the elation of reaching the summit, and also a thunderstorm. Beneath the surface, however, the «Alpine Symphony», which Strauss originally entitled «The Antichrist», has several echoes of Beethoven and Wagner and – especially in the sections entitled Night, Vision and Elegy – leads us subtly into philosophically charged soundscapes intended to convey «moral purification through one’s own strength» and also «worship of eternal and magnificent nature.»

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C5196 FERNANDO LOPES-GRAÇA - Classical Modernism Meets Portuguese Folklore

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Among the masters of classical Modernism, there are three Portuguese composers who are considered greats today: Luís de Freitas Branco (1890-1955), Fernando Lopes-Graça (190694) and Freitas Branco’s most gifted pupil Joly Braga Santos (1924-88). At the same time, these three composers stand for three basic currents in the music of their time. LopesGraça integrated Portuguese folklore especially in his oeuvre by combining it with the achievements of atonal, dissonance-spiced contemporary harmony like other modern national composers such as Bartók, Saygun or Ginastera. He advocated Communist ideals and was a convinced opponent of the Fascist Prime Minister António de Oliveira Salazar, who as leader of his movement Estado Nuovo ruled the country with an iron hand from 1932 to 1968. This led to Lopes-Graça being imprisoned several times and to many obstacles being placed in his way as a composer and teacher. There is no doubt that Lopes-Graça was a subtle and independent master not only in orchestral and chamber music, but also especially in his piano works, which are idiomatically and effectively written for the instrument.

Classical Release

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C9005 ALFREDO CATALANI - LA WALLY MARC KUGEL · SUSANNA VON DER BURG · PAULO FERREIRA · BERND VALENTIN ; CHOR und EXTRACHOR DES TIROLER LANDESTHEATERS ; TIROLER SYMPHONIEORCHESTER INNSBRUCK ; ALEXANDER RUMPF (conductor)

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PPD : 18,25€

1 CD PPD : 12,95€

«A powerful woman – powerful material “Once upon a time there was a young woman who was more courageous than all the men in her mountain village”. What sounds like a fictitious story really happened. The young woman was Anna Stainer-Knittel, born as a gunsmith’s daughter in the Lech Valley in Tyrol on 28 July 1841. She proved her courage and independence of mind time and again in later life. For in her preparations for the novel, Wilhelmine von Hillern concerned herself not only with Anna Stainer-Knittel’s experiences, but also intensively with people’s lives in the mountains at that time. Her Geier-Wally also integrated motifs from Tyrolean legends. The material reached the opera stage via the publication of the novel as a serial in the Milan paper La Perseveranza. It was there that the Italian composer Alfredo Catalani became aware of it. He was able to obtain Luigi Illica as the librettist. La Wally was first staged in La Scala in Milan on 20 January 1892 and met with a great deal of approval. After the third performance, Catalani wrote to: ‘The house was wonderful and the prelude to Act II was repeated.

At the end of the opera, I received general, long (and I must really say so) enthusiastic ovations. The impresario is very happy and says the opera will make its way through all the theatres’.

CHR77384 CHRIST THE SAVIOUR CATHEDRALE MOSCOW - New Liturgical Chant of the Russian Orthodox Church Moscow Patriarch Choir ; Ilya Tolkachev, direction «The Christ the Saviour Cathedral in Moscow is the principal church of the Russian Orthodox Church; after being detonated in 1931 under Soviet rule, it was rebuilt at great effort and expense during the 1990s. Patriarch Kyrill I was enthroned there in 2009 and has continued to celebrate the liturgies of the high holidays in the Cathedral ever since.

The Patriarch Choir of Christ the Saviour Cathedral under the direction of Ilya Tolkachev consists of professional singers and represents the face of Russian Orthodox music today.

The first CD of the Patriarch Choir presents new liturgical and concert compositions composed by Natalia Haszler and the choral director Ilya Tolkachev. These draw upon the long tradition of liturgical choral works of the Russian Church, leading us into the world of classical Russian sacred chants with powerful chords and dark basses. However, the tradition is scrupulously expanded through new sounds and chord formations, adding new touches of colours. With the compositions of the German Natalia Haszler - for the first time - the Russian Orthodox Church is opening itself to works, now being performed in the liturgy, by a woman composer who is not from Russia.»

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6.220576 RUED LANGGAARD : String Quartets Vol. 2

Classical Release

Nightingale String Quartet Rued Langgaard’s string quartets are passionate works from the eccentric composer’s youth. Volumes I and II present all nine quartets together for the first time, and this release includes the world premiere recording of Rosengaardsspil. The prizewinning Nightingale String Quartet offer distinctly dramatic interpretations of this music.

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8.226561 FUZZY - Chimes of Memory Jeanette Balland, saxophone ; Grethe Krogh, organ ; Tine Rehling, harp “Chimes of Memory” is a diverse collection of works by the Danish composer and musician Fuzzy (b. 1939). In the title work, recorded on a historic digital audio workstation at the Danish Radio, Fuzzy gazes deep into the well of memory. In the other works we meet magnificent organ music written for the cathedral of Notre Dame in Paris alongside witty, experimental and dream-like sounds played on saxophone, harp and, not least, the composer’s beloved old grand piano before it ended its days beneath the stars at the Copenhagen waste incinerator.

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8.226572 Burst Duo Kapow!, ensemble ; Henrik Larsen, percussion ; Claus Olesen, saxophone This collection of works for saxophone and percussion by six Danish composers challenges standard ideas of melody, sonority and harmony. Some of the works are typified by great desperation and pent-up emotions, others by melancholy and reflection. The music snorts, groans, snarls and shouts – or fizzles, whispers and chafes – and is a remarkable display of the almost infinite expressive possibilities of this unusual combination of instruments.

1 CD PPD : 11,50€

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Heather Tuach (cello), Patil Harboyan (piano) «The idea of recording MUSIC FROM ARMENIA FOR CELLO AND PIANO began in 2012, following a recital in Heather Tuach’s home province of Newfoundland where she and Patil Harboyan performed Arutiunian’s Impromptu for the first time. It proved to be a huge hit with the audience. Spurred on by this, the duo started investigating the Armenian cello and piano repertoire to see what might be compiled onto a CD that would be accessible and appealing to a wide range of listeners. The result is this recording of tuneful folk-inspired works by Gomidas, Stepanian, Babajanian and Arutiunian.

Though using ‘native’ Armenian melodic and harmonic phrasing the effect is far less forced than in for example the music of Khachaturian,and the works presented here will appeal to anyone, being brilliantly lyrical and romantic in style throughout. Almost all of the works are receiving their first recording.»

Classical Release

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DDA25075 Music from Armenia for Cello and Piano.

DDA25114 Remembering Alfred Deller..

«James Bowman & Robin Blaze (countertenors) ; John Turner & Laura Robinson (recorders) ; Ian Smedley (cello), Ian Thompson (harpsichord), Dave Bainbridge (guitar)» «This album serves both as a fine programme of music both ancient and contemporary for countertenor and recorder but also, as the title suggests, as a tribute to Alfred Deller, the man who re-popularised the countertenor voice and a great deal of early music. Deller’s contribution to the 20th century appreciation for early music cannot be overstated. He was ‘discovered’ by Michael Tippett, who along with Walter Bergmann became a lifelong friend of the Deller family and co-workers in the revival and burgeoning interest in early music which continues to this day.

Bergman and Tippett produced some of the earliest scholarly editions of Purcell’s music.

The programme on this disc sandwiches early pieces by Williams, Blow and Handel between recent works by major composers from the tiny Tippett Inventions to the spellbinding Soliloquy. Works for countertenors solo or duet are interlaid with recorder pieces and those involving both voice and solo instrument. The disc has been co-produced with Mark Deller.»

DDA25115 John Garth ; Keyboard Sonatas, op. 2 & op. 4.

Gary Cooper, harpsichord, Avison Ensemble «The northern city of Durham has one of the most picturesque urban environments of anywhere in Britain. There were a large number of musicians who worked in Durham and they capitalised on the popularity of public diversions such as concerts. Many of them also had ties with the cathedral and, as such, the cathedral choir came to dominate musical life in the north-east of England.

However, the choir did not have a monopoly on music in the city as there was strong competition from the Newcastle upon Tyne-based musician Charles Avison (1709-1770) and his friend and colleague John Garth.

Garth’s first musical post was that of organist at St Edmund’s Church in Sedgefield. He was appointed there before 1742, but from the early 1770s had begun to delegate his responsibilities at that place to others. He was also the organist to the Bishop of Durham at his official residence, Auckland Castle, a position he held until 1794. Garth’s reputation as an organist was widespread and he travelled far to give recitals.

In the north-east of England, the dominant type of keyboard sonata had accompaniments for two violins and a cello. The first composer to utilise this form was Avison; he issued three sets between 1756 and 1764. Nevertheless, it was Garth who was to enjoy the greatest triumph with this genre.»

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GCD921119 Mozart - The last three Symphonies Orchestra of the Eighteenth Century; Frans Brüggen

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Classical Release

«If the precise, original performing locations for these symphonies remain elusive, the three works – “Jupiter”, K551, the E flat major, K543, and that “evergreen study in the key of G minor”, K550, known by people all around the world as the “Mozart 40” – all clamour for constant and fresh interpretations; these are precisely what Frans Brüggen delivers. Recordings on Glossa from Brüggen in recent times – always made whilst on tour – have included Total time : 53’51+38’11 Mozart’s concertos for horn, clarinet and violin, as well as the Requiem.

With Stefano Russomanno providing a wellconsidered booklet essay, this new release of 2 CD the three final Mozart symphonies, available on two CDs and recorded live in Rotterdam, provides eloquent testimony to Frans Brüggen’s ability to summon up the expressiveness PPD : 14,20€ and spontaneity demanded by Mozart’s masterpieces from 1788.»

Accademia del Piacere; Fahmi Alqhai, viola da gamba & direction ; Arcángel, cantaor ; Mariví Blasco, soprano ; Miguel Ángel Cortés, flamenco guitar

Total time : 58’10 1 CD

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PPD : 12,95 €

1 CD PPD : 11,50€

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GCDP33203 Las Idas y Las Vueltas - Spanish Baroque meets Flamenco

«Las idas y las vueltas is an exuberant display of music-making in its own right but also a demonstration of the interrelationship between Spanish Baroque music and flamenco.

The melting pot of melodies, colours and rhythms that followed in the wake of Spain’s colonial expansion brought together European, South American and African influences. On Las idas y las vueltas, there is a constant to-ing and fro-ing of such influences – jácaras and guarachas, folías, Las morillas de Jaén and La Spagna, bulerías and jaleos – all brought to musical life by the cantaor Arcángel, the flamenco guitarist Miguel Ángel Cortés and the Baroque instrumentalists of Alqhai’s Accademia del Piacere, and the singer Mariví Blasco.

This new release comes with two bonus tracks, both recorded live and previously unreleased: a pasacalle and a new version of ¡Ay, que me abraso! The whole album has been freshly remixed by Alqhai and his team in their studio in Seville.»

94.701 Dekoor Close Harmony: Tuesdays Dekoor Close Harmony (Choir), Christoph Mac-Carty The Dutch Choir Dekoor Close Harmony is the winner of numerous international competitions and is one of the most famous choirs in the Netherlands. Throughout the eleven songs on this program, some newly composed, some cover versions, the listener will discover the incredible vocal energy that has earned this young singing troupe such renown. Dekoor lights up in songs like «»We Are Young»», «»A Night in Tunisia»», in Gospel choruses or well-known rock songs, delivering the vocal fireworks, with color, rhythmic richness and a “Happening“ character. These are NEW sounds that will fascinate you; full of intensity and perfect in execution.

This CD will be released as part of a new series called «»The Choir Project.»» Featured as part of the hänssler CLASSIC catalogue, this new series will showcase the world’s best amateur choirs and become a platform as versatile and powerful as the histories and cultures of the choirs and vocal ensembles themselves, while presenting a wide-ranging repertoire from baroque to pop.

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PPD : 11,50€

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LALÁ – Ilia Vierlinger (Soprano), Julia Kaineder (Mezzo soprano), Peter Chacupar (Tenor), Mathias Kaineder (Basso «The internationally award-winning vocal ensemble LALÁ has delighted audiences everywhere with their unique homogeneous sound and their refreshing and sensitive interpretations. Whether they’re singing early music, classical, pop or folk song, the four young singers from Austria inspire with their unique interpretations and their unmistakable timbre.

On this, with their first recording, they take you through the history of music. Franz Schubert and Johannes Brahms are there, but also some Earth, Wind and Fire, a few Viennese songs as well as their own original compositions, all given vocally perfect and uniquely expressive performances. Indeed, they prove beyond doubt that just as the title of their CD says, «Everything has its time.»

This CD will be released as part of a new series called «»The Choir Project.»» Featured as part of the hänssler CLASSIC catalogue, this new series will showcase the world’s best amateur choirs and become a platform as versatile and powerful as the histories and cultures of the choirs and vocal ensembles themselves, while presenting a wide-ranging repertoire from baroque to pop

Classical Release

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94.702 Lala: Everything has ist time

98.037 Night Stories - Nocturnes Jenny Lin (Piano) The night has always been a time of enchantment; she embodies the uncanny, but also the romantic side of human existence. For her new hänssler CLASSIC release Jenny Lin has selected a program of night pieces that speak to both the sensual and more complex psychological aspects of nocturnal experiences – from Debussy’s «»Clair de lune»» to Arthur Lourié‘s «»A Phoenix Park Nocturne»» to Liszt’s «»Liebestraum»» she evokes sounds, dancing, romance, far from everyday experiences, whispering of things hidden from the light of day.

She evokes thoughts and visions from a shoadowy realm that draws us into our inner world.

A dramatically styled exactly CD, perfectly expressive of human longing for the other side.

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PPD : 12,95€

CKD447 The Tudors at Prayer Magnificat; Philip Cave

1 SACD PPD : 13,95€

Continuing its exploration of Tudor Latin sacred music, ‘The Tudors At Prayer’ sees Magnificat perform music by Taverner, Tallis, Mundy, White and Byrd. The highlight is Mundy’s towering Vox Patris caelestis; immensely vivid and colourful this is a powerful performance to challenge any that has gone before. Equally enthralling as Magnificat’s critically acclaimed Spem in alium, but with even richer textures, Vox Patris caelestis perfectly demonstrates Magnificat’s heaven-sent sound.

Byrd’s heartfelt setting of Tribue, Domine plus a premiere recording of White’s Tota pulchra es, and his sublime psalm setting Domine, quis habitabit are further tand-out moments.

‘The Tudors At Prayer’ provides further evidence of the extraordinary richness of this centuries old repertoire. Magnificat is one of the world’s premier vocal ensembles whose recordings have met with huge critical acclaim: Spem in alium was hailed as ‘quite the best performance of Tallis’s 40part Spem in alium that I have heard’ by Gramophone and was ‘First Choice’ in Building A Library on BBC Radio 3’s CD Review. In addition Victoria’s Officium Defunctorum was named ‘Critics’ Choice’ by Gramophone and chosen by The Rough Guide as one of its ‘100 Essential Classical CDs’.

Directed by Philip Cave, Magnificat specialises in the restoration and performance of neglected choral masterpieces of the 16th and 17th centuries.

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Classical Release

Total time : 72’ 1 CD

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MELCD1002147 Schubert/Brahms - Duets for violin and piano.

David Oistrakh and Frida Bauer «The prominent violinist did not part with his violin for more than sixty years, and indeed, he left numerous recordings made in studio and at concert to us. However, Oistrakh’s studio work during his last years, when he was not that active as a concert performer, is particularly interesting, and his chamber programmes were viewed as true revelations.

Oistrakh renders a songful and sunny world of Schubert’s duet and fantasia, and restrained emotions and hidden drama of Brahms’s first sonata with an inimitable, unique intonation and nobility of tone. A sensitive listener might think that the music had waited for its performer for a century.

In those years, Frida Bauer, a remarkable pianist and soloist of the Moscow Philharmonic Society, was the violinist’s ensemble partner. The recordings were made in 1970–1974.»

MELCD1002160 Maurice Ravel - Piano Concertos Nos 1, 2.

Yakov Zak, Alexander Slobodyanik, piano, «Both of Ravel’s concertos are among the composer’s last works and were finished in the early 1930’s. The first and most popular concerto is imbued with light and sunny images, and at the same time full of intonations and dance rhythms of the 20th century (jazz, foxtrot, Boston waltz).

Ravel’s first concerto is performed by Yakov Zak, one of the brightest representatives of the domestic pianistic school of the middle of the 20th century, a winner of the Third International Chopin Piano Competition in Warsaw, a pupil of Heinrich Neuhaus and a professor who educated quite a number of now famous pianists.

The second concerto composed for the left hand has stern and tragic colouring. The part for one hand is rich in virtuosic devices and extremely difficult. The concerto was recorded by Alexander Slobodyanik, another representative of the Neuhaus school. “Emotional wealth”, “completeness of sensations”, “spontaneity of artistic experience” are only some of the epithets that accompanied the concerts and recordings of the pianist who actively performed in this country and abroad for over forty years.

The album also features two symphonic works by Ravel – an early piece Pavane pour une infante défunte (Pavane for a Dead Princess) and choreographic poem La Valse performed by the USSR State Academic Symphony Orchestra conducted by Evgeny Svetlanov.»

MELCD1002161 Selected romances and songs by Alexander Alyabiev E. Shevelyova, soprano, T. Kandinskaya, piano (1, 2, 4–15); N. Fomina, soprano, A. Pokrovsky, piano (3, 19); A. Moksyakov, baritone (16, 17); D. Blagoy, piano (16–18); N. Isakova, mezzo-soprano (18); R. Kuznetsova, soprano, N. Sinelnikova, piano (20) «So well-known to the wide audience as an author of The Nightingale, Alexander Anatolievich Alyabiev was a man who lived a very bright, eventful and at the same time hard life. He also was a brave officer who fought in the Patriotic War of 1812, an outstanding composer and founder of Russian lyrical romance that anticipated many of the discoveries I Russian music of the 19th century, and a disgraced exile who spent the years of his creative prime in Siberia.

Alyabiev composed music in different genres, but his highest creative achievements were connected with romances. He was one of the first composes who created original, distinctive romances on the texts by Pushkin. Alyabiev also was on friendly terms with many of the contemporary poets and playwrights and created bright dramatic songs full of conflict and protest. The works featured in this collection reflect the diversity of Alyabiev’s chamber vocal lyricism which is still able to have an impact on a responsive and emotional listener. Along with popular romances such as Beggar Woman, I See Your Face, The Hut, Village Watchman and I Loved You, the collection comprises several less known ones, including arrangements of Russian, Ukrainian and Georgian folk songs – another side of Alyabiev’s musical talent.

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«The opera was composed in 1898–1899 jointly with librettist Vladimir Belsky on the threshold of Alexander Pushkin’s centenary. It was premiered in 1900 at Mamontov’s private opera. Full of kind humour and genuine folk song and dance themes, the music of the opera signifies a peculiar milestone in Rimsky-Korsakov’s career and all Russian music in general.

What we have before us is a distinctive anticipation of the art nouveau period interpreted in a Russian national style with its admiration for fairy-tale old days, a luxuriant ornament of the symphonic palette, delicate and colourful finds (in this respect, the symphonic picture Three Wonders and picturesque introductions to the second, third and fourth acts are especially notable). The set for the premiere was painted by Mikhail Vrubel not for nothing (his image of Princess Swan is classic).

Afterwards, the world of the opera was remarkably illustrated by Ivan Bilibin.

This recording of The Tale of Tsar Saltan was realized by the USSR Bolshoi Theatre when its musical and performing forces were in their prime. A star-studded cast of performers, including coloratura soprano Galina Oleynichenko, soprano Evgenia Smolenskaya, bass Ivan Petrov, tenor Vladimir Ivanovsky and others, are lead by Vasily Nebolsin, an outstanding master of interpretation of Russian classical operas.»

Classical Release

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MELCD1002199 Nikolai Rimsky-Korsakov/ VLADIMIR BELSKY - The Tale of Tsar Saltan «I. Petrov – E. Smolenskaya – L. Nikitina – E. Shumilova – E. Verbitskaya – V. Ivanovsky – G. Oleinichenko – P. Chekin – A. Ivanov – M. Reshetin – N. Kaluzhsky, A. Bolshakov, A. Gheleva ; The Choir and Orch. of the USSR State Academic Bolshoi

MELCD1002202 Sviridov, Georgy - The Blizzard The Moscow Radio Symphony Orchestra, conductor Vladimir Fedoseyev (1–9) ; The Moscow Chamber Choir ; Soloists: A. Vedernikov, N. Gerasimova ; The Chamber Ensemble of the Moscow Radio Symphony Orchestra, conductor Vladimir Minin «The ideal Georgy Sviridov strived for was music for the chosen ones which belonged to the masses.

His creative work was uncommon for 20th century music – he found his style yet remained inside the classical tradition without breaking it. No matter what he composed for – voice, choir or orchestra – his music went straight to the heart evoking a sensitive listener’s keen response be it a sophisticated music lover or a dilettante.

Sviridov’s music revives and continues the best sides of the Russian music tradition. It is no mere chance that his best known compositions are linked with the name of Alexander Pushkin. They are the ones featured on this album. The score to the motion pictures The Blizzard after Pushkin’s novel was composed in 1964. It has outlived the film becoming a self-sufficient and incredibly popular symphonic piece from Music Illustrations to Pushkin’s Novel. Pushkin’s Garland for soloists, choir and instrumental ensemble became the composer’s offering for the poet’s 180th anniversary. This choir cycle opened a new page of Sviridov’s creative path anticipating his late vocal opuses.

Sviridov’s works are performed by the All-Union Radio Big Symphony Orchestra conducted by Vladimir Fedoseyev, a recognized interpreter of the composer’s music, and the remarkable Moscow Chamber Choir led by Vladimir Minin.»

MELCD1002212 Hibla Gerzmava, soprano Hibla Gerzmava, soprano; Arsen Sogomonian, baritone ; Vladimir Spivakov, violin ; National Philharmonic Orchestra of Russia, Conductor – Vladimir Spivakov

Total time : 75’09 1 CD PPD : 10,00€

«A strong voice, a bright dramatic gift, a passionate temperament, creative courage and a precise sense of a role – all these virtues are combined by the name of the unique opera singer Hibla Gerzmava, a People’s Artist of Russia and People’s Artist of the Republic of Abkhazia.

Hibla Gerzmava is an opera singer of a world scale, a remarkable actress and versatile musician.

In 1994, she graduated from the Moscow Conservatory where she majored in solo singing under professors Irina Maslennikova and Evgenia Arefieva, and completed her post-graduate course under Maslennikova in 1996.

Since 1995 Hibla has been a soloist of the Stanislavsky and Nemirovich-Danchenko Music Theatre in Moscow debuting as Musetta in Puccini’s La bohème. The singer’s coming to the theatre signified the first stellar round of her singing career in many ways thanks to a fruitful creative tandem with director Alexander Titel. That rare creative union gave the stage of the theatre bright operatic roles such as Adina in Donizetti’s L’elisir d’amore, Musetta and Mimi and Puccini’s La bohème, Louisa in Prokofiev’s Bethrotal in a Monastery, Rosina in Rossini’s Il barbiere di Siviglia, Lyudmila in Glinka’s Rusland and Lyudmila nd, of course, a poignant and passionate Violetta in Verdi’s La traviata.»

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Solos in the orchestra: Anatoly Lyubimov, oboe ; Vladimir Sokolov, clarinet ; Lev Volodin, trumpet ; Yuri Torchinsky, violin ; Yuri Loyevsky, cello ; Nadezhda Tolstaya, harp ; The USSR State Academic Symphony Orchestra, сonductor – Evgeny Svetlanov

Total time : 53’35+47’35+52’40 3 CD

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Total time : 64’20 +54’41 +70’15+ 42’57+ 74’05 5 CD

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Total time : 71’03+ 70’27+57’02+73’33 4 CD PPD : 20,00€

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MELCD1002223 Pyotr Tchaikovsky. - The Swan Lake

«Pyotr Ilyich Tchaikovsky’s ballet Swan Lake has not quit the stages of the theatres around the world for more than a hundred years now. Generations of artists and spectators come and go, many of the aesthetic canons are now in the past, but Tchaikovsky’s music continues to impress, and the roles of Odette and Odile still remain a measure of performing mastery and inspiration.

The essence of the music of the ballet is fully uncovered in its choreographic implementation for which it was actually intended. But when one listens to an expressive recording of the USSR State Academic Symphony Orchestra conducted by Evgeny Svetlanov, he or she cannot help but get inspired with unfading beauty of the great Russian composer’s masterpiece. That’s how strong the impressive images of Swan Lake are, that’s how conquering the drama of symphonic development is, and that’s how ingenuous the perception of this sublime musical and choreographic poem is.

The ballet Swan Lake has become a living proof of Pyotr Tchaikovsky’s famous words: “As hard as my soul can, I want my music to spread wider and wider so that more people find consolation and support in it”. The music of Swan Lake carries this joy of communication with genuinely humanistic art to people.»

MELCD1002228 Ludwig van Beethoven - Symphonies Rudolf Barshai.

«One of the most prominent representatives of domestic music performing art of the 20th century, Rudolf Barshai was a man of amazingly versatile talents. His character combined obsession of a seeker and explorer of new sides to performance with an aspiration for his own creative way avoiding a bitten path.

The Moscow Chamber Orchestra founded by Rudolf Barshai in 1959 was the first orchestra of a kind in this country and instantly became hugely popular. Its tours were an equal success both at home and overseas, and it sold an impressive number of records. However, Barshai felt an urge to symphonic conducting and after a few lessons from Ilya Musin he successfully debuted in that walk of life as well. The recording of Beethoven’s symphonies realized in 1969 to 1975 with the Moscow Chamber Orchestra and musicians from the symphony orchestras of Moscow was Barshai’s first truly serious effort as a symphonic conductor.

These recordings were praised by Dmitri Shostakovich (“We haven’t heard a Beethoven like this since Klemperer”). Barshai’s conducting manner is characterized with ultimate precision in terms of the score, transparent harmonization of themes allowing us to hear the entire orchestral “vertical line” at all times; sustained, reserves tempos.

Unfortunately, for the reasons not depending on the conductor, Symphony No. 9 was never recorded.

Nevertheless, this boxed set showcases an uncommon integrity of the conductor’s interpretation and is of interest for the fans of Barshai’s art and for a wide circle of listeners as well.»

MELCD1002231 Richter plays Schubert Sviatoslav Richter “The first time I heard him play was at the Moscow Conservatory in May 1957, and he opened his programme with the last of Schubert’s sonatas. It’s a very long sonata, one of the longest ever written, in fact, and Richter played it at the slowest tempo I’ve ever heard. I think at this point it’s appropriate to confess … I’m not really addicted to most of Schubert’s music. I find myself unable to come to terms with the repetitive structure, and I get very restless and squirm when I have to sit through one of the longer Schubert essays. What happened was that, for the next hour, I was in a state that I can only compare to a hypnotic trance. All my prejudices about Schubert’s repetitive structures were forgotten. Musical details which I’d previously considered ornamental were given the appearance of organic elements. In fact, I can remember many of those details to this day. It seemed to me that I was witnessing a union of two supposedly irreconcilable qualities. Intense analytical calculation revealed through a spontaneity akin to improvisation. And I realized at that moment, as I have on many subsequent occasions while listening to Richter’s recordings, I was in the presence of one of the most powerful communicators the world of music has produced in our time” (Glenn Gould).

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MELLP0026 Leonid Kogan. Vol. 1

Total time : 20’08+7’46 1 LP

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«Johannes Brahms’s Concert for violin and orchestra is a part of any violinist’s golden repertoire. The concerto was among Kogan’s favourite works – he played it when he debuted with a symphony orchestra at the age of 16 in Moscow in 1941. Ten years later he played it at the finals of the Queen Elisabeth Competition in Brussels where he gained a glorious victory and thus opened a path to worldwide recognition. Kogan performed and recorded the concerto with Soviet and foreign orchestras on a number of occasions. This recording was made during his first tour in the United States in 1958.

“Kogan is a rare type among the performing artists: a most musical of musicians, he is always an enormous successful with the public”, the American press wrote after the violinist’s concert at Carnegie Hall.

Leonid Kogan is accompanied by the Boston Symphony Orchestra conducted by the legendary Pierre Monteux.»

Classical Release

Leonid Kogan

MELLP0027 Borodin String Quartet. Vol. 1 Borodin Quartet

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«A composer of a universal gift, Borodin displayed special love for chamber music since his young years. He played several instruments and found pleasure in participating in home concerts.

The composer wrote, “Chamber music represents one of the mightiest means for development of music taste and understanding”. His first compositions were created for chamber Total time : 21’59+16’05 ensembles, but his two string quartets are a proof of genuine artistic maturity.

The String Quartet No. 1 in A major was begun in 1875 when the work on the Second 1 LP Symphony and Prince Igor was in full swing and completed four years later. The first performance in St. Petersburg was not a big success, but very soon it became one of Borodin’s PPD : 41,20 € most popular compositions.

The Quartet is performed by one of the leading chamber ensembles of this country named after Borodin. The recording was made in 1965 by the golden line-up of the Borodinians – Rostislav Dubinsky, Yaroslav Alexandrov, Dmitri Shebalin and Valentin Berlinsky.»

Total time : 74’01 1 CD PPD : 12,95€

MEW1472 Eugène Ysaÿe - Harmonies du soir et autres poèmes Tatiana Samouil, Quatuor Ardente ; Orchestre Philharmonique Royal de Liège ; Jean-Jacques Kantorow (dir.)

«Over time, the memory of Eugène Ysaÿe (Liège, 1858 - Brussels, 1931) the brilliant virtuoso gradually supplanted that of Ysaÿe the composer in the public consciousness. It should be reminded that Eugène Ysaÿe created in his poems for string instruments a totally new and original genre, distinguishing himself by a competence in writing and a harmonic richness that were far removed from the purely virtuosic merits of his early compositions.

These poems are therefore thoroughly deserving of rediscovery. The French conductor Jean‑Jacques Kantorow, Ysaÿe’ʹs great specialist, leads the Liège Royal Philharmonic and soloists through works for violin and orchestra, for cello and orchestra, for two violins and orchestra and for string quartet and orchestra.»

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Total time : 61’13

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OC1804 Franz + Richard Strauss: works for romantic horn Xiaoming Han There is nothing unusual about a father and son dedicating themselves to the same profession. Nor it is uncommon in the field of art. In most cases, as with Bach and Mozart, the successors are the ones who lose out compared to their famous predecessors. Not so in the case of Richard Strauss, who far outshines his father, Franz Joseph Strauss, in posthumous fame, although his father was once very important for the budding composer’s education and served as a source of inspiration for several of his son’s works. Franz Joseph Strauss was one of the best hornists of his time. OehmsClassics is delighted to make an important contribution to the Richard Strauss Year 2014, together with the solo hornist of the Deutsche Radiophilharmonie Saarbrücken Kaiserslautern.

OC428 Prayers of Silence David Ianni, piano «For the second album by David Ianni from Oehms-Classics, we wish to let the artist from Luxemburg contribute his own comments:“Silence, calmness, is the source of inspiration for this album. As an artist and as a person, I need silence, which I especially find in the peace of prayer. It fertilises my musical ideas and allows them to mature into complete compositions.

Nonetheless, the works presented here are not free of conflicts, but are an intimate expression of the longing for peace for which we must continue to struggle here in the midst of the storms of everyday life. If my music finds its way into your heart, then it will have achieved its goal.”»

OC429 Vivaldi-Piazzolla - Die 8 Jahreszeiten Sinn Yang, violin ; Harald Oeler, accordion The Duo ViA! (Sinn Yang & Harald Oeler) made their debut in 2009 with the programme Seasons at the Heidelberg Spring Festival. At that time, it required a great deal of courage to present to the public, in a sold-out hall, one of the most popular and most frequently played classical works, Vivaldi’s I quattro stagioni in combination with Astor Piazzolla’s Las cuatro portenas. For the Duo, the programme Seasons was and still is an experiment and a daring feat. Vivaldi might have felt similarly when he designated his Four Seasons in the series of twelve violin concertos as “a bold adventure of harmony and invention” (“Il Cimento dell’Armonia e dell’Invenzione”).

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«Marie-Claudine Papadopoulos was born in 1987 in Strasburg and began studying the violin at the age of five at the Conservatoire National de Région de Strasbourg.

From 2003 until 2011 she studied with Prof. Ulf Hoelscher at the Music Academy in Karlsruhe (1st Prize with Honours). She is presently studying in the soloists’ class of Prof. Roman Nodel at the Music Academy in Mannheim. In March 2011 Marie-Claudine Papadopoulos won first prize at the Competition of the Spring Academy Neustadt an der Weinstrasse followed by a concert engagement with the German State Philharmonic of Rhineland-Palatinate. At the 2012 violin competition “Tone and Explanation – Work Mediation in Music and Words” of the Cultural Circle of German Business and Industry, Marie-Claudine Papadopoulos won first prize (“Music Prize of the Cultural Circle of German Business and Industry”), which forms the basis of the present CD.»

Classical Release

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OC433 F. Schubert: Sonate A-dur; G. Gershwin: 5 pieces from Porgy and Bess ; V. Dinescu: etude de nuages pour violon.Libero; M. Ravel: Sonate pur violon et piano Marie-Claudine Papadopulus, violin; Dimitri Papadopulus, piano

OC434 Mondscheinsonate u.a. ; Symphonische Etüden Sachiko Furuhata,piano On her second CD for OehmsClassics, Sachiko Furuhata-Kersting proudly presents a Beethoven-Schumann programme that is not only worth listening to for the Moonlight Sonata, but also for the Symphonic Etudes of Robert Schumann. These are amongst the most important works in the piano literature of the 19th century.

Total time : 64’08 1 CD

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OC435 Franz Schubert: works - new: Margulis-Sordino-Pedal Steingraeber D-232 Jura Margulis The German-American pianist of Russian heritage was the artistic trigger for fact that Steingraeber took up the idea of the “sordino pedal” from the late 18th century and built it into a modern D-232 grand piano – Jura Margulis recorded the present Schubert CD with this sound extension. Around the mid-19th century, this possibility of altering and extending the sound had largely disappeared from the canon of various pedal functions – it was retained in Vienna until the early 20th century, perhaps out of respect for the renowned Conrad Graf, who equipped all his grand pianos in the first half of the 19th century with horizontally adjustable rakes out of felt, naming the entire mechanism “moderator”. Erard used deerleather rakes for a similar function in his grand pianos, calling the sound effect “celeste”.

Composers call this function “sordino” because the sound modification is related to the mutes of the string instruments.

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Gürzenich-Orchester Köln; Markus Stenz, cond.

«In garish tones and with the largest orchestral apparatus that he ever used, Mahler’s Sixth Symphony is a work full of extremes, ranging from the sweetly cantabile melodiousness of the Andante’s main theme to the chordal agglomerations breaking out in triple forte “with raw force” at the centre of the Finale’s development section. After wave-like upswings to the highest bliss, everything sinks back down into the final catastrophe.

Total time : 38’29+42’39 As the next-to-last release in the Mahler SACD cycle, OehmsClassics presents a live recording from the Cologne Philharmonie made in November 2013.»

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OC651 G. Mahler: Symphony no. 6

Total time : 70’03 1 CD

OC898 Mendelssohn Sinf. 1+3 Tonkünstler Orchester NÖ; Andres Orozco-Estrada, cond.

For their second recording for OehmsClassics, the Lower Austrian Tonkünstler Austria decided on Mendelssohn. Symphonies Nos. 1 & 3 were recorded live at the Vienna Musikverein and prove once again why the entire world is thrilled over Andrés Orozco- Estrada.

Starting in the 2014/15 season, he will be Principal Conductor of the hr‑Sinfonieorchester in Frankfurt as well as Music Director of the Houston Symphony Orchestra. In addition, the London Philharmonic Orchestra has recently named him their Principal Guest Conductor starting in September 2015.

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OC899 Evgenij Gunst: piano works Susanne Lang, piano «In the spring of 2010, in the basement of the Musicological Seminar of the University of Basle, the estate of the Russian composer Evgenij Gunst was discovered. It hadended up there in an adventurous manner, and been stored, unobserved, for over a half century in two battered packing cases in the rearmost corner of the archive room. Evgenij Gunst was born into a rich Moscow family, the son of a father of German origins. In his time, he was a highly regarded artist, in some respects also providing artistic stimulus in pre-revolutionary Russia. Gunst associated with the most important personalities of the Russian musical scene; amongstothers, he was a close associate of the Russian composer Aleksandr Skrjabin. After the revolutionary upheavals, he emigrated in 1920 via Estonia to Paris.

Although he was active in the Parisian cultural environment during his exile for the rest of his life – amongst other things, he was a co-founder of the Conservatoire russe in Paris – he died there unrecognised and impoverished in 1950. Today, his name hardly appears in any encyclopaedia of Russian music. His biography appears to have been as much deleted from general consciousness as from official music history. With the present CD, the pianist Susanne Lang proves that the oblivion of Evgenij Gunst has been completely undeserved.»

Frankfurt Opera and Museum Orchestra ; Sebastian Weigle, conductor

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Under the direction of Christof Loy, a new production of Puccini’s famous gold prospectors’ drama was presented last May in Frankfurt. OehmsClassics is presenting the live recording of the premiere series performed by prominent artists. The director regards the pieces as follows: “La fanciulla del West is a very grateful work if one encounters both the libretto and the music with respect. If the piece is performed ironically or broken up – as has occurred Total time : 58’20+72’19 during the course of the work’s history – then the entire evening becomes pointless. One should repeatedly refer to the original play by David Belasco and imagine the effect it had 2 CD as a play. Then one understands how witty and astute these characters are. Later on, we encounter exactly these characters in American films: very clever people trying to overPPD : 17,50€ trump the others in trenchant dialogues as we know them from screwball comedies. It is a great joy to produce this. Through this, the characters are anything but grotesque operatic figures.”

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Total time : 57’34 1 CD PPD : 12,95€

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OC945 G.Puccini: La Fanciulla Del West

OMM0095 GLASS, Ph. - Symphony n.1 - Low Sinfonieorchester Basel - Conductor Dennis Russell Davis «Orange Mountain Music presents a new recording by the Basel Sinfonieorchester of Philip Glass’ Symphony No.1 “Low” based on the music of David Bowie & Brian Eno. Composed in 1992, Glass took his departure from Bowie & Eno’s beautiful melodies in crafting a threemovement 46-minute symphony.

This new recording conducted by Glass champion Dennis Russell Davies is a shimmering rendition of the work. Only the second recording of the Symphony, it’s been 20 years since the last one, the previous recording was recorded in the studio sectionally whereas this new OMM recording was made live in Basel Switzerland and captures the vitality and evidence of the work as never heard before.»

PC10304 Evora - Portuguese Baroque, Villancicos A Corte Musical; Rogério Gonçalves, direction «In the 16th and 17th centuries, the city of Évora was one of the most important centres of Portuguese polyphony. The gothic Cathedral of Évora was the scene of the development of the so-called «»Portuguese School»» which produced many important musicians who were also active in Spain and in the colonies of the New World. The Cathedral archive, housing numerous musical treasures, bears eloquent witness to this. Rogerio Gonçalves and A Corte Musical have recorded a selection of sacred and secular villancicos from this source on CD. The foundation on which the four singers present this rousing music is a colourful instrumental accompaniment consisting of Spanish harp and Spanish guitar, strings and percussion, amongst other instruments.

The villancico was originally a polyphonic Spanish song with a secular subject; it was soon incorporated into the Christian liturgy and frequently used at high holidays and other religious festive days. In the archive of Évora, there are villancicos with Spanish as well as Portuguese texts, which is a rarity. Here, we are well able to observe the cultural variety, individuality and expressiveness of (early) baroque Portuguese music in the alternation between vocal and instrumental music, and in the contrast between secular and sacred works.»

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Total time : 78’10

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PTC5186479 Mozart - Violin Concertos Nos. 3,4 & 5 Arabella Steinbacher; Daniel Dodds, concert master ; Festival Strings Lucerne Arabella Steinbacher is one of the fastest-rising stars in the world of music today. This young performer is already being hailed as one of the truly great violinists of our times, acclaimed by the New York Times for playing with « balanced lyricism and fire». At the age of 8, Ms. Steinbacher was already performing her first violin concerto by the composer. And since then, the work has reappeared throughout her successful career like a leitmotiv. yet her performance had never been recorded on CD. Following repeated requests from concert audiences, it is now finally «Zeit für Mozart» (Time for Mozart): the fulfilment of a long-cherished wish, not only for Arabella, but also for her many followers. For all those aficionados who want to enjoy Mozart’s most playful melodies, this is sure to be a case of love at first «listen».

RCO14001 Horizon V Huelgas Ensemble ; Paul van Nevel, conductor ; Markus Stenz, conductor ; David Robertson, conductor ; Susanna Mälkki, conductor ; Martyn Brabbins, conductor ; Royal Concertgebouw Orchestra «This fifth release in the Royal Concertgebouw Orchestra’s Horizon Series features an exciting mix of recently written works, beginning with Hodie per nascitur, an orchestration of James MacMillan of an anonymous 14th Century antifone. Martyn Brabbins conducts the RCO and the Huelgas Ensemble is led by Paul van Nevel. House composer Detlev Glanert’s Insomnium, conducted by Markus Stenz, is a precursor to his opera Solaris after the famous Stanislav Lem novel that also inspired film directors Andrei Tarkovsky and Steven Soderbergh.

Klaas de Vries’s Providence – inspired by Resnais’s 1977 movie – is about recollection, prediction, expectation and fulfillment. It is conducted by David Robertson. Susanna Mälkki conducts two world premieres, especially written for the round concert hall of the Westergasfabriek, a former gas factory: Circle Map by Kaija Saariaho and Antarctique by RCO house composer Richard Rijnvos.»

RC014002 Mozart - Requiem Mariss Jansons, chief conductor ; Genia Kühmeier, soprano ; Bernarda Fink, contralto ; Mark Padmore, tenor ; Gerald Finley, bass ; Netherlands Radio Choir ; Royal Concertgebouw Orchestra During his last years in Vienna Wolfgang Amadeus Mozart composed only three liturgical works: the short Ave Verum Corpus and two unfinished masterworks: the Mass in C minor and the Requiem in D minor. Most of his sacred oeuvre was written at an early age in the conservative city of Salzburg. The Requiem from 1791 is stylistically far removed from that early church music and suits the concert hall better than the church. Chief conductor Mariss Jansons leads the Royal Concertgebouw Orchestra, the Dutch Radio Choir and a stellar vocal quartet, featuring Genia Kühmeier, Bernarda Fink, Mark Padmore and Gerald Finley in an intense reading of Mozart’s last masterpiece.

Vox Luminis To celebrate their 10th birthday, Ricercar present a new edition of the first recording of Vox Luminis (RIC 258)

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RIC258 Scarlatti - Stabat Mater

RIC343 Carlo GESUALDO - Sacrae Cantiones ODHECATON, Paolo Da Col Although the madrigals of Carlo Gesualdo da Venosa constitute the best-known part of his oeuvre, his religious music is no less important, revealing a completely different facet of the composer. Aside from the Responsoria (1611), of which Philippe Herreweghe recently made a magnificent recording (LPH 010), most of Gesulado’s religious music was published in 1603 under the title Sacrarum cantionum. Unlike the Responsoria, intended for Holy Week services, the motets of 1603 are settings of texts for all circumstances of the liturgical year. For this recording, made in the Santa Trinità abbey church in Venosa, ODHECATON has enriched the sound palette of its men’s voices with a few instruments, including an ensemble of violas da gamba. Liuwe Tamminga counterpoints this programme with selected pieces by Giovanni Maria Trabaci and Giovanni de Macque on an historical organ of the Venosa region.

SM208 «Bijoux» - French Songs for Soprano

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Eva Lind, soprano ; Jean Lemaire, piano

1 CD PPD : 12,95€

«Eva Lind’s appearances have taken her to the leading opera houses in Milan (La Scala), Paris (Theatre des Champs Elysées), London (Royal Albert Hall), New York (Carnegie Hall), Berlin (Staatsoper), Stockholm (Opera House), Buenos Aires (Teatro Colòn), Madrid (La Zarzuela), Amsterdam (Concertgebouw), Shanghai, Hongkong, Bejing, Tokyo, Osaka and many others as well as at the Festivals of Salzburg and Arena di Verona. Eva Lind has shared the stage with the likes of Luciano Pavarotti, Placido Domingo, José Carreras and Alfredo Kraus. She has become a favourite of conductors such as Riccardo Muti, Claudio Abbado, Sir Georg Solti, Nikolaus Harnoncourt, Sir André Previn, Sir Neville Marriner, Daniel Barenboim, Jeffrey Tate and Seiji Ozawa. Symphonies overwhelm me, operas impress me.

Yet the small form of the French art song can be just as exciting and fascinating. It has therefore been my dearest wish for many years to devote a CD to the gems of French song in their finest settings.

I have here selected four of the greatest French composers, all of them masters of these musical miniatures. Each of these composers is unique in his own way. Massenet composed incredibly emotional Romantic tone-paintings; Fauré was second to none in composing songs that provide special kaleidoscopic insight into personal inner worlds; Debussy’s finesse elegantly transformed poetry into music and finally Satie’s visionary musical ideas and splendidly bizarre humour made him a pioneer of surrealism. These songs are extremely condensed masterpieces - some introvert and timid, some explosively Romantic. (Eva Lind)

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Classical Release

1 CD

Total time : 52’ 1 CD

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Total time : 45’55 1 CD PPD : 10,00€

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SOB05 HONEGGER, Ar. - Symphony No. 2 ; Symphony No. 4 «»Deliciae Basiliensis» Sinfonieorchester Basel - Conductor Dennis Russell Davis This is the fourth production on the in 2012 established in-house label of the Sinfonieorchester Basel. The label is maintained worldwide by Solo Musica. The Sinfonieorchester Basel is one of the oldest and most important orchestras in Switzerland. It is strongly rooted in the north-west of Switzerland and at the same time enjoys a more than regional as well as international radiance. The Sinfonieorchester Basel is always again demonstrating anew its excellent quality, whether it be in its own concert tiers, in the Theater Basel or in guest concerts at home or abroad. Since 2009, the principal conductor has been the renowned American conductor and pianist, Dennis Russell Davies. Honegger finally completed his Second Symphony in December 1941 and sent it to Sacher. Sacher then performed it for the first time on May 18, 1942, nowwith his second orchestra, the Collegium Musicum in Zurich. .„Deliciae Basilienses“ - „I have written this fourth, and probably last, symphony for my friend Paul Sacher for the twentieth anniversary of the founding of the Basle Chamber Orchestra. Although this ‘Symphonie liturgique’ follows the tradition of Beethoven, in that its content is as much dramatic as emotional, it has greater claims, so far as its form and spirit are concerned, to the style of Haydn or Mozart.

TC670003 VARIOUS 17th Century-La Prima Diva - Arias for Faustina Bordoni Agata Bienkowska, mezzosoprano ; barockwerk Hamburg ; Ira Hochman, conductor Faustina Bordoni, from Venice, was one of the most acclaimed celebrities in the forerunner of a star system that appeared in the world of Italian opera and thrilled the whole of Europe during the eighteenth century. She was one of the great voices of bel canto, had a marvellous dramatic talent, and passed through the first half of the century as a protagonist, leaving a memorable echo of her passage. Her career was protracted from 1716 to 1751, so she intercepted most of the composers of two or three generations, in the major opera centres of Europe: Venice, Naples, Vienna, London and Dresden. The forceful, fascinating personality of this singer (who was born in Venice on 30 March 1697 and died there, in her eighties, on 4 November 1781) filled the musical chronicles with astonishment for decades, and inspired the striking of medals and the writing of laudatory sonnets, obscene verse and satirical pamphlets. As late as the nineteenth century she was the inspiration of a novel by Elise Polko (Faustina Hasse. Musikalischer Roman, Leipzig, 1860), and to this day she still communicates with us, rather than in historical reconstructions, through at least two media. On the one hand, we can see her in etchings, caricatures, medals and no less than three portraits by Rosalba Carriera, at the museum of Ca’ Rezzonico and at the Gemäldegalerie Alte Meister of Dresden.

TC751690 ANTONIO PIO-GIONATA - Oratorio Ensemble I Luoghi dello Spirito ; Maria Luisa Baldassari, conductor As Renzo Calamosca relates in his book Musicisti ravennati nei secoli scorsi (Ravenna, Arti Grafiche, 1935), in the 18th century “there were very few musicians from Ravenna. One of them, however, was really outstanding: Antonio Pio, opera composer and music teacher at the court of Catherine of Russia, in the post that had been previously held by the celebrated Paisiello and Cimarosa”. Antonio Pio (1753-1795) belonged to a family that had originally come from Ferrara and had already given Ravenna several good musicians. He studied at the Conservatorio di S. Onofrio of Naples under the guidance of Pasquale Anfossi, one of the most prolific opera composers of the 18th century. The Archivio Arcivescovile of Ravenna preserves the score of Pio’s Gionata. Oratorio a quattro voci con strumenti fatto l’anno 1779 per la solenne festa della translazione della Sacra Immagine di M. Vergine detta del Sudore nella Metropolitana di Ravenna l’ultima domenica di maggio (“Gionata. Four-part oratorio with instruments made in the year 1779 for the solemn feast of the translation of the Holy Image of the Virgin Mary called Our Lady of Sweat to the Main Church of Ravenna during the last week in May”). A specimen of the libretto is housed in the Biblioteca Classense of Ravenna. The veneration of Our Lady of Sweat has remote roots in the city of Ravenna, and music has always worthily accompanied the end-of-May celebrations. Information about this particular cult of the people of Ravenna is supplied by Pietro Sulfrini in his book. The Archivio Arcivescovile preserves many musical manuscripts (particularly from the 19th century) that refer to this feast.

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TC961901 ALESSANDRO SPAZZOLI -The West in the Labyrinth - Chamber Music

Total time : 73’13

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PPD : 10,00€

Total time : 66’ 1 CD

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PPD : 11,50€

Total time : 61’ 1 CD PPD : 11,50€

«It is interesting to note how Andrea Panzavolta’s texts become music, in other words how they are translated into music. It is not, however, a representation of words in music, because Alessandro Spazzoli’s work has no descriptive purpose and does not want to create any correspondence between motifs and chords on one side and objects, emotions and concepts on the other. Deeper still is the relationship established between the two arts, a bond that has to do with their structure, the questions they ask, their relationship with the history of material and thought. For Panzavolta and Spazzoli theatre and music appear to be a way not to escape from reality, but to relate to it, to interpret it. Such a perspective always establishes a connection between past and present, attempting to interpret in a modern way texts, characters or techniques that have been of primary importance for our culture.

In this deep link lies the significance of the translation into music of these three plays: it seeks the most intimate sense of the texts, a sense that is embedded in the history of the materials and that reveals problems that are still present.»

Classical Release

Paolo Chiavacci, violin and viola · Yuri Cicc arese, flutes ; Marina Maroncelli and Margherita Pieri, sopranos ; Filipp o Pantieri, pianoforte e clavicembalo

1C1077 Paul le Flem - Violin Sonata ; Piano Quintet Philippe Koch violin ; Alain Jacquon piano ; Quatuor Louvigny «Le Flem is, along with Cras and Ropartz, one of the Breton composers who have enjoyed a particular place of honour on the Timpani label. Le Flem is doubtless he who best embodied the Celtic soul: the sense of the supernatural and nostalgia. This disc, released ten years ago, was a first in many regards: pairing Le Flem’s two major chamber works, it also brought a remarkable ensemble to the forefront with their first CD. The Louvigny Quartet, made up of soloists from the Luxembourg Philharmonic Orchestra, would later give us discs devoted to Cras, Gabriel Dupont, Jean Huré, Pierné...

Accompanying them, a pianist accustomed to these repertoires: Alain Jacquon. The disc was particularly well received by the critics: **** (Le Monde de la musique), ‘5’ (Diapason), ‘10’ (Répertoire)»

1C1112 HUGUES DUFOURT - Le Cyprès blanc (viola and orchestra) ; Surgir Gérard Caussé viola ; Orchestre Philharmonique du Luxembourg ; Pierre-André Valade ‘The large form has always been fundamental to me, for a thousand reasons. First of all, if you limit your life to works lasting ten or fifteen minutes, you will never experience the problems of music. For me, great music begins at the fifteenth minute; you have to have something to say and know how to construct an order of time. ‘Quite systematically, I seek paradoxical structures. I’ve studied acoustical illusions, those incredible sound phenomena that necessitate profound psycho-acoustic analyses. I have meditated on very slow and very fast durations, which become entangled to the point that one doesn’t know whether time is escaping, contracting or becoming immobile. ‘The best image I could give to explain myself is bio-chemistry with DNA and all these clusters that come together and come undone.’

These excerpts from an interview with Hugues Dufourt plunge us in the universe of spectral music. A whole world defended here by top-notch performers.

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VIVAT101 Stanford/Parry - I WAS GLAD

1 CD PPD : 12,95€

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Classical Release

Robert King/King´s Consort

1 CD

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PPD : 12,95€

1 CD PPD : 12,95€

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The King’s Consort celebrate their hundredth CD and the launch of their new classical label, VIVAT, with TKC’s largest recording in 15 years.

Huge period instrument orchestra gathered from fifeen nations, plus TKC’s award-winning choir, and world-class soloists including Carolyn Sampson and David Wilson-Johnson.

TKC records the glorious sacred ceremonial music of two of Britain’s greatest composers, Stanford and Parry.

First recordings on period instruments, including the four great Stanford canticle settings, heard in the composer’s lavish orchestrations (Stanford in G with radiant singing from Carolyn Sampson), Parry’s I was glad (restoring a long-missing section for the 1911 coronation), a magisterial performance of Blest pair of Sirens, the 1911 Coronation Te Deum and a stunning Jerusalem in Elgar’s vivid orchestration.

High quality documentation, first-rate engineering, lively promo video on YouTube.

New editions of the four Stanford works parallel-published by Oxford University Press.

Winner of two Gramophone 2013 “Critics Choice” awards; finalist in Gramophone 2013 awards.

VIVAT102 COUPERIN: Lecons de Tenebres Robert King/King´s Consort Ravishing second release on The King’s Consort’s new classical label, VIVAT, features worldrenowned British soprano Carolyn Sampson and outstanding Norwegian mezzo Marianne Beate Kielland in entrancingly evocative French Baroque music.

Couperin’s three “Leçons” for Holy Week are vividly atmospheric, highly coloured, richly dissonant, and deeply melancholy, presenting music of an intensity that is quite unique in Baroque sacred repertoire.

The third Leçon is an especial jewel, with gloriously intertwining vocal lines.

Alongside the three extraordinary “Leçons” come two further substantial vocal duets by Couperin: a joyous Easter motet and a fine setting of the Magnificat.

Full-length 79’40” disc also includes stunning solo instrumental tracks, with Gramophone award-winning viol player Susanne Heinrich performing music by Marin Marais and Monsieur de Ste-Colombe (composers featured in the film “Tous les Matins du Monde”).

Recorded at “low” French baroque pitch, A=392, giving unparalleled richness to the vocal and instrumental sonorities.

High quality documentation, first-rate engineering.

VIVAT103 BEETHOVEN: Quartets op.18 vol.1 Allegri String Quartet Third release on the new VIVAT label features the world-renowned Allegri String Quartet in the first of their new Beethoven Quartets series.

Beethoven’s remarkable Opus 18 quartets are full of energy and variety, optimistic yet passionate, brimming with invention and enthusiasm. Early Beethoven they may be, but the composer was already a complete master of the quartet, revolutionising the form.

The Allegri String Quartet celebrate their 60th anniversary in 2013, making them one of Britain’s longestestablished chamber ensembles. Their acclaimed Beethoven series in concert and on CD is a central pillar of their celebrations.

Recorded at very high resolution (192kHz, 24-bit) in the well-nigh perfect acoustics of The Menuhin Hall, the recording brings unparalleled clarity and richness to the quartet’s sound.

Full-length disc (78’41”) with high quality documentation in three languages.

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VIVAT104 Monteverdi: Heaven and Earth

1 CD

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1 CD PPD : 12,95€

Fourth release on the new VIVAT label features an outstanding collection of vocal music by Claudio Monteverdi.

14 glorious tracks present an exquisitely varied programme on the theme of love in all its conflicting emotions, its joys and sweet pains affecting gods and mere mortals.

All-star cast including Carolyn Sampson, Sarah Connolly, Rebecca Outram, Charles Daniels and James Gilchrist joined by The King’s Consort’s highly colourful instrumental ensemble.

Includes the melancholy ‘Lamento della Ninfa’, the virtuoso ‘Zefiro torna’, exquisite love duets, Orfeo’s famous ‘Possente spirto’, a plangent lament from ‘Poppea’, and Monteverdi’s extraordinary ‘Hor che ’l ciel’.

Recorded in the unsurpassed acoustic of St Jude-on-the-Hill, London.

48 page booklet with authoritative liner note by renowned Monteverdi scholar Prof. John Whenham (in English, French and German), plus full texts and translations (Italian and English).

Note to distributors and dealers: Originally recorded in 2002 for a private European client, this 24-bit recording is now being made available commercially for the first time.

Classical Release

Robert King/King´s Consort

VIVAT105 Händel, Georg Friedrich - YOUR TUNEFUL VOICE Davies/King/King´s Consort Acclaimed countertenor Iestyn Davies and The King’s Consort perform an outstanding programme of Handel arias from some of the composer’s finest oratorios.

Eleven varied solo arias include ‘O sacred oracles of truth’, the delicate ‘Tune your harps’, ‘Eternal source of light’ (with supreme trumpet playing from Crispian Steele-Perkins), the melodious ‘Your tuneful voice’ and the virtuoso ‘Mighty love now calls to arm’, as well as rarities including ‘On the valleys, dark and cheerless’ and an especial jewel, ‘Mortals think that Time is sleeping’.

Iestyn is joined in two glorious duets by soprano Carolyn Sampson, including the ecstatic ‘Welcome as the dawn of day’ and the ghostly ‘Who calls my parting soul from death’.

Recorded in the well-nigh perfect acoustic of Menuhin Hall with a large and colourful orchestra, who also contribute two splendid overtures.

36 page booklet with authoritative liner note (in three languages) by renowned Handel scholar Prof. Donald Burrows, together with full texts, and 16 photos from the recordings.

High-quality video including live performances and interviews with major artists recorded at the sessions to be released on major internet channels in January 2014.

WS004 Anton Bruckner - Symphony No.2 in C Wiener Symphoniker ; Conductor: Carlo Maria Giulini It is early 2014 and I am immersing myself once again in the c minor sounds of Anton Bruckner’s Second Symphony, which we recorded in December 1974 in the Golden Hall of the Vienna Musikverein with Carlo Maria Giulini. Listening to it, many images come to mind, including one that is not ostensibly musical. Just a few minutes into the rehearsal, the recording team from EMI Records moved the entire orchestra from the stage into the rapidly cleared stalls – for reasons of sound. This immediately touches on a crucial point: an optimal sound was what our then Chief Conductor was principally striving for. We had only four sessions for the recording of this Bruckner symphony, short rehearsals included. My thoughts wander from this relocation to a memorable reception at Vienna’s Hotel Imperial, at which we were introduced to our designated Italian Chief Conductor, whom only a few of us knew. He appeared tall and likeable and, in the first few words of his greeting, addressed us already as colleagues, friends even, and refrained from using the oft-heard cliché uttered by many conductors on such occasions, namely that he would turn this orchestra into a first-rate ensemble.

Our time with Giulini was not very long but most of us enjoyed it. Our highlyesteemed Chief Conductor of the 1970s, who understood how to make such an important and prize-winning recording from this rarely-played Bruckner symphony – what better gift on the occasion of his 100th birthday than a reissue of this record from 1974?»

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Classical Release 26

1 CD PPD : 12,95 €

ZZT338 Vivaldi - Cello Sonatas Marco Ceccato ; Accademia Ottoboni «Vivaldi’s Opus 14 Sonatas are part of the cello’s ‘great repertoire and also some of the works from the last years of the ‘Red Priest’. Quite simply – and regardless of Igor Stravinsky’s curiously rash judgement regarding Vivaldi’s work –, these sonatas are splendid, making this instrument sound as only a composer who is an experienced virtuoso instrumentalist himself – in this case, a violinist – can do.

Marco Ceccato is one of the members most often noticed of Amandine Beyer’s ensemble, Gli Ingogniti, (‘...Cellist Marco Ceccato is equally impressive,’ Gramophone, March 2013). Zig Zag Territoires wanted to devote this recording to him, convinced of his great talent and of the singularity of his sound imagination.»

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CYP0608 summer residence | cLAZZics

Total time : 52’16 1 CD

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PPD : 12,95€

Total time : 58’14 1 CD

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PPD : 12,95€

Total time : 60’14 1 CD PPD : 12,95€

De Roland à Eugène. Le deuxième disque de l’ensemble de Bernard Guyot et Charles Loos, Summer Residence, se profile comme un retour aux sources. Celles de la musique belge, bien sûr, mais aussi des musiciens qui, lors de leur création en 2008, avaient déjà pris le parti de se réapproprier les oeuvres de compositeurs du crû. Ici, les thèmes classiques, glanés dans ce que le répertoire belge compte de meilleur, se réincarnent sous la plume jazz des artistes : réorchestrés, développés et réarrangés, ils nous apparaissent plus actuels que jamais. Au niveau du répertoire, cLAZZics serait presque une histoire de famille. Guillaume Lekeu côtoie ainsi César Franck, son maître – dont ont dit que la disparition serait à l’origine des Fleurs pâles du souvenir –, ainsi que le célèbre violoniste virtuose Eugène Ysaÿe, qui joua maintes fois ses oeuvres. On retrouve également des compositeurs habitués du label Cypres : Roland de Lassus, mais aussi et surtout Jean-Marie Rens, dont la pièce Tourelle (authentiquement jazz à l’origine) avait déjà été enregistrée en 1985 par Philip Catherine… et Charles Loos !

Jazz Release

Bernard Guyot_ saxophone ténor & soprano ; Jean-Paul Estiévenart_trompette & bugle ; Stéphane Mercier_saxophone alto; Charles Loos_piano ; Peter Hertmans_ guitare ; Boris Schmidt_contrebasse ; Wim Eggermont_batterie

OTN021 Nouvelle Vague Stephane Kerecki - John Taylor - Emile Parisien -Jeanne Added - Fabrice Moreau Hear the images and see the music.

Here in a few words is what touches me in the cinema of the New Wave. If, in the first place, jazz is very present in the films (Miles Davis, Martial Solal, Michel Legrand), there are also significant similarities between the cinema of these directors and my own conception of jazz: the exploration of personal worlds (Truffaut’s childhood in Les Quatre Cents Coups, Godard’s love for Anna Karina in Pierrot le fou and Une femme est une femme), the calling into question of classic aesthetic concepts, the affirmation of spatial deconstruction, but also the insertion of certain irrelevant scenes, guided by the sheer pleasure of movie-­‐‑making (just as jazz musicians can be guided by the sheer pleasure of playing their instruments) – these are among the characteristics that were a powerful source of inspiration to me as I wrote the music for this disc.But how to bring Godard, Truffaut, Malle, and Demy together, when their styles are so different? But How to bring together the music of Michel Legrand, Antoine Duhamel, Georges Delerue, and Miles Davis in a single programme? I got my answer from François Truffaut: ‘The only shared element that unites us is freedom.’ The constant frenzied car journeys of Ferdinand (Pierrot le fou), or the closing scene of Les Quatre Cents Coups when Antoine Doinel finally sees the sea, are both symbols of a permanent quest for freedom. These musics, superficially so different, also have in common the freedom that each composer was given and the freedom of the function they fulfil in the films.

TYM006 Soledad Plays Soledad Manu Comté – accordion & bandoneon; Alexander Gurning – piano ; Jean-Frédéric Molard – violin ; Patrick De Schuyter – guitar ; Sam Gerstmans – double bass ; Michel Seba – percussions «Soledad plays Soledad is the album we have been dreaming of. It’s creation is an obvious evolution. These years spent at the heart of the music of Piazzolla, Stravinsky, Devreese and Gismonti have sculpted the band’s sound. But they also have created a need for freedom, pushing us towards this visceral mode of expression that makes up the composition. More than ever, we want to push the stylistic boundaries and further exploit the potential of this formation, thus forging our own language.

Teaser Soledad Plays Soledad: https://www.youtube.com/watch?v=rcxp9ssJnOM Rediscover also : ENJ9544 - SOLEDAD – “In Concert” 1 CD - Total time : 62’42 - PPD : 12,95€

Comté ; Molard ; Gurning ; De Schuyter ; Cambier

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2012788 2012784 JOHANNES BRAHMS - EIN DEUTSCHES REQUIEM OP. 45

DVD & Blu-Ray

Claudio Abbado | Berliner Philharmoniker Barbara Bonney | Bryn Terfel Swedish Radio Choir | Eric Ericson Chamber Choir

Total time : 79 mins 1 DVD PPD : 20,00€

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Picture format DVD: NTSC 16:9 Sound format DVD: PCM Stereo Region code: 0 (worldwide) Subtitles: English, German, French, Spanish, Japanese, Korean

• Ein Deutsches Requiem was Brahm’s first work to bring together a mixed choir, soloists and a large-scale orchestra • Ein Deutsches Requiem differs from all previous works of this genre in both, form and content. He creates the requiem more like a sermon then a mass for the dead. It puts words of consolation at the start and end: the blessing of the suffering and the blessing of the dead • This is an extraordinary performance of Ein Deutsches Requiem by the Berliner Philharmoniker under the baton of Claudio Abbado, recorded to mark the centenary of Johannes Brahms death in the Grand Hall of the Musikverein in Vienna in 1997 • Soprano Barbara Bonney (member of the Royal Swedish Academy of Music and a Visiting Professor at London’s Royal Academy of Music) and baritone Bryn Terfel (in 2013 Terfel won the «Best Opera Recording» Grammy Award) with the wellacclaimed Swedish Radio Choir and the Eric Ericson Chamber Choir • Lovingly restored, up-scaled and digitally remastered including intensive and high-quality audio and visual restoration

Total time : 79 mins 1 Blu-Ray PPD : 25,10€ Picture format Blu-ray Disc: 1080i Full HD Sound format Blu-Ray Disc: PCM Stereo Region code: All (worldwide) Subtitles: English, German, French, Japanese, Korean Booklet notes: En, DE, Fr

2013328 2013324 GALA FROM BERLIN - GRAND FINALES Claudio Abbado | Berliner Philharmoniker Klaus Maria Brandauer Rias Kammerchor | Rundfunkchor Berlin • An extraordinary programme for an extraordinary night: The

Total time : 108 mins 1 DVD PPD : 20,00€ Picture format DVD: NTSC 16:9 Sound format DVD: PCM Stereo Region code: 0 (worldwide) Booklet notes: English, German, French

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Berliner Philharmoniker celebrated the final day of the 20th Century with Grand Finales in the first part and heralds the leap into the 21st Century with an explosion of sparkling music pieces in the 2nd half of the programme • For the Grand Finales, Maestro Claudio Abbado conducted masterpieces like Beethoven’s Finale of the 7th symphony, excerpts from Stravinsky’s «Feuervogel» and the final movement of Mahler’s 5th Symphony. In the famous Finale of Arnold Schönberg’s «Gurre lieder», the internationally renowned actor Klaus Maria Brandauer plays a leading role • A true celebration to welcome in the new millenium with one of the best orchestras in the world!

• Lovingly restored, up-scaled and digitally remastered including intensive and high-quality audio and visual restoration

Total time : 108 mins 1 Blu-Ray PPD : 25,10€

Picture format Blu-ray Disc: 1080/60i - Full HD Sound format Blu-ray Disc: PCM Stereo Region code: All (worldwide) Repertoire: Ludwig van Beethoven Symphony No. 7 in A major, op. Booklet notes: English, Ger92: Allegro con brio | Antonin Dvořák Symphony No. 8 in G major, man, French op. 88: Allegro ma non troppo | Gustav Mahler Symphony No. 5 in Csharp minor: Rondo Finale | Igor Stravinsky Firebird: Infernal Dance, Lullaby, Final Hymn | Maurice Ravel Daphnis et chloé: Danse générale | Sergei Prokofiev Alexander Nevsky, op. 78: Alexander’s entry into Pskov | ...

Mstislav ROSTROPOVICH Sviatoslav RICHTER ISTOMIN-STERN-ROSE Trio AMADEUS Quartet David OISTRAKH Yehudi MENUHIN Hephzibah MENUHIN Robert CASADESUS Zino FRANCESCATTI

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• Great performances from legendary ensembles of the 20th century, the Classic Archive™ Collector’s Edition – ENSEMBLES offers unique insights in the world of music interpretation of the golden age • This third part of the edition is dedicated to some of the most outstanding musicians of the past • With more than 14 hours of material the edition includes various concerti and recitals, some in colour, some in glorious black and white, as well as comprehensive booklet information • This collector’s edition makes rare classical archive footage from the years 1956-1975 suitable for Blu-ray Disc lovers

Total time : 889 mins 1 Blu-Ray

DVD & Blu-Ray

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3073994 Classic Archive™ Collector’s Edition – ENSEMBLES

PPD : 35,30€ Picture format Blu-ray Disc: NTSC 4:3 Sound formats Blu-ray Disc: PCM 2.0 Dual Mono; Dolby Digital 2.0 Dual Mono

3075058 3075054 Classic Archive - Celebrating Strauss Rita Streich ; Elisabeth Schwarzkopf ; Hertha Töpper ; Irmgard Seefried

Total time : 100 mins 1 DVD PPD : 20,00€ Picture format DVD: 16:9 NTSC Sounds formats DVD: PCM Stereo Region code: 0 (wordwide) Booklet notes: English, German, French Subtitles: English, German, French

• Celebrating Strauss brings into focus the greatest interpreters of Richard Strauss’s compositions • These jewels of music broadcasting have been salvaged from various archives and been made accessible for home viewing audiences uniting appealing and enjoyable performances by legendary artists as Rita Streich, Elisabeth Schwarzkopf, Hertha Töpper, Irmgard Seefried • Lovingly restored, upscaled and digitally remastered the Classic Archive ™ series offers a unique glimpse into our classical heritage featuring performances by celebrated artists of the past including comprehensive booklet information • Also featuring Berislav Klobucar, Charles Mackerras, Piero Bellugi, Philharmonia Orchestra, Orchestre National de l’ORTF

Total time : 62 mins 1 Blu-Ray PPD : 25,10€ Picture format BD: 60i - 16:9 Disc Format: BD 25 Sounds formats BD: PCM Stereo Region code: All Booklet notes: EN, DE, FR Subtitles: English, German, French

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We also distribute ...

900905 Richard Strauss: „Die Zeit, die ist ein sonderbar‘ Ding“ - An audio biography and letters by Annette Unger Annette Unger Total time : 206’43

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German version only

3 CD PPD : 15,00€

C130182 Georg Philipp Telemann – Simplicity and Variety Hansjörg Schellenberger ; Margit-Anna Süß ; Josef Radauer 2 CD

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C130199 MOZART, W.A. / Joseph Haydn - Quartett F-Dur KV 370 for oboe and string trio ; «Die 7 letzten Worte unseres Erlösers am Kreuze» Hansjörg Schellenberger, Daniel Giglberger, Hariolf Schlichtig, Wen-Sinn Yang 1 CD

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PPD : 12,95€

BKD052 The Golden Age Volume 1: Europe Magnificat; Philip Cave 1 CD PPD : 12,95€

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Magnificat; Philip Cave 1 CD

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PPD : 12,95€

BKD174 Giovanni Pierluigi da Palestrina

We also distribute ...

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BKD060 de Victoria - Officium Defunctorum

Magnificat; Philip Cave 1 CD

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PPD : 12,95€

BKD233 Tallis -Spem in alium Magnificat; Philip Cave 1 CD

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PPD : 12,95€

BKD320 Mozart - Colloredo Serenade K.203 and Divertimento K.251 Scottish Chamber Orchestra & Alexander Janiczek 1 CD PPD : 12,95€

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Bianca Calinescu Total time : 50’

1 CD PPD : 12,95€

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We also distribute ...

OR0008 Bianca Calinescu - The Debut Recording

YAR62376 Janaki String Trio - Debut Janaki String Trio 1 CD

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PPD : 13,95€

YAR79577 Ryan MacEvoy Mc Cullough in Concert Ryan MacEvoy Mc Cullough 1 CD PPD : 13,95€

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8.556651 The Best of BEETHOVEN

1 CD PPD : 4,35€ - 3,25€

Special Action

From the 1st of May until the 30th of June, Naxos offers you very special PPDs on The Best ofs : 3,25€ for singles and 6,50€ for double CDs. See complete list in Annex

8.556652 The Best of TCHAIKOVSKY

1 CD PPD : 4,35€ - 3,25€

8.556653 The Best of MOZART

1 CD PPD : 4,35€ - 3,25€ 8.556654 The Best of CHOPIN

1 CD PPD : 4,35€ - 3,25€

8.556655 The Best of VIVALDI

1 CD PPD : 4,35€ - 3,25€

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