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Antonín Dvořák Requiem op.89 (1890) with Jakub Hrůša conducting the Prague Philharmonic Orchestra. The Requiem was one of the last concerts Jiří Bělohlávek conducted before his death and he had been planning to record it as part of his outstanding series for Decca.
John Eliot Gardiner's Schumann series with the London Symphony Orchestra, demonstrate the how Schumann’s Lieder and piano music influenced his approach to symphonic form and his interests in music drama.
Mirga Gražinytė-Tyla conducts the music of Raminta Šerkšnytė with the Kremerata Baltica, in this new release from Deutsche Grammophon.
“How weary we are of wandering/Is this perhaps death?” These closing words of ‘Im Abendrot’, the last of Richard Strauss’s Vier letzte Lieder, and the composer’s own valedictory work, now seem unusually poignant since they stand as an epitaph to Mariss Jansons’s final Strauss recording.
Latest in the highly acclaimed Hyperion series of Ralph Vaughan Williams symphonies, Symphonies no 3 and 4, with Martyn Brabbins and the BBC Symphony Orchestra, recorded in late 2018 after a series of live performances.
This Accentus release of J.S. Bach’s Christmas Oratorio, recorded live on 15/16th December 2018 at St. Thomas’s Church Leipzig, takes the listener ‘back to Bach’, so to speak.
Writing in April 1923 in The Bookman, of which he was editor, about Ethel Smyth’s The Boatswain’s Mate (1913-14) - the most frequently performed of the composer’s own operas during her lifetime - Rodney Bennett reflected on the principal reasons for the general neglect of Smyth’s music in her native land.
The death of his friend and mentor Franz Seiler, notary at the St Florian monastery to which he had returned as a teaching assistant in 1845, was the immediate circumstance which led the 24-year-old Anton Bruckner to compose his first large-scale sacred work: the Requiem in D minor for soloists, choir, organ continuo and orchestra, which he completed on 14th March 1849.
Brilliant Emmerich Kálmán’s Ein Herbstmanöver from the Stadttheater, Giessen in 2018, conducted by Michael Hofstetter now on Oehms Classics, in a performing version by Balázs Kovalik.
An ambitious new series focusing on the songs of Franz Liszt, starting with all three versions of the Tre Sonetti del Petrarca, (Petrarca Sonnets), S.270a, S.270b and S.161 with Andrè Schuen and Daniel Heide for Avi-music.de.
Une soirée chez Berlioz – an evening with Berlioz, songs for voice, piano and guitar, with Stéphanie D’Oustrac, Thibaut Roussel (guitar), and Tanguy de Williencourt (piano).
A baroque Christmas from Harmonia Mundi, this year’s offering in their acclaimed Christmas series. Great value for money - four CDs of music so good that it shouldn’t be saved just for Christmas. The prize here, though is the Pastorale de Noël by Marc-Antoine Charpentier with Ensemble Correspondances, with Sébastien Daucé, highly acclaimed on its first release just a few years ago.
Christmas at St George’s Chapel, Windsor, with the Choir of St. George’s Chapel, Windsor Castle, James Vivian, organist and conductor. New from Hyperion, this continues their series of previous recordings with this Choir. The College of St George, founded in 1348, is unusual in that it is a Royal Peculiar, a parish under the direct jurisdiction of the monarch, rather than the diocese.
As a musicologist, particularly when working in the field of historical documents, one is always hoping to discover that unknown score, letter, household account book - even a shopping list or scribbled memo - which will reveal much about the composition, performance or context of a musical work which might otherwise remain embedded within or behind the inscrutable walls of the past.
New from Albion, Time and Space: Songs by Holst and Vaughan Williams, with Mary Bevan, Roderick Williams, William Vann and Jack Liebeck, highlighting the close personal relationship between the two composers.
The 23-year-old Giacomo Puccini was still three months from the end of his studies at the Conservatoire in Milan when, in April 1883, he spotted an announcement of a competition for a one-act opera in Il teatro illustrato, a journal was published by Edoardo Sonzogno, the Italian publisher of Bizet's Carmen.
O Lieb! presents the lieder of Franz Liszt with a distinctive spark from Cyrille Dubois and Tristan Raës, from Aparté. Though young, Dubois is very highly regarded. His voice has a luminous natural elegance, ideal for the Mélodie and French operatic repertoire he does so well. With these settings by Franz Liszt, Dubois brings out the refinement and sophistication of Liszt’s approach to song.
The Academy of Ancient Music’s new release of Handel’s Brockes-Passion - recorded around the AAM's live performance at the Barbican Hall on the 300th anniversary of the first performance in 1719 - combines serious musicological and historical scholarship with vibrant musicianship and artistry.
From Albion, The Song of Love featuring songs by Ralph Vaughan Williams, with Kitty Whately, Roderick Williams and pianist William Vann. Albion is unique, treasured by Vaughan Williams devotees for rarely heard repertoire from the composer’s vast output, so don’t expect mass market commercial product. Albion recordings often highlight new perspectives.
Henze’s Das Floß der Medusa is in some ways a work with a troubled and turbulent history. It is defined by the time in which it was written – 1968 – a period of student protest throughout central Europe. Its first performance was abandoned because the Hamburg chorus refused to perform under the Red Flag which had been placed on stage; and Henze himself decided he wouldn’t conduct it at all after police stormed the concert hall to remove protesters, among them the librettist Ernst Schnabel.
This is a valuable new recording of a work that is only rarely heard, but was widely influential and wildly popular during the eighteenth century. Philosophe Jean-Jacques Rousseau wrote both the libretto and the music, with mixed success.
Although it was the first time a composer had written his own libretto, and Rousseau wanted to demonstrate a new method of setting French text to music in the Italian taste, the dramatic pacing leaves much to be desired and the quality of musical composition is uneven. Some of the musical numbers are quite catchy (Colette’s entrance aria “J’ai perdu tout mon bonheur,” for example, was said to have been sung all day long, off-key, by King Louis XV on the day following the first court performance) but others, such as the muddily-scored “Colin revient à sa bergère,” are aimless, weak, and interminable. Charles Burney, who adapted the opera for English-speaking audiences in the 1770s, thought it went on far too long after Colette and Colin find true love and happiness. He was right, but eighteenth-century audiences apparently disagreed: the opera racked up at least 350 performances in its first fifty years.
This production, by rising young performers in the first year of an annual summer opera festival at the Swiss Castle Waldegg (a Baroque jewel, see the pictures at http://www.schloss-waldegg.ch/), is classified as a live performance, but it is almost completely free of the drawbacks of live recordings: no coughing or clapping, no clumping feet or fade-outs as the singers move around, and good balance between singers and orchestra. The CD, co-produced by Swiss Radio DRS 2, contains the complete opera — except for a few verses of one seemingly-endless ensemble number — including recitatives, a pantomime, and a ballet divertissement. An almost-complete libretto is included: the song texts are all there, but Rousseau’s stage directions for the pantomime are not. The lengthy pantomime music sounds pointless unless you know the accompanying story about a village girl, her sweetheart, and a courtier with a diamond necklace, which starts off like a farmer’s-daughter joke and but ends as a mini-morality play.
The singing is pleasing and competent, as is the period-instrument band. The CD booklet is mostly silent about the nature of the orchestra, which is a shame, because the Cantus Firmus Consort overcomes the limitations of their 18th-century instruments rather well, especially the maniacally energetic bassoonist. It appears that for this performance Rousseau’s scoring (doubled or tripled strings, continuo, and pairs of oboes and flutes), has been augmented by horns, tambour and bells. The extra percussion works well, as it is mostly used on instrumental dances, but the raucous horns (probably big-throated German/Bohemian hunting horns, rather than the smaller and more delicate French instrument) are too prominent and too continuous for the early 1750s, when horns were still a novelty in Paris orchestras.
The Soothsayer (Le Devin), Dominik Wörner, is an agreeable and agile baritone, although his German vowels sometimes get the better of his French diction. Michael Feyfar does well for a modern tenor attempting to reproduce the 18th century French haute-contre voice, but he has to use his head voice a bit too often in the upper range, and only sometimes achieves a smooth passage between the two ranges. The star of the show (both in Rousseau’s plot and in this performance) is Colette (soprano Gabriela Bürgler); her tone is natural, light, and silvery, her ornamented repeats in the arias are tasteful, and her rage aria “Si des gallants de la ville” causes sparks to fly.
Beverly Wilcox
University of California, Davis