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The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
‘Can great music be inspired by the throw of the dice?’ asks Peter Phillips, director of The Tallis Scholars, in his liner notes to the ensemble’s new recording of Josquin’s Missa Di dadi (The Dice Mass). The fifteenth-century artist certainly had an abundant supply of devotional imagery. As one scholar has put it, during this age there was neither ‘an object nor an action, however trivial, that [was] not constantly correlated with Christ or salvation’.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Edouard Lalo (1823-92) is best known today for his instrumental works: the
Symphonie espagnole (which is, despite the title, a five-movement
violin concerto), the Symphony in G Minor, and perhaps some movements from his
ballet Namouna, a scintillating work that the young Debussy adored.
Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
It is not often that a major work by a forgotten composer gets rediscovered
and makes an enormously favorable impression on today’s listeners. That has
happened, unexpectedly, with Herculanum, a four-act grand opera by
Félicien David, which in 2014 was recorded for the first time.
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Félicien David’s intriguing Le désert, for vocal and orchestral forces plus narrator, was widely performed in its own day, then disappeared from the performing repertory for nearly a century.
This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
This new release of John Taverner’s virtuosic and florid Missa
Corona spinea (produced by Gimell Records) comes two years after The
Tallis Scholars’ critically esteemed recording of the composer’s
Missa Gloria tibi Trinitas, which topped the UK Specialist Classical
Album Chart for 6 weeks, and with which the ensemble celebrated their
40th anniversary. The recording also includes Taverner’s two
settings of Dum transisset Sabbatum.
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.
As the editor of Opera magazine, John Allison, notes in his editorial in the June issue, Donizetti fans are currently spoilt for choice, enjoying a ‘Donizetti revival’ with productions of several of the composer’s lesser known works cropping up in houses around the world.
Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.
13 Jan 2008
“One Foot in Eden Still, I Stand”: Choral Music by Nicholas Maw.
The English composer Nicholas Maw has been a major voice since the 1960's, with a wide range of works that include the 2002 opera, "Sophie’s Choice," a violin concerto for Joshua Bell (1993), and the monumentally-scaled orchestral work, "Odyssey" (1972-87).
This present anthology by the Schola Cantorum of Oxford offers an interesting collection of his choral works, works whose texts and idioms make clear the composer’s native connection to the English tradition, while at the same time they reveal a diverse and individual voice. Maw’s music is often Romantic in spirit, though modern in harmonic language, while his contrapuntal bent, like the texts he sets, evokes earlier ages, still.
The Three Hymns (1989), settings of seventeenth-century devotional poetry, are alternately exuberant and intimate, with the second of the set, “Pastoral Hymn,” exhibiting a spry quality reminiscent of Britten—the text even seems somewhat resonant with Christopher Smart’s “Rejoice in the Lamb”—and text-inspired contrasts of pace and register are familiarly madrigalian. The Britten influence is clear in some of the Five Epigrams (1960), as well, such as the crisp frolic of the engaging “Andrew Turner.” Sometimes the nod is more in the direction of Vaughan Williams and Holst, as in the folk-song like “Popular Song” from the Five Irish Songs (1972). These examples doff the hat to notable forebears, and scattered here and there, remind us of the rich tradition to which Maw’s work is connected.
Maw’s gift for lyric lines is well in evidence in works like the Christmas carol “Balulalow” and “Swete Jesu,” the latter a commission for the annual Lessons and Carols broadcast from King’s College Cambridge. And in “Swete Jesu” an imbedding of the melody amid flowing contrapuntal lines in the second verse is especially memorable. This developmental sense is also particularly compelling in works like the beautiful Irish song, “Ringleted youth of my love,” where extended homophonic declamation warmly blossoms into more complex writing for subsequent verses.
The singing of the Schola Cantorum of Oxford is in the main very satisfying here. Complicated harmonies are handled with confidence, difficult figurations with dexterity, and the expression of the performances proceeds from a welcome sense of ownership and engagement. A recording of interest, this anthology underscores the continuing cultivation of English choral music by composers of the first rank.