Studio Masters – HDMusic.me

Sonatas for violin and obligato harpsichord by Guillemain, Mondonville, Corrette, Duphly, Marchand, Balbastre and Clément. Powerful, elegant, and refined – In 1740, with the op. 4 of Jean-Joseph Cassan a de Mondonville, a new genre appeared on the scene in France, a genre that was to fundamentally overturn the relationship to the harpsichord – until then a continuo instrument when it was not playing alone: the Pieces de clavecin en sonates avec accompagnement de violon.

Contrary to what the title might suggest, the two instruments engage in a dialogue as equals. Unknowingly, Mondonville imitated the Sei Suonate Cembalo certato e Violino solo that Bach had composed ten years earlier. Moreover, he introduced a thoroughly Italian flavour – certainly an echo of the concertos by Corelli and Vivadli that at the time were often heard at the Concert Spirituel. The following decade then experienced a veritable rage for this form: Corrette, Guillemain, Balbastre, and others put their visions of the theme on paper – each in a very personal manner.

The “Dream Team” (Early Music Review), made up of the two indefatigable researchers Philippe Grisvard and Johannes Pramsohler, has rediscovered this neglected part of the violin-harpsichord repertoire and now presents a captivating selection of the genre’s best works in world premiere recordings on an opulent double album.

Tracklist:

CD1
01. Sonata No. 1 in G Minor, Op. 3: I. Ouverture. Grave-Allegro
02. Sonata No. 1 in G Minor, Op. 3: II. Aria
03. Sonata No. 1 in G Minor, Op. 3: III. Giga allegro
04. Sonata No. 5 in D Major, Op. 13: I. Allegro
05. Sonata No. 5 in D Major, Op. 13: II. Aria un poco allegro
06. Sonata No. 5 in D Major, Op. 13: III. Allegro
07. Première Suite avec accompagnement de violon en La Mineur: I. La de Casaubon
08. Première Suite avec accompagnement de violon en La Mineur: II. La du Tailly
09. Première Suite avec accompagnement de violon en La Mineur: III. La de Valmalette
10. Sonata No. 4 in E Minor, Op. 25: I. Allegro
11. Sonata No. 4 in E Minor, Op. 25: II. Affetuoso
12. Sonata No. 4 in E Minor, Op. 25: III. Presto
13. Sonata No. 6 in G Minor, Op. 13: I. Allegro
14. Sonata No. 6 in G Minor, Op. 13: II. Aria Gratioso
15. Sonata No. 6 in G Minor, Op. 13: III. Allegro assai
16. Sonata I in G Major: I. Allegro
17. Sonata I in G Major: II. Aria Gratioso
18. Sonata I in G Major: III. Allegro

CD2
01. Première Suite in A Minor, Op. 1: I. Ouverture. Gravement-Gay
02. Première Suite in A Minor, Op. 1: II. La Misterieuse. Affectueusement
03. Première Suite in A Minor, Op. 1: III. Carillon du Parnasse
04. Sonata No. 6 in A Major, Op. 3: I. Concerto. Allegro
05. Sonata No. 6 in A Major, Op. 3: II. Larghetto
06. Sonata No. 6 in A Major, Op. 3: III. Giga. Allegro
07. Troisième livre de Pièces de Clavecin: I. Ouverture. Grave-Viste
08. Troisième livre de Pièces de Clavecin: II. La de May
09. Troisième livre de Pièces de Clavecin: III. La Madin
10. Sonata No. 4 in C Minor, Op. 13: I. Allegro
11. Sonata No. 4 in C Minor, Op. 13: II. Aria Gratioso un poco Allegro
12. Sonata No. 4 in C Minor, Op. 13: III. Presto
13. Sonata I in C Minor: I. Allegro ma non troppo
14. Sonata I in C Minor: II. Aria affettuoso
15. Sonata I in C Minor: III. Allegro

Composers:
Balbastre, Claude (1724-99)
Clément, François (c1720-1782)
Corrette, Michel (1709-95)
Corrette, Michel (1707-1795)
Duphly, Jacques (1715-89)
Guillemain, Louis Gabriel (1705-70)
Marchand, Louis (1669-1732)
Mondonville, Jean-Joseph Cassanea de (1711-72)

Personnel:
Philippe Grisvard, harpsichord
Johannes Pramsohler, violin

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Plain Spoken includes ten stunningly elegant and soul-searching Americana gems from ‘The Voice of the Heartland’, John Mellencamp, while celebrating his skill not just as a song craftsman but as a world-class entertainer.

Plain Spoken commences on the acoustic guitar hum of ‘Troubled Man’ as Mellencamp carries a pensive and poetic chorus. Organ and harmonica punctuate ‘The Isolation of Mister’ with a sense of vibrancy, while ‘Tears In Vain’ features a twanging guitar solo and the singer’s unmistakable delivery. The haunting and heartbreaking beauty of ‘Blue Charlotte’ lingers with emotion. There is ‘The Courtesy of Kings’, which is driven by banjo and Mellencamp’s poignant lyrics and the bluesy swing of the album’s conclusion ‘Lawless Times’ where his cinematic lyrics bristle with energy matched only by the six-string screech. Plain Spoken is set to be hailed as an unparalleled new chapter in Mellencamp’s distinctive songbook.

Plain Spoken is the first album from the Rock and Roll Hall of Famer since 2010’s critically acclaimed, No Better Than This-which landed in the Top 10 of Billboard’s Top 200 during release week and garnered the honor of becoming one of Rolling Stone’s ‘Best Albums of 2010’. Grammy winning musician John Mellencamp has touched the heart and souls of music listeners and influenced American Culture with enduring songs, he is also one of the most successful live concert performers in the world. A man with a conscience, he used his visibility and influence to advocate an issue that hit close to home and became one of the founding members of Farm Aid, an organization that began in 1985 to raise awareness about the loss of family farm. The Farm Aid concerts have raised over $45 million to promote a resilient family farm system of agriculture.

If ever there were a prototypical John Mellencamp title, it’s Plain Spoken. Mellencamp has long striven for direct, forthright communication, so the title suits his overall aesthetic as well as this album in specific. His first album underneath a “lifetime” recording contract for Republic Records — a deal that effectively amounts to his return to the Universal group — this is also his first record since 2007’s Freedom’s Road not to be produced by T-Bone Burnett, but that titan of Americana has certainly left an imprint on the singer/songwriter. Like many Burnett productions, this trades in hushed authentic acoustica, but where Burnett often indulges aural impressionism — or, in the case of 2010’s No Better Than This, such quasi-stunts as mono mixes — Mellencamp opts to revert to a streamlined version of the wide-ranging Heartland Rock of The Lonesome Jubilee. There are echoes of this 1987 masterwork on Plain Spoken but only in the sense that’s where Mellencamp first delved into acoustic folk and country. Twenty seven years later, he’s an older man in every sense: his voice sounds ravaged by cigarettes, he doesn’t bother rocking at all (although he does play a bit of blues on “Lawless Times,” a subdued shuffle that offers a welcome tonal tonic at the close), and he feels battered down by the passage of time. He’s mourning the end of his marriage, he’s pondering mortality, he’s sour at the politicians and the bankers, and he’s not so sure he has much to offer anybody else, either. If his bitterness is unavoidable in the lyrics or in his voice, his music softens his bite, turning these tunes into melancholy laments instead of invective, so there winds up being a bit of a needed cushion to Mellencamp’s straight talk on Plain Spoken. ~ Stephen Thomas Erlewine

Tracklist:
01. Troubled Man
02. Sometimes There’s God
03. The Isolation Of Mister
04. The Company Of Cowards
05. Tears In Vain
06. The Brass Ring
07. Freedom Of Speech
08. Blue Charlotte
09. The Courtesy Of Kings
10. Lawless Times

Personnel:
John Mellencamp, guitars, vocals
Mike Wanchic, acoustic guitar, electric guitar
Andy York, acoustic guitar, electric guitar
T-Bone Burnett, electric guitar
Miriam Sturm, violin
Troye Kinnett, keyboards
Dane Clark, drums
Recorded in 2014 at Belmont Mall Studio in Belmont, Indiana
Engineered by Mike Piersante
Produced by John Mellencamp

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Sillion is the fourth album from British singer/songwriter Johnny Flynn and follows 2013’s Country Mile. After taking time out to focus on his family, Flynn returned with a new zest, his experience of family life the catalyst for new material. The lead single “Raising the Dead” is included. ~ Rich Wilson

‘Sillion’ has grown episodically between Flynn’s commitments to acting, composing, and his young family. It’s an album about the sacredness of man’s endeavour to connect with the earth while separated from it. It’s the sound of Flynn breathing in and breathing out. ‘Sillion’ sees Flynn reunited with David Beauchamp (drums), Adam Beach (bass), Joe Zeitlin (cello), sister Lillie Flynn & Holly Holden (vocals), with guests Cosmo Sheldrake (electronics) and Dave Tattersall on lead guitar for ‘The Landlord’. First single ‘Raising the Dead’, tells of Flynn getting to know his newborn daughter. “My Dad died when I was 18, and that was quite a galvanising experience,” Flynn says, “and there’s often an element of that in anything I’m writing; every big loss that you suffer in life, I think everything comes through the conduit of that. I had a really strong sense of my daughter having elements of my Dad when she came along, and it made me kind of laugh – that cyclical sense, of thinking of my daughter as my Dad.”

Tracklist:
01. Raising the Dead 03:33
02. Wandering Aengus 03:47
03. Heart Sunk Hank 03:11
04. Barleycorn 04:32
05. The Night My Piano Upped and Died 03:55
06. In the Deepest 03:11
07. In Your Pockets 03:16
08. Jefferson’s Torch 04:23
09. Tarp in the Prop 03:55
10. The Landlord 06:34
11. Hard Road 04:39

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Jonny Fritz clearly loves country music, but he would rather mess around with it than play it straight. And while he’s stopped calling himself Jonny Corndawg (the sort of stage name Robbie Fulks was probably imagining when he wrote “Roots Rock Weirdoes”), Fritz still seems determined to wave his freak flag, playing his eccentricities for all they’re worth. Fritz’s fourth album (and second under his own name), 2016’s Sweet Creep, is clearly the work of a guy who want to go out of his way to show you how off the wall he is; the arrangements are frequently off-kilter, pieced together from drum samples, outdated synthesizer patches, and the bellow of cheap guitars, and one would guess the album was recorded in someone’s bathroom if Fritz didn’t reveal in the liner notes that most of it was actually cut in someone’s backyard. But Fritz does have two big things going for him: he’s a great songwriter, and for all his mannerisms, he knows how to get those songs across. When Fritz is going for laughs, he can come pretty close to the level of classic Roger Miller or Shel Silverstein (“I Love Leaving” and “Fifteen Passenger Van”), and when he gets serious, his tales of drying out (“Are You Thirsty”), emotionally broken women (“Cries After Making Love”), a touring musician’s lot (“Forever Whatever”), and lonely dogs and the folks who adopt them (“Chihuahua Rescue”) come from the heart and make him sound like the right kind of eccentric, one who knows something about human nature. And Fritz’s voice isn’t a traditionally great instrument, but his no-frills singing is a good match for his songs about life along the highway. The album’s deliberately murky tone (courtesy of Taylor Goldsmith and Jim James) doesn’t always help, but in spite of its sometimes gimmicky tone, Sweet Creep is evidence that Jonny Fritz is a genuine talent and a first-rate songwriter, and with luck, he’ll let his guard down some time and let us hear him without his persona getting in the way. ~ Mark Deming

Tracklist:
01. Are You Thirsty
02. Happy In Hindsight
03. I Love Leaving
04. Cries After Making Love
05. Forever Whatever
06. Stone Cold Daddy-O
07. Fifteen Passenger Van
08. Stadium Inn
09. Humidifier
10. Chilidog Morning
11. Chihauhau Rescue

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The album is reflective of Joseph’s flourishing career as one of the leading tenors. Regular performer at the world’s greatest opera houses.

A significant step into the Verdi repertoire for Calleja. Including duets with Angela Gheorghiu and Vittorio Vitelli.

Calleja has been described by Andrea Bocelli as his favourite tenor in the world of lyricall music.

“For me, the Maltese tenor Joseph Calleja has the finest lyric tenor voice around. This Verdi album will hit the spot for anyone who loves Italian opera.” (David Mellor, Daily Mail, London)

. . . [“Otello”]: the four substantial extracts here (25 minutes in all, including the Act One love duet and the duet “Si, Per Ciel”) show him to be potentially a world-class tenore di forza – a lyric tenor with enough power in his middle register to make a real dramatic impact when required. Lots of singers produce Verdi lollipop albums. This isn’t one of them. The only real popular favourite is “Celeste Aida”, dispatched here with glowing Italianate tone. The rest are connoisseurs’ choices. The recently formed Valencia Orchestra under Ramón Tebar play really well, and Decca’s sound is truly excellent. A must for any serious opera fan.” (David Mellor, Daily Mail, London)

Tracklist:
Giuseppe Verdi (1813 – 1901)
01. Aida / Act 1 : “Se quel guerrier io fossi!..Celeste Aida”
02. Il Trovatore / Act 3 : “Ah sì ben mio”
03. Il Trovatore / Act 3 : “Di quella pira”03:23
04. La forza del destino / Act 3 : “La vita è inferno…Oh, tu che in seno agl’angeli”
05. La forza del destino / Act 4 : “Invano Alvaro”
06. Don Carlo / Act 2 : “È lui! desso! L’infante!… Dio, che nell’alma infondere”
07. Otello / Act 1 : “Già nella notte densa”
08. Otello / Act 2 : “Oh! Mostruosa colpa!… Sì, per ciel marmoreo, giuro!”
09. Otello / Act 3 : “Dio! mi potevi scagliar tutti i mali”
10. Otello / Act 4 : “Niun mi tema”

Personnel:
Joseph Calleja, tenor
Vittorio Vitelli, baritone
Angela Gheorghiu, soprano
Orquestra de la Comunitat Valenciana
Ramón Tebar, conductor

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Carnaval takes us on a journey through Robert Schumann’s life: from his passionate early piano pieces, inspired by youthful feelings of ardour, to his haunting final piano work, composed when his mind was in turmoil.

Award-winning pianist Juan Carlos has long been a devotee of Schumann’s fascinating output, and has meticulously constructed this programme to reflect each era of the composer’s career. Carnaval was inspired not by Clara Wieck, who would become Schumann’s wife, but by an infatuation with Ernestine von Fricken. The work is a masked ball of colourful characters, brought to life by Schumann’s rich imagination: Chopin and Paganini make an appearance, alongside characters from the commedia dell’arte and Schumann’s own alter egos.

Also inspired by a carnival is the Faschingschwank aus Wien – ‘Carnival Jest from Vienna’, inspired by the composer’s enjoyment of a Viennese spectacle. There are moments of vibrant virtuosity to conjure up the festival atmosphere, but this is no mere picturesque tribute, and there are subtler, more satirical, elements at play.

Schumann’s last piano work, the Geistervariationen – ‘Ghost Variations’ – are, as their title suggests, in a very different vein to the earlier works featured on this disc. The variations were written during a severe mental crisis near the composer’s death, Schumann claiming that the theme had been presented to him by angels. The music is indeed angelic; almost painfully serene and other-worldly, revealing a composer whose participation in life was only partial, and who yearned to be at peace.

Juan Carlos takes the listener through these contrasting phases with aplomb. An essential disc for all lovers of Schumann’s piano music.

Tracklist:
Robert Schumann (1810-1856)
01. Carnaval, Op. 9: I. Preambule
02. Carnaval, Op. 9: II. Pierrot
03. Carnaval, Op. 9: III. Arlequin
04. Carnaval, Op. 9: IV. Valse noble
05. Carnaval, Op. 9: V. Eusebius
06. Carnaval, Op. 9: VI. Florestan
07. Carnaval, Op. 9: VII. Coquette
08. Carnaval, Op. 9: VIIIa. Réplique
09. Carnaval, Op. 9: VIIIb. Sphinxes
10. Carnaval, Op. 9: IX. Papillons
11. Carnaval, Op. 9: X. ASCH-SCHA (lettres dansantes)
12. Carnaval, Op. 9: XI. Chiarina
13. Carnaval, Op. 9: XII. Chopin
14. Carnaval, Op. 9: XIII. Estrella
15. Carnaval, Op. 9: XIV. Reconnaissance
16. Carnaval, Op. 9 -: XV. Pantalon et Colombine
17. Carnaval, Op. 9: XVI. Valse allemande-Intermezzo: Paganini
18. Carnaval, Op. 9: XVII. Aveu
19. Carnaval, Op. 9: XVIII. Promenade
20. Carnaval, Op. 9: XIX. Pause
21. Carnaval, Op. 9: XX. Marche des “Davidsbündler” contre les Philistins
22. Faschingsschwank aus Wien, Op. 26: I. Allegro-Molto animato
23. Faschingsschwank aus Wien, Op. 26: II. Romanze-Piuttosto lento
24. Faschingsschwank aus Wien, Op. 26: III. Scherzino
25. Faschingsschwank aus Wien, Op. 26: IV. Intermezzo-Colla piú grande energia
26. Faschingsschwank aus Wien, Op. 26 -: V. Finale-Estremamente veloce
27. Geistervariationen: I. Theme-Leise, innig
28. Geistervariationen: II. Var. I
29. Geistervariationen: III. Var. II. Canonisch
30. Geistervariationen: IV. Var. III. Etwas belebter
31. Geistervariationen: V. Var. IV
32. Geistervariationen -: VI. Var. V

Personnel:
Juan Carlos (piano)

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From the album cover of Juana Molina’s seventh album, Halo, a bone bearing two human eyes stares shrewdly out at the viewer. It’s an image as comical as it is unnerving, though not entirely unexpected from the inventive Argentinian singer/songwriter, who for two decades has danced nimbly around the boundaries of experimental pop, art, and design. Since abandoning her successful career as a comedic television actress in the mid-’90s, Molina has served up a constantly evolving pastiche of maverick sound that usually includes erratic beats, glowing electronics, fractured guitar loops, and all manner of treated vocals. What has kept her outsider music consistently appealing is the whimsy and melodic warmth that imbue her catalog with an underlying sense of humanity. Halo, Molina’s first release since 2013’s Wed 21, feels like a logical snapshot of her ongoing journey, presenting 12 new tracks that are as eccentric as they are inviting. From the woozy strings poured gently atop the dark digital grooves of “Paraguaya” to the fractured Latin guitar riff that carries lead single “Cosoco,” the instrumentation is subtly layered and the production pleasantly disorienting in what has become her signature style. On the wonderful “Sin Dones,” a neat bass groove develops slowly under Molina’s effected vocals for three minutes before finally breaking into a seductive drum pattern that utterly transforms the song. Many of the tracks are built this way, taking their time to unfold, sometimes reaching their destination and sometimes just out for a stroll. On “Cálculos y Oráculos,” one of Halo’s most understated tracks, hazy muted synths warble around a sweet two-chord refrain that seems to be constructed out of the windy tone made from blowing on a bottle top. It’s an enchanting mix that falls at the center of the album’s sequence like an interlude. Training an audience to expect the unexpected is a tough trick, but after two decades, Molina’s reputation as a bold sonic explorer is well established. ~ Timothy Monger

Tracklist:
01. Paraguaya
02. Sin Dones
03. Lentil Simo Halo
04. In the Lassa
05. Cosoco
06. Cal Iculos y Oral Culos
07. Los Pies Helados
08. A00 B01
09. Cara De Espejo
10. Andol
11. Estalacticas
12. Al Oeste

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Julien the violinist, Dimitri the concert accordionist… a brotherhood, a united soul on the stage, giving all it has to artistic emotion and the intensity of sharing this moment. Whilst the two brothers look at each other with closed eyes, the music rises and affirms the words of Plato… “and one starts to dream of beauty, of simplicity and of immensity”. The sonorities of the two instruments melt into each other, reflections of the repertoire bursting forth, as if all was permitted, as if all was accessible. As if the duo had always existed in the hearts of their audience, revealed to itself, somewhere between the violin and the concert accordion, between Julien and Dimitri…

Tracklist:
01. Chaconne en Sol Mineur (Arr. pour Violon & Accordéon)
02. Violentango
03. Ave Maria (Arr. pour Violon & Accordéon)
04. Meditango
05. Rondo Capriccioso
06. Goulag pour accordéon seul: I. A Zone
07. Goulag pour accordéon seul: II. Prisoner’s walking
08. Goulag pour accordéon seul/ III. Criminels
09. Goulag pour accordéon seul/ IV. Forest cutting
10. Goulag pour accordéon seul/ V. The boss and his slave
11. Révélation
12. Hiver

Composers:
Piazzólla, Astor (1921-92)
Vitali, Tomaso Antonio (1653-1713)

Personnel:
Julien Bouclier, violine
Dimitri Bouclier, accordion

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Virtuoso flautist Juliette Hurel offers us two pillars of the Cantor’s work for transverse flute: the essential Suite in B Minor for flute and strings, which ends in the world-famous Badinerie, and the unique Partita (or Sonata, the editors can’t quite decide) for solo transverse flute; and the no-less famous BWV 1013 of the 1720s. Around these twin pillars, Hurel weaves an intricate and varied tapestry, bringing in the Sonata for Trio BWV 1038, which gives every indication of being the work of Johann Sebastian, whereas it was in fact written by Carl Philipp Emanuel – or, at the very least, was a father-son collaboration. And finally we can hear the soprano Maïlys de Villoutreys performing the St Matthew Passion, the “Coffee Cantata”, the Cantata “Ich habe genug” and the Easter Oratorio, in which the solo flute takes centre stage. By way of accompaniment we have the Les Surprises ensemble, a rather continuo string quintet and, on the keyboards (harpsichord and organ), we have Louis-Noël Bestion de Camboulas.

Tracklist:
Johann Sebastian Bach (1685 – 1750)
01. Suite No. 2 in B Minor, BWV 1067: I. Ouverture
02. Suite No. 2 in B Minor, BWV 1067: II. Rondeau
03. Suite No. 2 in B Minor, BWV 1067: III. Sarabande
04. Suite No. 2 in B Minor, BWV 1067: IV. Bourrées I & II
05. Suite No. 2 in B Minor, BWV 1067: V. Polonaise & Double
06. Suite No. 2 in B Minor, BWV 1067: VI. Menuet
07. Suite No. 2 in B Minor, BWV 1067: VII. Badinerie
08. Matthäus-Passion, BWV 244: “Aus Liebe will mein Heiland sterben”
09. Partita in A Minor, BWV 1013: I. Allemande
10. Partita in A Minor, BWV 1013: II. Corrente
11. Partita in A Minor, BWV 1013: III. Sarabande
12. Partita in A Minor, BWV 1013: IV. Bourrée anglaise
13. Oster-Oratorium, BWV 249: IV. Aria “Seele, deine Spezereien”
14. Trio Sonata in G Major, BWV 1038: I. Largo
15. Trio Sonata in G Major, BWV 1038: II. Vivace
16. Trio Sonata in G Major, BWV 1038: III. Adagio
17. Trio Sonata in G Major, BWV 1038: IV. Presto
18. Coffee Cantata, BWV 211: IV. Aria “Ei! Wie schmeckt der Kaffee süsse”
19. Cantata BWV 82a Ich habe genug: I. Aria “Ich habe genug”

Personnel:
Juliette Hurel, flute
Mailys de Villoutreys, soprano
Ensemble Les Surprises
Louis-Noel Bestion de Camboulas, harpsichord, organ, direction

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Les Arts Florissants & William Christie – J.S. Bach: Mass in B Minor (Live in Paris) (2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:44:46 minutes | 1,01 GB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © harmonia mundi

The Monteverdi Choir and English Baroque Soloists are renowned of their spectacular performances of Bach’s epic masterpiece, which they have toured extensively.

During their last tour (in Munich, Frankfurt, Lucerne, Aix-en-Provence and Paris) there was a stampede for tickets and they performed every night in full houses, to spellbound audiences.

This album is the culmination of the tour: it was recorded in an open session in London, and captures the special atmosphere of the concerts

It is presented in a 2-CD casebook and contains a booklet featuring original notes by John Eliot Gardiner translated in English, German and French.

“Gardiner’s second recording of the B minor Mass is a predictably exhilarating experience. The opening Kyrie, paced to perfection, leaves one amazed afresh…the chorus (which supplies the mostly fine soloists) is its usual splendid self.” (Sunday Times)

“there are special moments, especially in more homophonic writing like ‘Et incarnatus’, sung by the Monteverdi Choir with rapt concentration. The playing of the EBS, too, is outstanding.” (Early Music Today)

“Thirty years on, Gardiner’s take on the mass is if anything more exuberant, more joyful than his famous Archiv reading: all concerned seem to share this vision, especially the soloists who step forward from the choir. Textures are all crystal clear, part in thanks to a superbly natural, warm recording. Essential listening.” (Classical Music)

Tracklist:

Johann Sebastian Bach (1685 – 1750)

CD1
01. Mass in B minor, BWV 232, Part I, Kyrie, Gloria: Kyrie eleison (Live)
02. Mass in B minor, BWV 232, Part I, Kyrie, Gloria: Christe eleison (Live)
03. Mass in B minor, BWV 232, Part I, Kyrie, Gloria: Kyrie eleison (Live)
04. Mass in B minor, BWV 232, Part I, Kyrie, Gloria: Gloria in excelsis (Live)
05. Mass in B minor, BWV 232, Part I, Kyrie, Gloria: Et in terra pax (Live)
06. Mass in B minor, BWV 232, Part I, Kyrie, Gloria: Laudamus te (Live)
07. Mass in B minor, BWV 232, Part I, Kyrie, Gloria: Gratias agimus tibi (Live)
08. Mass in B minor, BWV 232, Part I, Kyrie, Gloria: Dominus Deus (Live)
09. Mass in B minor, BWV 232, Part I, Kyrie, Gloria: Qui tollis peccata mundi (Live)
10. Mass in B minor, BWV 232, Part I, Kyrie, Gloria: Qui sedes ad dextram Patris (Live)
11. Mass in B minor, BWV 232, Part I, Kyrie, Gloria: Quoniam tu solus sanctus (Live)
12. Mass in B minor, BWV 232, Part I, Kyrie, Gloria: Cum Sancto Spiritu (Live)

CD2
01. Mass in B minor, BWV 232, Part II, Symbolum Nicenum: Credo in unum Deum (Live)
02. Mass in B minor, BWV 232, Part II, Symbolum Nicenum: Patrem omnipotentem (Live)
03. Mass in B minor, BWV 232, Part II, Symbolum Nicenum: Et in unum Dominum (Live)
04. Mass in B minor, BWV 232, Part II, Symbolum Nicenum: Et incarnatus est (Live)
05. Mass in B minor, BWV 232, Part II, Symbolum Nicenum: Crucifixus (Live)
06. Mass in B minor, BWV 232, Part II, Symbolum Nicenum: Et resurrexit (Live)
07. Mass in B minor, BWV 232, Part II, Symbolum Nicenum: Et in Spiritum sanctum Dominum (Live)
08. Mass in B minor, BWV 232, Part II, Symbolum Nicenum: Confiteor (Live)
09. Mass in B minor, BWV 232, Part II, Symbolum Nicenum: Et expecto (Live)
10. Mass in B minor, BWV 232, Part III, Sanctus: Sanctus (Live)
11. Mass in B minor, BWV 232, Part IV, Osanna, Benedictus, Agnus Dei, Dona nobis pacem: Osanna in excelsis (Live)
12. Mass in B minor, BWV 232, Part IV, Osanna, Benedictus, Agnus Dei, Dona nobis pacem: Benedictus (Live)
13. Mass in B minor, BWV 232, Part IV, Osanna, Benedictus, Agnus Dei, Dona nobis pacem: Osanna in excelsis (Live)
14. Mass in B minor, BWV 232, Part IV, Osanna, Benedictus, Agnus Dei, Dona nobis pacem: Agnus Dei (Live)
15. Mass in B minor, BWV 232, Part IV, Osanna, Benedictus, Agnus Dei, Dona nobis pacem: Dona nobis pacem (Live)

Personnel:
Hannah Morrison, soprano
Esther Brazil, mezzo
Meg Bragle, alto
Kate Symonds-Joy, alto
Peter Davoren, tenor
Nick Pritchard, tenor
Alex Ashworth, bass
David Shipley, bass
Monteverdi Choir
English Baroque Soloists
John Eliot Gardiner, conductor

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It was Jean-Jacques Rousseau in his Dictionnaire de Musique who quoted the philosopher Fontenelle’s famous outburst ‘Sonata, what do you want from me?’. The Italian sonata was the fashion in France at that time and composers had abandoned the character pieces and the works in dance forms that had typified French music until then. Couperin, a proud champion of French music who was nonetheless attracted by the charms of Italian music, had tried to reconcile the musical tastes of the two nations by giving illustrative titles to the various movements of his sonatas.

This new series of recordings from Ricercar will explore the history of the sonata in France at the beginning of the 18th century. The structural freedom and the undeniable sense of drama implicit in the Sonatas by Elisabeth Jacquet de La Guerre provide an excellent delineation of our theme. Louis XIV was not wrong about this music: ‘‘Dinner being over, His Majesty spoke to Mlle de la Guerre in a most gracious manner; after having praised her sonatas extensively, he said to her that they could not be compared to any other such works. Mlle de la Guerre could not have received higher praise, for these words revealed that the King had not only found her music to be most fine, but also to be original — a quality that today is extremely rare.’ ( Le Mercure galant, 1707) This recording also marks the debut of Florence Malgoire and her ensemble Les Dominos on the Ricercar label.

Tracklist:
Elisabeth Jacquet de la Guerre (1665-1729)
01. Sonata No. I en Ré Mineur: Sonata No. I en Ré Mineur: I. (Lent)
02. Sonata No. I en Ré Mineur: Sonata No. I en Ré Mineur: II. Presto
03. Sonata No. I en Ré Mineur: Sonata No. I en Ré Mineur: III. Adagio
04. Sonata No. I en Ré Mineur: Sonata No. I en Ré Mineur: IV. Presto
05. Sonata No. I en Ré Mineur: Sonata No. I en Ré Mineur: V. Presto
06. Sonata No. I en Ré Mineur: Sonata No. I en Ré Mineur: VI. Aria
07. Sonata No. I en Ré Mineur: Sonata No. I en Ré Mineur: VII. Presto
08. Sonata No. II en Ré Majeur: Sonata No. II en Ré Majeur: I. Presto
09. Sonata No. II en Ré Majeur: Sonata No. II en Ré Majeur: II. Adagio
10. Sonata No. II en Ré Majeur: Sonata No. II en Ré Majeur: III. Presto
11. Sonata No. II en Ré Majeur: Sonata No. II en Ré Majeur: IV. Presto
12. Sonata No. III en Fa Majeur: Sonata No. III en Fa Majeur: I. (Lent)
13. Sonata No. III en Fa Majeur: Sonata No. III en Fa Majeur: II. Preste (sic)-Adagio
14. Sonata No. III en Fa Majeur: Sonata No. III en Fa Majeur: III. Presto
15. Sonata No. III en Fa Majeur: Sonata No. III en Fa Majeur: IV. Aria
16. Sonata No. III en Fa Majeur: Sonata No. III en Fa Majeur: V. Adagio
17. Sonata No. IV en Sol Majeur-Mineur: Sonata No. IV en Sol Majeur-Mineur: I. (Lent)-Presto-Adagio
18. Sonata No. IV en Sol Majeur-Mineur: Sonata No. IV en Sol Majeur-Mineur: II. Presto-(Lent)
19. Sonata No. IV en Sol Majeur-Mineur: Sonata No. IV en Sol Majeur-Mineur: III. Presto
20. Sonata No. IV en Sol Majeur-Mineur: Sonata No. IV en Sol Majeur-Mineur: IV. Adagio
21. Sonata No. IV en Sol Majeur-Mineur: Sonata No. IV en Sol Majeur-Mineur: V. Aria
22. Sonata No. V en La Mineur: Sonata No. V en La Mineur: I. (Lent)
23. Sonata No. V en La Mineur: Sonata No. V en La Mineur: II. Presto
24. Sonata No. V en La Mineur: Sonata No. V en La Mineur: III. Adagio
25. Sonata No. V en La Mineur: Sonata No. V en La Mineur: IV. Courante
26. Sonata No. V en La Mineur: Sonata No. V en La Mineur: V. Aria
27. Sonata No. VI en La Majeur: Sonata No. VI en La Majeur: I. Allemande
28. Sonata No. VI en La Majeur: Sonata No. VI en La Majeur: II. Presto
29. Sonata No. VI en La Majeur: Sonata No. VI en La Majeur: III. Adagio
30. Sonata No. VI en La Majeur: Sonata No. VI en La Majeur: IV. (Lent)
31. Sonata No. VI en La Majeur: Sonata No. VI en La Majeur: V. Aria
32. Sonata No. VI en La Majeur: Sonata No. VI en La Majeur: VI. Adagio
33. Sonata No. VI en La Majeur: Sonata No. VI en La Majeur: VII. Presto
34. Sonata No. VI en La Majeur: Sonata No. VI en La Majeur: VIII. Aria

Personnel:
Les Dominos:
Florence Malgoire (violin & conductor)
Guido Balestracci (bass viol)
Jonathan Rubin (theorbo & guitar)
Blandine Rannou (harpsichord)

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After two albums released by Ambronay which have received numerous plaudits, the Swiss baroque ensemble Les Ombres present an album dedicated to Telemann’s ‘Paris’ Quartets: repertoire they played at York Early Music Festival in 2012 in a young artists’ showcase.

Pleased with the reception of his quartets from the Parisian public, Telemann completed an edition of six new quartets subsequently appointed ‘Pariser Quartett’. These contrast with the first set in their decidedly French style. In chamber formation Les Ombres explore the unique style of these jewels of baroque music.

“This is an excellent recording…I loved hearing Bach and Fasch played for the first time by Italians… I doubt a casual listener would discern anything particular – it is more likely that the beauty of the sound and the remarkable balance between the voices will overwhelm them…I shall return to this disk again and again for the sheer pleasure of the experience.” (Early Music)

Tracklist:
Georg Philipp Telemann (1681-1767)
01. Six quatuors à violon, flûte, viole et basse continue, Sonata I en La Majeur: I. Soave
02. Six quatuors à violon, flûte, viole et basse continue, Sonata I en La Majeur: II. Allegro
03. Six quatuors à violon, flûte, viole et basse continue, Sonata I en La Majeur: III. Andante
04. Six quatuors à violon, flûte, viole et basse continue, Sonata I en La Majeur: IV. Vivace
05. Six quatuors à violon, flûte, viole et basse continue, Sonata seconda en Sol Mineur: I. Andante
06. Six quatuors à violon, flûte, viole et basse continue, Sonata seconda en Sol Mineur: II. Allegro
07. Six quatuors à violon, flûte, viole et basse continue, Sonata seconda en Sol Mineur: III. Largo
08. Six quatuors à violon, flûte, viole et basse continue, Sonata seconda en Sol Mineur: IV. Vivace
09. Six quatuors à violon, flûte, viole et basse continue, Concerto I en Sol Majeur: I. Grave, Allegro, Grave, Allegro
10. Six quatuors à violon, flûte, viole et basse continue, Concerto I en Sol Majeur: II. Largo, Presto, Largo
11. Six quatuors à violon, flûte, viole et basse continue, Concerto I en Sol Majeur: III. Allegro
12. Nouveaux quatuors en six suites, Quatuor No. 6 en Mi Mineur: I. Prélude “À discrétion“, Très vite
13. Nouveaux quatuors en six suites, Quatuor No. 6 en Mi Mineur: II. Gai
14. Nouveaux quatuors en six suites, Quatuor No. 6 en Mi Mineur: III. Vite
15. Nouveaux quatuors en six suites, Quatuor No. 6 en Mi Mineur: IV. Gracieusement
16. Nouveaux quatuors en six suites, Quatuor No. 6 en Mi Mineur: V. Distrait
17. Nouveaux quatuors en six suites, Quatuor No. 6 en Mi Mineur: VI. Modéré

Personnel:
Margaux Blanchard, /Viola da Gamba
Sylvain Sartre, flute
Les Ombres

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Mirare presents another fine recording by the talented ensemble Les Ombres, led jointly by group members Margaux Blanchard and Sylvain Sartre. Baroque music combines violence and gentleness, unity and plurality. This disc dedicated to the myth of Semele and Icarus combines music by Marin Marais, André Cardinal Destouches and George Frederic Handel.

Tracklist:
01. Marche d’ægipans et de Ménades
02. Ouverture
03. Air « Quel bruit nouveau se fait entendre »
04. Deuxième air des guerriers
05. Chaconne
06. Récitatif « Déjà par un serment terrible »
07. Air « Ne cesse point de m’enflammer »
08. Récitatif « Aussitôt le bruit du tonnerre »
09. Air « Est-il un destin plus heureux »
10. Récitatif « Elle finit, elle est toute embrasée »
11. Air « Régnez sans partage »
12. I. Largo-Allegro-Largo
13. II. Andante
14. III. Allegro
15. Air « Oh sleep »
16. L’Allegro, il Penseroso ed il Moderato, HWV 55 (1740): Air « Sweet bird » (instrumental)
17. Air « Tra le fiamme »
18. Récitatif « Dedalo già »
19. Air « Pien di nuovo e bel diletto »
20. Récitatif « Sì, sì, purtroppo è vero »
21. Air « Voli per l’Aria »
22. Récitatif « L’uomo che nacque per salire al cielo »
23. Air « Tra le fiamme »
24. Symphonie
25. Récitatif « Iris impatient of thy stay »
26. Air « Endless pleasure »
27. Récitatif « No more »
28. Air « Hence, Iris, hence away »
29. Theodora (1750): Symphonie
30. Theodora (1750): Air « To thee, thou glorious son of worth »

Composers:
Destouches, André Cardinal (1672-1749)
Handel, George Frideric (1685-1759)
Marais, Marin (1656-1728)

Personnel:
Chantal Santon Jeffery (soprano)
Mélodie Ruvio (alto)
Les Ombres, Sylvain Sartre
Margaux Blanchard (conductor)

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Lesley Wilson, Thomas Miller – A Much Travel’d Clown: Première Recordings of Scottish Bassoon Music (2017)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:10:19 minutes | 0,98 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Odradek Records

Lorenzo, the much-travelled clown, is a Venetian glass ornament belonging to the composer, Marcus Blunt. Lorenzo inspired both Blunt’s work for bassoon and piano, at the heart of this disc, and a drawing by Frank Bayford, which emerged as a natural focus for a growing collection of chamber works for bassoon. The music of ‘The Much-Travel’d Clown’ captures the mercurial character of the bassoon: an outwardly cheerful clown who sometimes expresses an inner sadness.

Each of the seven composers featured on this recording makes an individual response to the technical and expressive resources of the bassoon. The bassoon is a wonderfully versatile instrument, with three distinct registers across a range of nearly four octaves, yet has too often been overlooked by composers – something Lesley Wilson has sought to rectify by commissioning new works for the instrument.

Alongside established works by Hans Gàl and David Johnson, the CD features several pieces by living composers, all of whom explore different facets of the bassoon’s character. As well as works for solo bassoon, the instrument is heard in combination with piano and in duet with the cello, in music ranging from the firmly diatonic to the luminously atonal, via the jazz-infused bagatelles of Michael Norris.

Lesley Wilson has always sought to extend the bassoon’s technical range, and the programme includes Janet Beat’s mysteriously evocative piece involving multiphonics and real-time synchronisation with electronics. All these works represent different facets of the clown’s personality.

Lesley Wilson was principal bassoon with the Scottish National Orchestra (later, Royal Scottish National Orchestra) for 26 years, before embarking on a freelance career. She has taught for the Royal Conservatoire of Scotland (formerly, the Royal Scottish Academy of Music and Drama), the Royal Northern College of Music, and is Visiting Tutor in bassoon at the University of Aberdeen. Although appearing on numerous orchestral recordings, this is Lesley’s first CD of solo and chamber works, and it reflects a lifetime’s interest in commissioning new music.

Tracklist:
01. Six Bagatelles for Bassoon Trio: I. Mild Swing
02. Six Bagatelles for Bassoon Trio: III. Study
03. Caprice for Solo Bassoon
04. Scotch Song for Solo Bassoon
05. Six Bagatelles for Bassoon Trio: II. Swing
06. A Small Suite for Solo Bassoon: I. Prelude
07. A Small Suite for Solo Bassoon: II. Minuet & Trio
08. A Small Suite for Solo Bassoon: III. Elegy & Scherzo
09. Sonata for Bassoon and Piano: Prelude-Fugue-Nocturne-Marche-Gigue
10. Dreamscapes for Bassoon and Tape
11. Lorenzo, the Much Travel’d Clown for Bassoon and Piano-I. Allegro risoluto
12. Lorenzo, the Much Travel’d Clown for Bassoon and Piano: II. Allegretto
13. Lorenzo, the Much Travel’d Clown for Bassoon and Piano: III. Largo
14. Lorenzo, the Much Travel’d Clown for Bassoon and Piano: IV. Allegretto comodo
15. Divertimento for Bassoon and Violoncello, Op. 90, No. 1: I. Dialogue
16. Divertimento for Bassoon and Violoncello, Op. 90, No. 1: II. Scherzino
17. Divertimento for Bassoon and Violoncello, Op. 90, No. 1: III. Fughetta
18. Six Bagatelles for Bassoon Trio, No. 4: Rag Time
19. Strange Fish for Solo Bassoon
20. Six Bagatelles for Bassoon Trio, No. 5: Blue
21. Six Bagatelles for Bassoon Trio, No. 6: Fives

Composers:
Beat, Janet (b. 1937)
Blunt, Marcus (b.1947)
Gál, Hans (1890-1987)
Johnson, David N (1922-88)
McGregor, Gemma
Norris, Michael (b.1934)
Williams, Roger B (b.1943)

Personnel:
Premiere Recordings of Scottish Bassoon Music
Lesley Wilson (bassoon)
Myra Chahin (cello)
David J Smith (piano)

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The mission of the “Liepaja Concertos” is to capture music that has its roots in the Latvian cultural soil and to introduce it to the world. This new album from Odradek brings together works by Dubra, Smidbergs, Esenvalds, Karlsons and Lacis, performed by the Liepaja Symphony Orchestra under the baton of Atvars Lakstigala.

The Liepaja Symphony Orchestra is the oldest continually performing symphony orchestra in the Baltic States, and the only professional orchestra in the country outside Latvia’s capital Riga. Its debut Odradek album, Kurland Sounds, was praised by BBC Music Magazine as “A bracing selection of contemporary Latvian music combining Eastern colour and Western sonorities in dazzling combinations with an operatic intensity that will leave you breathless”.

Atvars Lakstigala, a prolific conductor both at home and overseas, has been the Liepaja Symphony Orchestra’s Chief Conductor and Music Director from 2010 to 2017. He has won many international competitions, received numerous nominations for the Latvian Grand Music Award, and in 2010 won this award for Debut of the Year.

Tracklist:
01. Liepāja Concerto No. 3 for Piano and Orchestra
02. Liepāja Concerto No. 8 for Violin and Orchestra: I. Andante Moderato
03. Liepāja Concerto No. 8 for Violin and Orchestra: II. Andante
04. Liepāja Concerto No. 8 for Violin and Orchestra: III. Presto
05. Liepāja Concerto No. 4 ‘Visions of Arctic Night’ for Clarinet and Orchestra: I. Inquieto-Misterioso
06. Liepāja Concerto No. 4 ‘Visions of Arctic Night’ for Clarinet and Orchestra: II. Espressivo-Misterioso
07. Liepāja Concerto No. 4 ‘Visions of Arctic Night’ for Clarinet and Orchestra : III. Maestoso-Grave-Limpido
08. Liepāja Concerto No. 9 ‘Gliese 581’
09. Liepāja Concerto No. 10 ‘42.195’ for Flute, Oboe and Orchestra

Composers:
Dubra, Rihards (b.1964)
Ešenvalds, Eriks (b.1977)
Karlsons, Juris (b. 1948)
Lācis, Kārlis (b.1977)
Smidbergs, Vilnis (b.1944)

Personnel:
Liepaja Symphony Orchestra
Atvars Lakstigala (conductor)
Please note: Tracks “8, 9” are in 96kHz/24bit format.

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Due to a strong French influence at the beginning of the 18th century ‘bandes de hautbois’ were frequently present in the German courts. These instruments were initially intended for the performance of military and ceremonial music but soon began to take part in more courtly entertainments. A particular style of music was used in compositions for these instruments, as it was also in works for newer instruments, one of these being the oboe da caccia that Fasch employed as the solo instrument in a concerto that has only recently come to light.

Tracklist:
01. Tafelmusik, Suite in A Minor: I. Ouverture
02. Tafelmusik, Suite in A Minor: II. Entrée
03. Tafelmusik, Suite in A Minor: III. Menuet
04. Tafelmusik, Suite in A Minor: IV. Air
05. Tafelmusik, Suite in A Minor: V. Chaconne
06. Tafelmusik, Suite in A Minor: VI. Gavotte
07. Sonata in G Minor: I. Più adagio-Allegro-Adagio
08. Sonata in G Minor: II. Aria
09. Sonata in G Minor: III. Menuet
10. Sonata in G Minor: IV. Adagio
11. Sonata in G Minor: V. Gigue
12. Kleine Cammer-Music, Partita No. 3 in C Minor TWV 41:c1: I. Ouverture
13. Kleine Cammer-Music, Partita No. 3 in C Minor TWV 41:c1: II. Prélude
14. Kleine Cammer-Music, Partita No. 3 in C Minor TWV 41:c1: III. Presto
15. Kleine Cammer-Music, Partita No. 3 in C Minor TWV 41:c1: IV. Vivace
16. Kleine Cammer-Music, Partita No. 3 in C Minor TWV 41:c1: V. Vivace
17. Kleine Cammer-Music, Partita No. 3 in C Minor TWV 41:c1: VI. Allegro
18. Kleine Cammer-Music, Partita No. 3 in C Minor TWV 41:c1: VII. Vivace
19. Kleine Cammer-Music, Partita No. 3 In C Minor Twv 41:C1: VIII. Presto
20. Concerto in G Major, FaWV L:G11: I. Un poco allegro
21. Concerto in G Major, FaWV L:G11: II. Air
22. Concerto in G Major, FaWV L:G11: III. Allegro
23. Concerto in G Major, FaWV L:G11: IV. Menuets
24. Concerto in G Major: I. Allegro
25. Concerto in G Major: II. Adagio
26. Concerto in G Major: III. Rigaudon
27. Concerto in G Major: IV. Passepied
28. Sonata in F Major: I. Adagio-Allegro-Adagio
29. Sonata in F Major: II. Aria
30. Sonata in F Major: III. Menuet
31. Sonata in F Major: IV. Allegro
32. Sonata in F Major: V. Gigue

Composers:
Fasch, Johann Friedrich (1688-1758)
Fischer, Johann (1646-c.1711)
Fischer, Johann Kaspar Ferdinand (1665-1746)
Förster, Christoph (1693-1745)
Muller, Jean Michel (1683-1743)
Telemann, Georg Philipp (1681-1767)

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Musical love at first sight’, that is a good description of the meeting of Jos van Immerseel and Lisa Shklyaver. With her sweet tone and fine articulation, the young clarinetist effortlessly won the pianist over. No matter which repertoire they played, it clicked immediately.

The desire to come as close as possible to the sound aesthetic of composers at the time of the first performance of their works, along with the simple pleasure of the sound of period instruments, guide Jos van Immerseel in his approach.

For this recording, offering a panorama of French music for clarinet and piano from the early 20th century, Jos van Immerseel has chosen a Bechstein piano of 1870, and Lisa Schklyaver, a Dolnet Lefevre & Pigis clarinet from 1930.

The recording is doubly precious in that it proposes both the view of one of the finest performers of French music on a variety of remarkable works as well as, in a way, the sonority and poetry of an era.

2015 marks Jos van Immerseel’s 70th birthday, one of Belgium’s most acclaimed musicians. Later in 2015 Jos van Immerseel and Anima Eterna will record and release an album of Janacek and Dvorak.

“The highlight is Saint-Saëns’s sonata, one of the very late group that also includes sonatas for oboe and bassoon, a marvellous work. There is light relief in miniatures by Bloch and Pierné, and Lisa Shklyaver blossoms in Milhaud’s famous Scaramouche suite in an arrangement possibly not by the composer that Immerseel has partly rewritten – so it’s more authentic than the original!” (The Observer)

Tracklist:
01. Sonata for Clarinet and Piano in B-Flat Major, FP 184: I. Allegro tristamente
02. Sonata for Clarinet and Piano in B-Flat Major, FP 184: II. Romanza
03. Sonata for Clarinet and Piano in B-Flat Major, FP 184: III. Allegro con fuoco
04. Sonata for Clarinet and Piano in E-Flat Major, Op. 167: I. Allegretto
05. Sonata for Clarinet and Piano in E-Flat Major, Op. 167: II. Allegro animato
06. Sonata for Clarinet and Piano in E-Flat Major, Op. 167: III. Lento
07. Sonata for Clarinet and Piano in E-Flat Major, Op. 167: IV. Molto allegro-Allegretto
08. Première rhapsodie, L. 116
09. Denneriana
10. Canzonetta in E-Flat Major, Op. 19
11. Scaramouche, Op. 165: I. Vif
12. Scaramouche, Op. 165: II. Modéré
13. Scaramouche, Op. 165: III. Brazileira

Composers:
Bloch, André (1873-1960)
Debussy, Claude Achille (1862-1918)
Milhaud, Darius (1892-1974)
Pierné, Henri Constant Gabriel (1863-1937)
Poulenc, Francis (1899-1963)
Saint-Saëns, Charles Camille (1835-1921)

Personnel:
Jos Van Immerseel, piano
Lisa Shklyaver, clarinet

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Haul Away!, the second album from Manchester singer/songwriter Liz Green, walks a beat similar to her jazzy 2011 debut O, Devotion! It’s no surprise then, that she considers it a sort of sea-inspired sequel to her more earthbound debut and in keeping with an intended trilogy of albums. Frequent references to the sea, islands, and water abound, though this is no attempt at shanties or rough-hewn British folk. The torchy, whimsical, and often maudlin tones of her earlier work remain throughout Haul Away!’s 11 songs. Working again with producer Liam Watson at his analog-leaning Toe Rag Studios, terms like organic and vintage easily come to mind when listening to Green’s songs, which pull influences from American blues, jazz, and folk music. Her round, throaty voice wraps itself around playful, hip-swaying piano tracks like “Rybka” and the shuffling “Where the River Don’t Flow,” whose snaky saxophone and tuba bassline are indicative of the album’s overall sonic character. Rarely does Green stray from her bailiwick of vaguely melancholic, cabaret club quirkiness. As on her first album, Haul Away! continues to play up the period-piece aesthetic so hard that tracks like the understated and stoic folk opener “Battles” feel like a breath of fresh sea air amid all the late-night cigarette smoke. Yes, the album is beautifully recorded and Green’s voice is strong and full of character, but in striving for some sort of stylistic authenticity, much of the overall content feels a bit undercooked. There is much to like about Green’s music, but if Haul Away! is indeed part of a potential trilogy, let’s hope the songwriting on her third offering outweighs its stylish ambitions. ~ Timothy Monger

Tracklist:
01. Battle
02. Haul Away
03. Rybka
04. River Runs Deep
05. Where The River Don’t Flow
06. Empty Handed Blues
07. Into My Arms
08. Island Song
09. Little i
10. Penelope
11. Bikya

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Lorenzo Coppola & Andreas Staier – Brahms: Sonatas for Clarinet and Piano, Op. 120 (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:02:06 minutes | 1,01 GB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © harmonia mundi

The two sonatas for clarinet and piano, composed in 1894, were Brahms’s last chamber works. Knowing that he could count on the virtuosity of their dedicatee, the prodigious clarinetist Richard Mühlfeld (1856-1907), Brahms enthusiastically exploited all the expressive possibilities of the instrument. Under the fingers of Lorenzo Coppola, the clarinet prays, sobs, dreams or laughs, bringing astonishing conviction to all these varied emotions.

Both Andreas Staier and Lorenzo Coppola contribute booklet notes for this release and in particular they have this to say about the 1875 Steinway used in the recording:

‘The grand pianos of Steinway & Sons of New York were the most advanced of their time. They won a gold medal at the Paris International Exposition of 1867, and their technical innovations were eventually to be adopted by all European piano makers. The instruments, which were again honoured at the Centennial Exhibition in Philadelphia in 1876, may be said to mark the end of the development of piano building: with them, today’s concert grand was created, which has since been modified only in minor details. The instrument used in this recording is numbered 32500 and dates from the year 1875.

In Brahms’s later years, Steinway grand pianos were among his favourite instruments. On 18 November 1881, for example, he wrote to Julius Otto Grimm: ‘Be so good as to inquire in Cologne or elsewhere if they cannot send us a Bechstein or Steinway. I will gladly pay the transport costs. But I will no longer play on any dubious or questionable instrument.’

We sincerely thank Chris Maene for making his original Steinway available to us for this recording and the rehearsals that preceded it. We spent a very pleasant few days in his collection of instruments in Ruiselede, where we were also enjoyed the most generous hospitality.’

Tracklist:
Johannes Brahms (1833 – 1897)
01. Sonata for Clarinet and Piano No. 1 in F Minor, Op. 120: I. Allegro appassionato
02. Sonata for Clarinet and Piano No. 1 in F Minor, Op. 120: II. Andante un poco adagio
03. Sonata for Clarinet and Piano No. 1 in F Minor, Op. 120: III. Allegro grazioso
04. Sonata for Clarinet and Piano No. 1 in F Minor, Op. 120: IV. Vivace
05. Sechs Klavierstücke, Op. 118: I. Intermezzo-Allegro non assai, ma molto appassionato
06. Sechs Klavierstücke, Op. 118: II. Intermezzo-Andante teneramente
07. Sechs Klavierstücke, Op. 118: III. Ballade-Allegro energico
08. Sechs Klavierstücke, Op. 118: IV. Intermezzo-Allegretto un poco agitato
09. Sechs Klavierstücke, Op. 118: V. Romanze-Andante
10. Sechs Klavierstücke, Op. 118: VI. Intermezzo-Andante, largo e mesto
11. Sonata for clarinet and piano No. 2 in E Flat Major, Op. 120: I. Allegro amabile
12. Sonata for clarinet and piano No. 2 in E Flat Major, Op. 120: II. Allegro appassionato
13. Sonata for clarinet and piano No. 2 in E Flat Major, Op. 120: III. Andante con moto-Allegro-Più tranquillo

Personnel:
Lorenzo Coppola, clarinet
Andreas Staier, piano

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Harmonies and virtuosity: that is what the two composers Sergei Rachmaninoff and Carlos Guastavino have in common. “Even though the geographical distance between them was immense, their approach to the piano was strikingly similar”, remarks Martin Klett. In both composers the Romantic element is paired with apparent attractive simplicity and ambitious piano artistry. Klett begins his album with a brief piece by the Argentinian composer Guastavino (1912-2000), one of the country’s most outstanding composers. In the course of his travels to Europe, the U.S.S.R., and China, he often presented his own piano works and songs in public – as well as his orchestral works, profoundly imbued with folklore. The listener will discover among others the Sonatina in three movements, where the composer associates folklore elements with the Romantic sonatina form. Klett continues with a selection of Guastavino’s Cantos Populares, Argentinian “Songs Without Words” so to speak. This cycle consists of ten brief aphorisms – often a short tango, a zamba, or a chacarera. The programme’s section dedicated to Guastavino closes with Las Niñas (The Girls, written 1953), where the link towards Rachmaninov seems rather obvious. A perfect transition to introduce Rachmaninoff’sSecond Sonata, which was composed in Rome in 1913 and helped consolidate his reputation as Russia’s last great Romantic. Once Rachmaninoff had performed the Second Sonatamany times in public, he decided to revise it thoroughly in 1931, and Klett plays this definite version. Klett, a former student of Elisabeth Leonskaja, Leon Fleisher and Pascal Devoyon, won the International Johannes Brahms Competition and the German National Music Competition, and has become a welcome guest at the prestigious music festivals of Lucerne, Schleswig-Holstein, Heidelberg, Mecklenburg-Vorpommern and Schwetzingen to name just a few.

Tracklist:
Carlos Guastavino (1912 – 2000)
01. Bailecito: Allegretto non troppo
02. Sonatina for Piano: I. Allegretto
03. Sonatina for Piano: II. Lento muy expresivo
04. Sonatina for Piano: III. Presto
05. 10 Cantos Populares: No. 1
06. 10 Cantos Populares: No. 2
07. 10 Cantos Populares: No. 3
08. 10 Cantos Populares: No. 5
09. 10 Cantos Populares: No. 6
10. 10 Cantos Populares: No. 8
11. 10 Cantos Populares: No. 10
12. Tres Romances Nuevos: No. 1. La Niña del Río dulce
13. Tres Romances Nuevos: No. 2. El Chico que vino del Sur
14. Las Niñas

Sergei Rachmaninoff (1873 – 1943)
15. Piano Sonata No. 2 in B-Flat Minor, Op. 36: I. Allegro agitato (Version 1931)
16. Piano Sonata No. 2 in B-Flat Minor, Op. 36: II. Non allegro-Lento (Version 1931)
17. Piano Sonata No. 2 in B-Flat Minor, Op. 36: III. L’istesso tempo-Allegro molto (Version 1931)

Personnel:
Martin Klett, piano

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