Outhere Distribution: Catalogue: Releases - February 2016

New Releases

BENELUX

February 2016

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Total time : 64’11 1 CD

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KÖLL, Margret - INVERNIZZI, Roberta A painting of Giovanni Lanfranco (c. 1630) at the Palazzo Barbarini in Rome shows Venus playing on a wonderful Baroque harp. This harp – owned by Cardinal Maffeo Barbarini, the later Pope Urban VII – still exists. It is an extraodinary instrument, not only from an optical but also from a musical point of view: the strings are arranged in three rows, which enables chromatic playing in all keys. This is the Arpa Barberini, which can be visited at the Museo Nazionale degli Strumenti Musicali in Rome today, a testament to musical performance at the court of the Barberini during the first half of the 17th century.

On the present CD, this important instrument will first be brought in relation with the musical repertoire of the same place and time. The Italian soprano Roberta Invernizzi sings arias and scenes from monodic composers, who were connected with the Barberini court; Margret Köll is accompanying on a copy of the Arpa Barberini built in 2007 and also plays solo pieces by other Roman composers.

ALPHA207 GRIEG / WOLF / STRAUSS / GRONDAHL - Lieder & Songs ERIKSMOEN, Mari - CEMIN, Alphonse

Total time : 47’12 1 CD PPD : 12,95€

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In the framework of its partnership with the Académie of the Aix-en-Provence Festival, Alpha presents the recital of a Norwegian soprano already well known in opera houses and especially for her interpretations of Mozart heroines whom she embodies under the direction of the greatest conductors such as Nikolaus Harnoncourt and René Jacobs.

For this first recital, which she recorded with another eminent member of the Aix Académie, pianist Alphonse Cemin, she has chosen a programme combining her roots, with Grieg and Agathe Backer Grøndahl (1847-1907), pianist-composer born in 1847 of whom we discover a few songs, and those masters of the German Lied Richard Strauss et Hugo Wolf in whose songs her pure, luminous voice works wonders.

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Total time : 57’12 1 CD PPD : 12,95€

ALPHA230 SATIE / STRAVINSKY - Paris Joyeux & Triste / Piano Duets LUBIMOV, Alexei / POPRUGIN, Slava In Paris joyeux & triste, Alexei Lubimov and Viacheslav Poprugin alternate pieces by Igor Stravinsky and Erik Satie, two composers who became friends in the early years of the twentieth century despite their very different musical personalities. Stravinsky made his own twopiano arrangement of the ‘Dumbarton Oaks’ Concerto, while Satie’s Socrate and Cinéma are heard here in arrangements by John Cage and Darius Milhaud respectively. Pieces for two pianos, for piano four hands and for prepared piano combine on this disc which mingles music and theatre – for it is the theatrical element that unites the two composers. As Diaghilev said to Cocteau: ‘Astonish me!’ With this programme, these instruments and his extremely diverse musical experiences, Lubimov continues to make that his credo today.

Classical Releases

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ACC24310 L’arpa Barberini

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Total time : 77’30

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If we speak about the late works of Jan Dismas Zelenka (1679-1745) we usually refer to his fascinating last masses, oratorios or litanies, which have today finally acquired the attention and acclaim they fully deserve. But among his late works we also find some secular vocal compositions as the serenata “Il Diamante” and a collection of “Italian arias”.

Throughout the 1720s Zelenka composed mainly sacred music for the Catholic church; he may not have had the opportunity to write any “Italian music”. After Johann David Heinichen’s death Zelenka petitioned officially for the post of Kapellmeister in 1733, writing a set of eight Italian arias in an attempt to demonstrate his ability to compose in a galant, secular style, as the court wished to re-establish opera in Dresden.

It has to be admitted that the surviving arias – even though they are musical masterpieces – reflect a certain negligence of the standard principles of the theatrical style, which may have been difficult or, more likely, unimportant for a composer who had devoted his life to church music. Yet in spite of this, these unorthodox arias represent a good example of Zelenka’s unique style.

The Prague based Ensemble Tourbillon and Petr Wagner present the first complete recording of the eight Italian arias. Singers are Czech soprano star Hana Blazikova (five arias) assisted by the promising mezzo-soprano Marketa Cukrova (two arias) and the Slovakian bass Tomas Selc (one aria).

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Classical Releases

Total time : 69’11

ACC24306 ZELENKA, Jan Dismas - Italian Arias ENSEMBLE TOURBILLON - WAGNER, Petr - blazikova, hana

ALPHA231 Bach - Brahms VINNITSKAYA, Anna Anna Vinnitskaya’s discography to date has been Franco-Russian. Here she tackles Brahms, whom she has frequently played in concert, notably this summer at the Festival of La Roque d’Anthéron. Here is what ResMusica had to say about that recital: ‘True to her reputation, the Russian pianist genuinely illuminated the scene, impressing us with the control and depth of her artistry. Each piece obeyed a flawless architectural rigour, focusing on melodic line and diversity of tone. Right from the first bars of Bach’s Chaconne transcribed by Brahms for the left hand, she produced a sound so full and nuanced as to make us forget that we were listening to just one hand.

There is always a great temptation to slide into Romantic emphasis, but the Russian artist achieved emotion with sobriety, using very little pedal. In the Klavierstücke of Brahms, this ability to penetrate the score down to its slightest inflections resulted in a version at the opposite pole from what one so often hears. Only the great Brahms interpreters possess the gift of not overloading a text already sufficiently dense in sentiments.’

This recording was made some weeks later, at the famous, indeed legendary concert hall of Neumarkt near Nuremberg.

A393 CACCINI, Giulio / PERI, Jacopo - Li Due Orfei MAUILLON, Marc - MAUILLON, Angélique Florence, 1600: Giulio Caccini and Jacopo Peri, two virtuoso singers and rival composers.

Striving to rediscover the expressive powers of ancient Greek tragedy, they revolutionized the art of singing and created a new style, which eventually would give birth to opera. In reaction to Renaissance polyphony, these monodies were intended to be sung with the simple accompaniment of a plucked intsrument in order to express the full range of human passions. Peri and Caccini would often accompany themselves but they would also perform with certain family members. Thus brother and sister in this duo follow most naurally a tradition passed on by those great musicians.

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Total time : 177’23 3 CD PPD : 17,50€

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The radio recordings collected on the newly-released CD from BR-KLASSIK entitled «Great Verdi Voices» were made between 1962 and 1984. All impressively convey the vocal presence of the renowned performing artists and are thus also of historical significance: the recordings produced by the Bayerischer Rundfunk document the development of how Verdi’s music was received in Germany during the two decades in question. Many live recordings also offer interesting alternatives to their studio counterparts at that time by the same renowned performers.

Their names read like a Who’s Who of the most excellent Verdi interpretations: Arleen Auger, Sena Jurínac, Leontyne Price, Margaret Price, Anneliese Rothenberger and Julia Varady are the ladies presented here, and the gentlemen are Vladimir Atlantov, Carlo Bergonzi, Franco Bonisolli, Renato Bruson, Piero Cappuccilli, José Carreras, Nicolai Gedda, Neil Shicoff and Giuseppe Taddei. The selection of arias and opera scenes ranges from Verdi’s early operas Ernani, Macbeth and Il Corsaro (The Corsair) and middle operas Rigoletto, Il Trovatore (The Troubadour), La traviata and Un ballo in maschera (A Masked Ball), and to the later works Don Carlo, Aida, Otello and Falstaff. The arias and scenes, arranged chronologically according to their dates of composition, are a representative cross-section of Verdi’s operatic oeuvre. - The Münchner Rundfunkorchester accompanies throughout, under various German and international conductors.

900909 BACH, Johann Sebastian - Johannes-Passion chor des bayerischen rundfunks - concerto köln - dijkstra, peter The music of Bach’s ‘St. John Passion’, which the composer wrote for Holy Week in 1724 immediately after his appointment as cantor of St Thomas’s Church in Leipzig, still retains all its freshness and vitality nearly 300 years later, and is a true Baroque delight. The two main choruses Herr, unser Herrscher and Ruht wohl, ihr heiligen Gebeine form the beginning and culmination of a large-scale orchestral and vocal structure in which Bach reveals his absolute mastery of polyphony. Inwardly reflective chorales are as much interwoven into the events of the Passion as the haunting arias which comment on the biblical texts of the Gospel of St John. Throughout this solemn Passion oratorio, there is a constant emphasis on Baroque musical magnificence. What makes this live recording of the concert version of March 7, 2015 in the Herkulessaal of the Munich Residenz so special? The fresh voices of the young and excellent vocal soloists, the regularly praised «astonishing three-dimensionality» and «crystalline clarity» of the Chor des Bayerischen Rundfunks under the direction of Peter Dijkstra and, of course, the renowned period instrument ensemble Concerto Köln.

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Total time : 55’43 1 CD PPD : 11,50€

CDM1637 LLULL, Ramon - Ars Antiqua CAPELLA DE MINISTRERS / MAGRANER, Carles / MUSICA RESERVATA The first album of the trilogy devoted to Ramon Llull includes a selection of pieces that represents some of the most important genres of the time of Ramon Llull, as well as some of the most representative authors. It offers a musical journey that accompanies the first development stages of Lull’s life, since the moment that begins his radical change to the intellectual illumination, -which is attributed to a divine origin-, and that will lead him to Ars. “Conversion, study and contemplation“ illustrates Ramon Llull ‘s youth devoted to sensual pleasures, love and the cultivation of troubadour lyric poetry, from the perspective of a person who left world vanities.

Classical Releases

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900313 VERDI, Giuseppe - Great Verdi Voices VARIOUS ARTISTS

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As a Lied interpreter, on the concert stage and, increasingly, on the operatic stage as well, the baritone Christian Gerhaher is currently setting new artistic standards. After publication of two choralsymphonic recordings with this exceptional singer, BR-KLASSIK now presents a Lieder CD containing recorded material from Gerhaher’s time as Artist in Residence with the Symphonieorchester des Bayerischen Rundfunks. Gerhaher’s finely coordinated programme – ambiguously entitled «folkslied» – examines the exciting contrast between the Volkslied (folk song) and the Kunstlied (art song). It contains the rarely heard Folk Song Arrangements by Benjamin Britten, the folk song arrangements for piano trio and voice by Beethoven and Haydn. Gerhaher’s decision to use German texts to Haydn’s melodies that were published in the 1920s represents a tribute to Fritz Wunderlich, whose first recording of the German text versions is particularly close to his heart. The instrumental partners are: Gerold Huber, Gerhaher’s longtime accompanist; Sebastian Klinger, the principal cellist of the Symphonieorchester des Bayerischen Rundfunks who is currently pursuing a solo career; and, on the violin, Anton Barachovsky, leader of the Symphonieorchester.

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GERHAHER, Christian / HUBER, GEROLD / BARACHOVSKY, Anton / KLINGER, Sebastian

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Total time : 53’33

900131 BEETHOVEN / BRITTEN / HAYDN - FolksLied

C5137 REGER, Max - Violin Concerto Op. 101 LINOS ENSEMBLE / RADEMACHER, Winfried ‘In my view, Reger must be played often: 1. Because he wrote a lot; 2. Because he is dead and we still do not have a clear appreciation of him. (I consider him a genius.)’ Arnold Schönberg, 1922 Considering how little public awareness there was of it during its short existence, it’s remarkable how much of a long-term impact was made by Arnold Schoenberg’s Society for Private Musical Performances.

It was founded in Mödling near Vienna in November 1918 with the express purpose of “enabling Arnold Schoenberg to personally provide artists and art lovers with a thoroughly detailed knowledge of modern music.” (Alban Berg, 1919).

The task of setting up the Society for Private Musical Performances fell to the violinist Rudolf Kolisch (1896–1978), one of Schreker’s students who studied privately with Schoenberg post1919 and, later on, with his brother-in-law.

C5202 Round Midnight BLECHBLÄSERQUINTETT DES DEUTSCHEN SYMPHONIE-ORCHESTERS BERLIN When Round Midnight was published, Thelonius Monk was considered an outsider on account of the extravagant harmony and complexity of his music; he cultivated this image.

With his artful polyphonic style, Monk ingeniously gave the Romantic ‘midnight piece’ a jazz makeover. But shouldn’t nocturnal music sound tender, as though from afar or surfacing from the depths of dreams? Are brass instruments a suitable medium for such subtle aural effects?

Today’s virtuoso performers, even when in an ensemble, play with an ease and agility that allays any fears one might have about their instruments’ reputation for being simply big-boned.

They prove themselves versatile masters of imitation, equally at home conjuring fairy-like magic as when portraying a gloomy abyss or delivering incisive sounds of macabre horror.

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CAR83471 RACHMANINOFF, Sergei - Ganznächtliche Vigil WDR RUNDFUNKCHOR - FINK, Nicolas

Total time : 51’53 1 CD PPD : 12,95€

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Unlike in his Chrysostom liturgy op. 31, Sergei Rachmaninow used old monophonic chants of the Russian Orthodox Church for his All-Night Vigil op. 37. However, the composer formed this material according to late-romantic sound ideas and also used a freer handling of compositional techniques and timbres.

As part of the Rachmaninow series, CARUS presents the WDR Rundfunkchor, conducted by Nicolas Fink, with an excellent recording of this masterpiece of late romantic choral music.

CAR83475 HANDEL, GEORGE FRIDERIC - Messiah KAMMERCHOR STUTTGART - BAROCKORCHESTER STUTTGART - BERNIUS, frieder Already during his life time Handel’s «Messiah» became his most frequently performed work, achieving virtually cult status.The many outstanding choruses in this oratorio are among the most beloved,well known pieces in the history of choral music. This new CD contains all of the choruses from the internationally acclaimed CD recording conducted

by Frieder Bernius.The special sound and musical refinement displayed by his ensemblesthe Stuttgart Kammerchor and th eBarockorchester Stuttgart-which, according to the MD RFigaro (April2009) breathe «liveliness and new energy» into the work,make it a most musically exciting listening experience.

Classical Releases

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PPD : 8,00€

CDS7715 HASSE, Johann Adolf - Artaserse ensemble barocco dell’orchestra internazionale d’italia - rovaris, corrado

Total time : 189’00 3 CD PPD : 24,00€

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After the final siege of Vienna in 1683 and the defeat of the Turks, the Ottoman Empire was no longer a threat. In private circles, people began to wear pantaloons, caftans and turbans, enjoyed Turkish drinks, and smoked hookahs.

The Alla Turca fashion found expression in Turkish-themed operas. Mozart’s The Abduction from the Seraglio is probably the best-known example of this, but dozens of operas, arias and instrumental works on the subject had already been produced, starting in the early 17th century.

Our Carneval Oriental project takes its inspiration from this melting-pot of cultures representing an exclusive blend of musical worlds. We celebrate the Istanbul carnival as it was probably done in the 16th and 17th centuries. The Pera Ensemble has been rediscovering these Orient-Occident encounters, Turkish fashions and Alla Turca music for many years. It now teams up with the ensemble l’arte del mondo to offer French and Italian baroque music with a refined oriental flavour, comprising arias and instrumental music from a new world of sound.

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C5263 Carneval Oriental PERA ENSEMBLE

Total time : 50’16

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The music of Walter Braunfels went into decline twice: first, when the Nazis declared his music “degenerate art”; and again when post-war Germany had little use for the various schools of tonal music, when the arbiters of taste considered any form of romantic music – almost the whole pre-war aesthetic – to be tainted. Post-war Europe had experienced (or, rather, had been prescribed) an aesthetic paradigm shift. Walter Braunfels had a flair for drama and his operas demonstrate how carefully he considered the texts. This is also apparent in his songs, which are early works, all but two of which he composed prior to his most popular opera The Birds (1919). Marlis Petersen’s fascination with Braunfels’ “unique tonal language, totally transparent structure and expansive, late-romantic character” began with two songs she got to sing early in her career, and she considers the Federspiele to be “real jewels of the art of Lied: simple and deeply touching.”

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PETERSEN, Marlis - JARNOT, Konrad - SCHNEIDER, Eric

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Classical Releases

Total time : 72’01

C5251 BRAUNFELS, Walter - Lieder Songs

Total time : 52’00 1 CD

A classic work of its genre and historical period, Artaserse was premièred in Venice in 1730 by the most famous singers of the day: Farinelli in the role of Arbace, Cuzzoni as Mandane and the castrato Nicolino as Artabano. Following its initial success, Hasse produced two different versions of the work, the first in 1740 and the second in 1760. This world première recording is based on the original Venice version.

The exceptional cast features countertenor Franco Fagioli in the role originally taken by Farinelli, his stunning technique making light of the 3-octave range with uniform timbre, remarkable power and striking resonance. Equally memorable is the aria “Pallido sole” sung by Sonia Prina. This world première recording is now available on CD and DVD.

CDS7739 BACH, Johann Sebastian - Suite BWV 997 CAVASANTI, Lorenzo - CIOMEI, Sergio The Trio Sonatas occupy an important position in J. S. Bach’s extensive output of chamber music, both for their number and the variety of instrumental groups for which they were written. On this CD, flautist Lorenzo Cavasanti weaves an intense musical dialogue with keyboard player Sergio Ciomei. Together, they are renowned for their consistently exciting and passionate interpretations of Bach’s music, having dedicated much of their artistic careers to the performance of the great composer’s works.

PPD : 11,50€

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GCD923405 HANDEL, George Frideric - Imeneo EUROPA GALANTE - BIONDI, Fabio

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The importance of the musician Bernardo Pasquini is well known to all those who dedicate themselves to the study of the harpsichord or organ. They frequently encounter his compositions, which are of such fundamental importance for the development of late-baroque Italian music for keyboard instruments. His vocal music, on the other hand, consisting primarily of cantatas, operas and oratorios, is far less known. But it includes true gems of vocal art from the late Roman Seicento.

Bernardo Pasquini belongs to the fortunate generation of composers who were under the patronage and sponsorship of such eminent personalities in Rome as Cardinal Pietro Ottoboni and Christina of Sweden, bringing forth the musical flowerings of the second half of the 17th century. In so doing, they made a decisive contribution to the stylistic and formal development of instrumental and dramatic vocal music in Italy up until the late Baroque period.

La Sete di Christo is a Passion oratorio. Four protagonists meet under the cross of Jesus on Calvary: his mother Mary, St. John, Joseph from Arimathia and Nicodemus. The score’s sublime quality is nowhere in doubt and its absolutely original music-dramatic solutions were later assimilated by Handel in Rome. It’s pulsing rhythm of the musical narration goes far beyond the conventional erudition of the text, leading to a breathtakingly intensive finale.

Total time : 114’51 2 CD PPD : 19,20€

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Fabio Biondi signs his fifth release on Glossa with a further opera exploration, here with Europa Galante and providing a vital interpretation of Handel’s late opera Imeneo, given in its serenade- style 1742 Dublin version.

If, by this date, the London public was tiring of the Italian opera in which Handel had been excelling for decades, and the composer was now turning both to the oratorio and in the direction of the galant style, he was still able to call upon divos and divas of the quality of La Francesina and Giovanni Battista Andreoni to perform his music. Though not a success in its Lincoln’s Inn Fields staging in London, Imeneo was performed by Handel as his only Italian work during his season in Dublin (which also saw the first performance of Messiah), complete with additional arias to add to those praised in 1740 and a pruning of the libretto (which hadn’t received approval).

Fabio Biondi, directing from the violin, brings all his own experience in both Italian music and music from the eighteenth century in delivering a stunning vindication of an unfairly neglected Handel opera.

AUVITY, Cyril - L’YRIADE Cyril Auvity and L’Yriade make their debut on Glossa with a programme of airs de cour, Stances du Cid, ideally devised for the French haute-contre’s voice. Stances du Cid presents a selection of Charpentier’s secular vocal works, including the seldom-recorded stanzas (whose text is taken from Pierre Corneille’s tragicomedy Le Cid, which enjoyed great popularity for years after its 1637 première in Paris). The bucolic character of Charpentier’s other airs is complemented by a pair of airs de cour from an earlier master of the genre, Michael Lambert, and the expressive flavour of the music of ancien régime France is suitably enhanced on this recording also by instrumental interludes taken from François Couperin’s trio sonatas Les Nations, deftly handled by L’Yriade.

In his booklet essay Vincent Borel supplies a colourful defence, both of the potency of the air de cour and of its quintessential voice, the haute-contre. In his booklet essay Vincent Borel supplies a colourful defence, both of the potency of the air de cour and of its quintessential voice, the haute-contre.

GCD923701 BACH, Johann Sebastian / VIVALDI, Antonio - Psalm 51 / Nisi Dominus LE BANQUET CELESTE - GUILLON, Damien - SCHEEN, Céline

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CHR77398 PASQUINI, Bernardo - La Sete di Christo CONCERTO ROMANO - QUARTA, Alessandro

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Total time : 66’56

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GCD923601 CHARPENTIER, MARC-ANTOINE - Stances du Cid

Classical Releases

This CD features the two works that Carl Reinecke wrote for orchestra and solo flute. Written when he was over eighty years old, they were published between 1909 and 1911. Representative of the late romantic style, they are characterised by a revival of traditional forms, effective orchestrations and wonderful melodies.

Composed a decade earlier, his Serenade for Strings Op. 242 completes the programme. Italian flautist Mario Carbotta is the distinguished soloist.

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CDS7741 REINECKE, Carl Heinrich Carste - Ballade / Concerto / Serenata

Total time : 71’52 1 CD PPD : 10,00€

Damien Guillon, who has been proving himself to be a much-admired interpreter of the more spiritual side of Baroque music, now makes his debut on Glossa both as countertenor soloist and director for a fascinating pairing of Bach and Vivaldi psalm settings: Tilge, Höchster, meine Sünden, BWV 1083 and Nisi Dominus, RV 608. Guillon directs his ensemble Le Banquet Céleste (with which he recently made his stage conducting debut in Avignon with Acis and Galatea).

Whilst he was Konzertmeister in Weimar JS Bach was entrusted by his employer with transcribing scores by Vivaldi brought back from Amsterdam, and a fascination ensued with the Venetian composer’s style, especially with that of his concertos. As is pointed out by Stefano Russomanno in his booklet essay for this new recording Vivaldi will have employed the concerto logic also in his sacred vocal works, such as the early Nisi Dominus (Psalm 126) recorded here. It was however a Neapolitan composer from the next generation along in GB Pergolesi, whose music Bach turned to as the basis for a setting of Psalm 51, Tilge, Höchster, meine Sünden.

The warmth of Guillon’s countertenor finds an ideal match in the soprano Céline Scheen, another fabulous singer of Baroque music, whose vocal agility and purity has been entrancing audiences across Europe in recent years.

GP625 SAINT-SAËNS, Camille - Complete Piano Works 4 BURLESON, Geoffrey Although he is best remembered for his orchestral and instrumental music, Saint- Saëns was also responsible for spearheading the revival of the French Baroque, especially the music of Lully and Rameau, as well as being perfectly placed to absorb the latest instrumental dance music. His five ‘character waltzes’ include the ethereal and ravishingly textured Valse mignonne, the stylistically forward-looking Valse nonchalante and the virtuosic Valse gaie, the composer’s final waltz for solo piano, while the three minor key Mazurkas are strongly characterised and filled with ingenious musical contrasts.

Last but not least, the three ‘souvenirs’ are delightful evocations of particular corners of the world that inspired Saint-Saëns.

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Mili Alekseyevich Balakirev was the influential leader of the Russian ‘Mighty Handful’ of composers that set the standard by which others were judged.

Revealing both Balakirev’s admiration of Chopin and love of music with a deeply Russian character, this programme ranges widely from new discoveries such as the early Nocturne in G sharp minor to one of his last pieces, the heroic Seventh Waltz.

There are also beautifully simple gems such as the Chant du Pêcheur and works of technical brilliance such as the Valse de concert and the magnificent and visionary Second Nocturne.

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CKD477 French Connections Ainsley, John Mark - Martineau, Malcolm John Mark Ainsley’s cleverly constructed recital highlights the personal and musical connections of four of the twentieth century’s best song writers: Britten, Poulenc, Heggie and Berkeley. The breadth of repertoire showcases Ainsley’s range, expansive vocal colour, expressive voice and exceptional understanding of text. Accompanying Ainsley is Malcolm Martineau, to whom Heggie’s Friendly Persuasions is dedicated. The American composer pays homage to Poulenc with four imaginative songs, each of which recreates in miniature a transformative friendship in Poulenc’s life.

In 2008 Ainsley and Martineau gave the world premiere performance of Friendly Persuasions at Wigmore Hall, London. The recital also includes three works by Poulenc: Fancy, Bleuet and Tel jour telle nuit, a beautifully conceived and shaped cycle; considered Poulenc’s greatest vocal work it is reminiscent of the great cycles of a century earlier such as Winterreise or Dichterliebe.

Despite French heritage and fluency in the language Berkeley’s friendship with Britten led him to set verse by the English poet, W.H. Auden instead. His Five Poems are some of the best of their kind; a cohesive and satisfying collection, Berkeley perfectly captures both the fanciful and reflective elements of Auden’s poetry. Auden in turn re-introduced Britten to the works of John Donne, which Britten went on to set in his Holy Sonnets; darkly moving and highly demanding, they are among his finest work.

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GP713 BALAKIREV, Alekseyevich - Complete Piano Works 2 WALKER, Nicholas

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Total time : 158’00 PPD : 20,20€

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Total time : 75’46

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CKD548 BACH, Johann Sebastian - Sonatas & Partitas, BWV 1001-1006

Total time : 49’04 1 CD PPD : 10,00€

With two Gramophone Awards to his name and a reputation synonymous with excellence, Markku Luolajan-Mikkola is a musician who is at the top of his profession.

With an established fan base built over his two decades with viol consort Phantasm, Luolajan-Mikkola makes his solo Linn debut in style, tackling what is considered the pinnacle of Bach’s output for violinists: the Sonatas and Partitas.

Transcribing these hugely popular works for cello, especially one in Baroque set-up, was not without its risks, although performing on Baroque cello also offers compelling advantages.

Luolajan-Mikkola takes his interpretative cue from the set-up of the Baroque instrument, which informs such issues as tuning, vibrato, fingering and articulation.

Performing the Sonatas and Partitas on the cello is so challenging that it is almost impossible to imagine a cellist of Bach’s day playing them, but Luolajan-Mikkola rises to the challenge with aplomb. Luolajan-Mikkola’s main aim in this recording has been to capture emotion and convey expression according to the respective key andcharacter of each movement, which he achieves in spades.

Classical Releases

This volume focuses on love, one of Philip Glass’s most glorious themes. The timeless melancholy of his BAFTA award-winning music for The Hours forms an organic suite driven by the film’s three powerful characters, here complete with unpublished tracks.

The breathtakingly energetic Modern Love Waltz expands the limits of minimalism by combining Glass’s style with Viennese dance tradition, while his transcription of Notes on a Scandal is a recording première. Steve Reich described the iconic Music in Fifths as being “like a freight train”.

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GP692 GLASS, Philip - Glassworlds 4

CKD570 Journey PINNOCK, Trevor This unique harpsichord recital by Trevor Pinnock charts two incredible musical journeys four hundred years apart. Inspired by the travels of Antonio Cabezón, the sixteenth century organist and composer, Pinnock’s programme weaves a path not only through Cabezón’s life but also through his own enviable career. In celebration of his seventieth birthday, Pinnock has chosen a personal selection of works that evoke vivid memories from different stages of his life.

Success in their respective careers led both Pinnock and Cabezón to travel widely; Cabezón’s journeys through Europe resulted in meetings with several of the composers included in this program. Journey sees Pinnock perform repertoire spanning two hundred years (encompassing works by Tallis, Byrd, Bull, Sweelinck, Bach, Frescobaldi, Handel and Scarlatti) on his favorite home instrument, a harpsichord made in 1982 after a model by the mid eighteenthcentury French builder, Henri Hemsch. Pinnock’s own journey has seen him recognized as one of the finest players of his generation, receiving many prizes and international recognition along the way whilst amassing an exceptional discography; his truly is an epic journey.

MELCD1002411 Bach Sonatas MEDIANIK, YURI - ANDRIANOV, BORIS Firma Melodiya presents an unusual interpretation of Johann Sebastian Bach’s sonatas for viola da gamba and harpsichord. Written during the Köthen period (1717 to 1723), the sonatas, along with the solo suites for cello, violin and harpsichord, are the highest chamber instrumental accomplishments of the great German master. Today they belong to the golden repertoire of cello music, although at times they are played on other stringed instruments.

Yuri Medianik, a versatile talent (he plays the bayan and violin, conducts and arranges), made a rendition of Bach’s sonatas for cello and … bayan. The cello part is performed by Boris Andrianov, one of the best cellists of the new generation, a brilliant representative of Natalia Shakhovskaya’s school and prize-winner of the International Rostropovich Cello Competition in Paris and the International Tchaikovsky Competition in Moscow. Yuri Medianik’s arrangement has drawn attention of a number of instrumentalists, but is released for the first time.

This new interpretation of Bach’s sonatas performed by the top class soloists will indeed be a decoration to any music collection for sophisticated professionals and a broad circle of music lovers alike.

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OC029 MAHLER, Gustav - Sämtliche Symphonien

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PC10317 SPEER, Georg Daniel - Kriegsgeschichten

Gürzenich Orchestra Cologne - Stenz, Markus

ARS ANTIQUA AUSTRIA - LETZBOR, Gunar - MIESENBERGER, Markus

Symphonies 1–9 Adagio from Symphony No. 10

In the year 1688, when the 52-year-old Georg Daniel Speer, son of a reputed peltmonger family of Breslau, had his Musicalisch-Türckischer Eulen-Spiegel published in Ulm, he was an organist and assistant teacher in South Germany and already had an eventful life behind him.

In his Musicalisch-Türckischer Eulen-Spiegel, Speer sets texts from his picaresque novel Ungarischer oder Dacianischer Simplicissimus in music. Spear lets his hero Lompyn travel musically through all the countries then affected by the Turkish invasion. To this effect, the versatile composer created dances and melodies in the style of each of these almost exotic peoples. From the large number of stories, Gunar Letzbor, the leader of Ars antiqua Austria, chose two CD filling programs: the present CD with War Stories of our hero Lompyn and his Love Adventures, which are due to appear on a second CD in 2017. In the War Stories mentioned, we experience the rough time of the Turkish wars from the point of view of a simple man who is trying to survive the most dangerous of situations, ideally without any noteworthy scratches.

Total time : 51’26

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KOPATCHINSKAJA, PATRICIA - AZERBAIJAN STATE SYMPHONY - RUSSIAN STATE SYMPHONY CAPELLA - ABULLAYEV, RAUF - POLYANSKY, VALERY

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PMR0070 KARAEV, Faradzh - Orchestral Works

Born in Baku, Azerbaijan in 1943 Faradzh Karaev is one of the leading composers of the post Soviet era. The two orchestral works on the disc are major works of his recent creative period.

Among the artists is world famous violinist Patricia Kopatchinskaja.

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Julius Röntgen (1855-1932) was both a composer and a gifted pianist and as such he knew how to write well for his instrument. Röntgen was a child prodigy and from an early age composed ambitious works for the piano. He frequently performed his own, and others, piano concertos. Beethoven’s Fourth and Brahms’s Second were particular favourites. It was through performances of Beethoven’s Piano Sonata op.111 and Schumann’s Etudes Symphoniques that Röntgen established himself. However, it was not as a soloist but as an accompanist that Röntgen would make a lasting impression. The partnership with his contemporary, the baritone Johannes Messchaert, was legendary and they made several European tours. At one of their recitals, in the Vienna Musikvereinsaal, it was noted that Brahms and Grieg were sat together in the front row.

Röntgen composed constantly throughout his performing and teaching career. Opus numbers were only applied to printed works, itself a fraction of his more than 600 compositions. Recent renewed interest in Röntgen has revealed many treasures still waiting to be awakened in the Röntgen Archives (Den Haag). Alongside a huge series of unknown string quartets, string trios, piano trios and symphonies there are some thirty piano sonatas and sonatinas from 1922-1932 alone. Röntgen started and ended his creative life as a piano composer.

Ondine is proud to release this disc of choral works dedicated to Estonian composer Galina Grigorjeva (b. 1962). The works, recorded in the presence of the composer, are being performed by the Estonian Philharmonic Chamber Choir conducted by Paul Hillier.

Galina Grigorjeva, originally born in Ukraine, is known for her deeply spiritual and timeless sacred vocal works. The title piece of the disc, Nature Morte, is a powerful spiritual work based on poetry by Joseph Brodsky (1940–1996). Some elements of folk music can also be heard in the vocal suite Svjatki which uses Russian folk texts. Other vocal pieces on the disc follow traditional Latin and Slavic liturgical texts. The recordings by the Estonian Philharmonic Chamber Choir have gathered positive reviews in the worldwide press. This recording is the fifth release by the choir on Ondine.

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To the 100th anniversary of the great Russian composer Georgy Sviridov Firma Melodiya presents an album of his romances and songs performed by Elena Obraztsova.

“Singing in its natural sense is an involuntary act that expresses delight, sorrow, joy or any other movement of soul,” as Georgy Sviridov explained his understanding of vocal art. Sviridov, as no one else, felt the beauty of poetic style and knew all the nuances of singing voice. Sviridov worked with singers a lot, including some of the most prominent names of the Soviet vocal school.

This album showcases the fruit of creative collaboration between Georgy Sviridov and Elena Obraztsova, one of the best Russian female singers of the 20th century.

The performers are the best choirs of Moscow (the Moscow Chamber Choir led by Vladimir Minin and the chamber line-up of the Yurlov Republican Academic Capella) and the renowned singer Makvala Kasrashvili. The piano is played by Georgy Sviridov.

The tracks were recorded in the Firma Melodiya studios and live at the Grand Hall of the Moscow Conservatory in 1980 and at the Grand Hall of the Leningrad Philharmonic Society in 1983.

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MELCD1002420 Sviridov by Obraztsova

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For a large part, thanks to the effort of Johannes Brahms, who introduced him to his publisher Simrock, Czech composer Antonín Dvořák developed into a composer with an international reputation. Don’t we all know his Slavonic Dances, his Symphonies or his chamber music, such as the Dumky Trio or the American string quartet?

This album reveals some of the more hidden treasures of Dvořák’s repertoire, namely his overtures, of which he wrote no less than thirteen. In the booklet to the album they are described as follows: employing palettes of instruments broader on average than those found in Dvořák’s mature symphonies and sometimes calling for special effects.

For their orchestral colour but also their rich expression of poetic content, as well as their purely musical invention and structural mastery, these overtures constitute gems of special brilliance in the treasury of Dvořák’s compositional bequest.

The PKF – Prague Philharmonia recorded this album in January 2015 at the Forum Karlin in Prague under the baton of their 2009-2015 Music Director and Chief Conductor Jakub Hrůša.

PTC5186539 VIVALDI, Antonio - Bassoon Concertos ACADEMY OF ST MARTIN IN THE FIELDS - NÚñEz, gustavo It would be no exaggeration to name Antonio Vivaldi as the “pioneer of the bassoon concerto”. The first milestone in the emancipation of the bassoon, until the beginning of the 17 century exclusively used as a basso continuo instrument, for which the part wasn’t even written out, was a series of nine virtuoso bassoon sonatas published by Giovanni Antonio Bertoli in 1645. Then came Antonio Vivaldi, who didn’t only write probably the first solo concerto for bassoon ever composed, but who also created the largest group of works ever written for the instrument until then: 39 solo concertos, all of excellent quality. There was only one instrument for which Vivaldi wrote more concerti, namely the violin.

This album combines six bassoon concerti by Vivaldi, performed by Uruguayan bassoonist Gustavo Núñez, who holds the position of principal bassoonist with the Royal Concertgebouw Orchestra and who is considered one of the best bassoonists of his generation. He is accompanied by the Academy of St Martin in the Fields, by many considered as one of the world’s most admired chamber orchestras.

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Shuffle. Play. Listen. The fourth issue of the PENTATONE OXINGALE series. An out of the box double SACD album with works for cello and piano, performed by cellist Matt Haimovitz and pianist Christopher O’Riley, including a booklet containing an interview by way of liner notes. One of the discs contains classical music and the other contains pop music, arranged for cello and piano by Christopher O’Riley.

Which brings the interviewer in the booklet to the following question: “…continuing on this idea of polyvalence, like it or not, people and fans are going to be focusing on this aspect of it.”

Matt Haimovitz: “Well, we’ve been discussing this for months, actually. When we’re in concert we go between Stravinsky and Radiohead, and then John McLaughlin and then some Bach and Ravel. But for us it’s part of the same trajectory, and it fits seamlessly and naturally in a program. For me, a classical listener will be interested in Radiohead or any of the tunes we’re playing on the pop side. I think what we’re doing has a sincerity to it. We’re getting to the spirit of it. We’re translating it in a very different way than the original, and I think they would appreciate that there are some complex things going on contrapuntally, harmonically and lyrically. There’s a richness there.”

Classical Releases

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PTC5186532 DVORAK, Anton - Overtures PKF PRAGUE PHILHARMONIA - HRUSA, JAKUB

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Among the works on the Orpheus theme since the start of operatic history, “La Morte d‘Orfeo” by Stefano Landi occupies a special place. The conception of Landi‘s opera differs from all other works having as their theme the triumph of music and love over death, in that it does not concern itself with the death of Eurydice but rather with following the story, in particular the horrible death of the divine singer himself. Apart from the special character of the libretto, “La Morte d‘Orfeo” marks a turning point in the musical and dramatic development of the new operatic genre. While it did not conform to the “Florentine opera” model based on recitative, it was, without being a true “Roman opera”, already approaching that form with its use of chorus and ensembles. Although Stefano Landi was born and brought up in Rome, “La Morte d‘Orfeo” seems to us likely to have come from Northern Italy, in spite of the fact that so far we have not been able to find evidence of a performance taking place during the composer‘s lifetime. “La Morte d‘Orfeo” appears to have been a demonstration of the talent of a young composer who, at the date of the dedication (Summer 1619), was residing in Padua among the entourage of the rich and powerful Cardinal Scipione Borghese. With its motley scenes and rapid twists in the plot, its rich contrasts of musical form and the splendid vocal beauty of the choruses at the end of the acts, “La Morte d‘Orfeo” is perhaps the first opera to merit the description “baroque”.

PTC5186546 Shuffle. Play. Listen HAIMOVITZ, Matt - O’RILEY, Christopher

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PC10331 LANDI, Stefano - La morte d’Orfeo

PTC5186556 STRAVINSKY, Igor - The Rite of Spring / The Firebird FRANKFURT RADIO SYMPHONY - OROZCO-ESTRADA, Andrés All Igor Stravinsky needed to establish his worldwide reputation were three ballet works, composed in Paris between 1910 and 1913: L’Oiseau de Feu, Petrushka and Le Sacre du Printemps. It was in this period that the impresario Serge Diaghilev brought his Ballets Russes to Paris and invited the very best dancers, painters, choreographers and composers to work with his ensemble. After Diaghilev heard Stravinsky’s Feu d’Artifice in St. Petersburg and immediately recognised the potential of the music for ballet purposes, he commissioned Stravinsky to write the L’Oiseau de Feu. Its premiere at the Paris Opera was an enormous success and marked the beginning of the spectacular collaboration between Stravinsky and Diaghilev’s Ballets Russes, which brought forth Petrushka and Le Sacre du Printemps.

This album combines the Le Sacre du Printemps (The Rite of Spring) and the 1919 L’Oiseau de Feu, (The Firebird Suite). The Frankfurt Radio Symphony (hr-Sinfonieorchester), one of the first radio symphony orchestras in Germany, founded in 1929, is under the direction of its Chief Conductor, Andrés Orozco-Estrada. Born in Colombia and trained in Vienna, he is one of the most sought-after conductors of his generation, currently holding not only the position of Chief Conductor in Frankfurt, but also the position of Music Director of the Houston Symphony and Principal Guest Conductor with the London Philharmonic Orchestra.

RIC364 MARAIS, Marin - Pièces Favorites JOUBERT-CAILLET, FRANÇOIS - L’ACHÉRON As a prelude to the vast enterprise represented by the release of Marin Marais’ complete five Books of Pièces de Viole, François Joubert-Caillet proposes this anthology of some of the most famous pieces that the illustrious gambist of La Chambre du Roi wrote for the delight of the Sun King’s private concerts.

François Joubert- Caillet studied the viola da gamba at the Schola Cantorum Basiliensis with Paolo Pandolfo, with whom he also studied early improvisation, and also with Rudolf Lutz.

Winner of the First and Audience Prizes at the Bruges International Chamber Music Competition, he gives concerts, recitals and master classes in Europe, Asia and Latin America.

François Joubert-Caillet also directs L’Achéron, an ensemble with which he appears in various formations, in particular the consort of viols. L’Achéron’s CDs, devoted to Anthony Holborne’s The Fruit of Love and Samuel Scheidt’s Ludi Musici, were released by Ricercar for which François Joubert-Caillet also recorded a CD in duo with Wieland Kuijken: Johannes Schenck’s Le Nymphe di Rheno.

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SWR19005CD Violin Concertos / Recitals GITLIS, Ivry Born in Haifa, Israel, but based in Paris for much of his life, the violinist Ivry Gitlis is a legend among violinists. Born in 1922, Gitlis is one of the most eminent musicians of the 20th century who, even today, occasionally performs and gives lessons. You might call him the György Cziffra of the violin – a man capable of impassioned, spontaneous and delicate playing, whose performances and recordings covered almost all areas of the classical, romantic and contemporary repertoire; a cosmopolitan who cooperated with so many noted musicians –Leonard Bernstein, Martha Argerich, George Szell and Hans Rosbaud, to name only a few.

These two CDs contain several highlights of Gitlis’ recording career – among them the second Bartók concerto, named Recording of the Year in 1972, and Paganini’s second violin concerto, which Gitlis rarely performed.

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This third volume of the complete orchestral works by the great French composer Maurice Ravel features his music for the ballet Daphnis et Chloé, his longest work, written for Sergei Diaghalev’s Ballets Russes. The company gave the first performance in 1912. Ravel depicted the characters in the story with great musical delicacy, and the Stuttgart Orchestra reflects this through the attention it gives to the score’s finest nuances. Ravel secures scintillating effects from the large percussion section that he uses, a clear nod to ancient music.

The Valses nobles et sentimentales were composed at the same time as the ballet, which makes it an appropriate coupling. The version for piano, clearly linked to Franz Schubert’s similarly named waltzes, was published in 1911, with the orchestral version following one year later.

Again the Stuttgart Radio Symphony Orchestra gives a thrilling, firstclass interpretation.

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If there were a grande dame of pianists, it would surely be Alicia de Larrocha. From the onset of her career in her native Spain she attracted critical acclaim for her outstanding technique and musicality; after 1947, her reputation was to spread further abroad. Things weren’t easy for her, however, when she performed in German-speaking cultural centres; she was accused by some critics for not being on the correct aesthetic wavelength for Mozart and Beethoven. But it wasn’t only her performances of Spanish music that set new standards, it was her Mediterranean point of view in particular that facilitated her discovery of wonderful nuances in Mozart’s and Beethoven’s works – as is clearly demonstrated on this recording. Alicia de Larrocha’s artistic poise and musical vision, that achieve inspired insights during these performances of concertos by Beethoven (January 1977) and Mozart (January 1986), are simply breathtaking.

TC541801 ROVIGO, Francesco / MERULO, Claudio - Missa Dominicalis CAPPELLA MUSICALE DI S. BARBARA - FORNI, UMBERTO Towards the end of the sixteenth century, at the court of the Gonzagas, the young organist Francesco Rovigo was appreciated to the point of being sent by the Duke Wilhelm to study in Venice at Claudio Merulo, the largest master of his time. After hosting Francesco Rovigo at his court, and despite the insistence of the Gonzagas, the Archduke Charles of Bavaria would not let him return to Mantua and held him granting him a big honorary until his death, in 1590, when he returned to Mantua Rovigo. These events give us the clear idea of the caliber of this musician, for which even Claudio Monteverdi himself expressed words of the highest consideration. The live recording of this concert brings to light what is left of his music in the archives of the Palatine Basilica of Santa Barbara in Mantua, where Rovigo was appointed kapellmeister and where now he lies buried alongside the great Flemish master Giaches De Wert, his predecessor.

GRCD4523 BJORNSTAD, Ketil - Images / Shimmering BJORNSTAD, Ketil The twin albums «Shimmering» and «Images» are being released simultaneously, both individually and as a double set. The two albums were recorded by Ketil Bjørnstad alone, on the same C. Bechstein grand piano, but in two different studios and with a two-year interval. In many respects the album is an extension of the project Bjørnstad began with the exceptionally popular and critically acclaimed 3CD release «The Rainbow Sessions» (Emarcy/Universal) from 2006.

Solo piano recordings are a running theme throughout Ketil Bjørnstad»s extensive discography. His first piano album, «Tredje Dag» (Philips, 1975), appeared only two years after his debut album, «Åpning», which marked his break with classical music in earnest and heralded his growing interest in jazz, improvisation and composition. Since then he has cultivated this format in both a series of popular records and hundreds of concerts all over the world.

Bjørnstad»s solo piano albums often take the form of an improvised recital. He comes to the studio mentally prepared, but without a clear plan, and lets his surroundings, the studio and, not least, the grand piano inspire him and determine the musical course that he will follow in the recording session.

The music flows freely, alternating between totally improvised segments and new versions of songs and musical fragments that hold profound meaning for him.

Jazz Releases

Vanessa Perez is a product of the same energized musical culture in Venezuela that produced such international stars as conductor Gustavo Dudamel and pianist Gabriel Montero.

Praised for a bold, passionate performing style allied to musicianship of keen sensitivity, Perez has been championed by iconic performers.

Reviewing a concert performance of Chopin’s Op. 28 Preludes, the Washington Post said “Perez dove into the Preludes as if discovering them for the first time, flinging them out into the hall with a kind of wild intensity that was often breathtaking.”

SWR19006CD Mozart - Beethoven de larrocha, alicia - radio-sinfonieorchester stuttgart - navarro, garcía - swr sinfonieorchester baden-baden und freiburg - bour, ernest

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STNS30036 DE FALLA, Manuel / DEBUSSY, Claude - Spain

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The LABtrio is back on Outnote Records! After Fluxus, their first album, released in 2013 and critically acclaimed («Révélation!» of Jazz Magazine), the trio returns, accompanied by two distinguished guests whom they met in New York: saxophonist Michaël Attias and cellist Christopher Hoffman.

This new group allows the three young musicians to explore a repertoire that continues to be enriched through contact with new sonorities.

From their beginnings in 2007, the LABtrio has gone through a dazzling evolution and now, more than ever, represents the new generation of very great European jazz talents. They create music that is constantly nourished by current influences such as Hip-Hop or electronic music without ever betraying the heritage of the past. The members of the trio are also active in several other groups in the forefront of their style (STUFF., Septych…) and are very much in demand as sidemen (or -woman…).

JAH-455 Quincy Jones and His Orchestra - Live in Ludwigshafen 1961 QUINCY JONES AND HIS ORCHESTRA Live in Ludwigshafen allows further insight into the artistic inner life of jone’s superb and uncommonly vital orchestra. The team consisted of a number of young luminaries of the time: trumpeters such as Freddie Hubbard and Benny Bailey, saxophonists such as Sahib Shihab.

The programme included evergreens like Summertime compositions like Stolen Moments that were to become such. The mood on stage was relaxed, if only because the orchestra was hailed in Europe as a groundbreaking big band. There are experts who believe that this short phase was for Quincy Jones his best as a jazz musician. Live in Ludwigshafen only lends support to this judgement.

PPD : 20,00€ Sound formats: Stereo, Dolby Digital 5.1, DTS 5.1 / Region code: 0 DVD 9 / NTSC Sung in Danish / Subtitles: English, Danish Menu language: English

Total time : 189’00 2 DVD PPD : 22,00€

2.110412 NIELSEN, Carl - Saul & David THE ROYAL DANISH ORCHESTRA - THE ROYAL DANISH OPERA CHORUS - Schønwandt, MICHEL This DVD presents a spectacular new production of Carl Nielsen’s dramatic debut opera, Saul & David from 1901 - a production marking the Royal Danish Opera’s celebration of the composer’s 150th anniversary in 2015.

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

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

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OTN623 The Howls Are Not What They Seem LABtrio - attias, michaël - hoffman, chris

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Barb Jungr’s profoundly original arrangements of contemporary American songs have seen her recognised as one of the most important interpreters of the works of Bob Dylan and Leonard Cohen.

Her unrivalled ability as an enthralling song stylist brings new depth and insight into songs by Dylan, Cohen, Joni Mitchell, David Bowie, Rodgers & Hammerstein, Sondheim & Bernstein and Peter Gabriel.

Shelter From The Storm also includes three brand new songs written by Jungr and pianist Laurence Hobgood, well-known for his GRAMMY Award-winning hard-core jazz and partnership with Kurt Elling.

Of his first major collaboration since Elling, Hobgood stated ‘I’m not just thrilled to be collaborating with Barb Jungr; I’m energized, inspired, and downright giddy at having matched with a “musician’s singer” - a superb vocalist whose musical intelligence is its own formidable, evolved force with which to reckon.’ Together Jungr and Hobgood are an exciting tour de force, skilfully supported by Michael Olatuja (bass) and Wilson Torres (percussion). These ‘songs of hope’ are a much-needed antidote to today’s ‘troubled times’; an uplifting message superbly realised by Jungr.

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37715 HASSE, Johann Adolf - Artaserse ENSEMBLE BAROCCO DELL’ORCHESTRA INTERNAZIONALE D’ITALIA - ROVARIS, CORRADO A classic work of its genre and historical period, Artaserse was premièred in Venice in 1730 by the most famous singers of the day: Farinelli in the role of Arbace, Cuzzoni as Mandane and the castrato Nicolino as Artabano. Following its initial success, Hasse produced two different versions of the work, the first in 1740 and the second in 1760. This world première recording is based on the original Venice version. The exceptional cast features countertenor Franco Fagioli in the role originally taken by Farinelli, his stunning technique making light of the 3-octave range with uniform timbre, remarkable power and striking resonance. Equally memorable is the aria “Pallido sole” sung by Sonia Prina. This world première recording is now available on CD and DVD.

Video Format/ Aspect ratio: NTSC – 16:9 Audio Format: PCM 2.0 Subtitles: Ita, Eng, Fre, Ger, Jap, Kor Region code: 0 – All regions Sung in: Italian Notes: English, Italian

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BKD010 An Excess Of Pleasure PALLADIAN ENSEMBLE Total Time : 65’00

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HCD7292 Drifting Like a Bird

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BKD050 Trios For 4 PALLADIAN ENSEMBLE Total Time : 62’00

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BKD292 TARTINI, Giuseppe - The Devil’s Trill palladians Total Time : 62’00

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REAM.1123 COOKE, Arnold - Symphonies 4 & 5 BBC SYMPHONY ORCHESTRA - PRITCHARD, John - KEEFFE, Bernard Total Time : 59’44

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REAM.2122 VAUGHAN WILLIAMS, Ralph- Sir John in Love VARIOUS ARTISTS Total Time : 126’00

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RTR4281 The Music Maker JAMES, Harry Total Time : 159’00

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RTR4279 Hootie’s Blues

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RTR4280 And the Angels Sing TILTON, Martha Total Time : 78’00

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