December 2021 - New Releases

Click on any label below to scroll to this month’s releases

Index - Page 1 of 2 (Click here for Page 2)

Leevi Madetoja, Uuno Klami, Jean Sibelius, Tauno Pylkkänen

Scenes from the Kalevala

Lahti Symphony Orchestra, Dima Slobodeniouk

BIS2371
1 SACD (ECOPAK)
03/12/21
BIS

"The Kalevala is a compilation of mostly original folk poetry, arranged into fifty extensive runos (‘poems’) by the Finnish physician and folklorist Elias Lönnrot. Beginning with the creation of the world, it develops into a series of separate episodes which nevertheless form a rich whole, introducing epic characters such as Väinämöinen, Lemminkäinen and Kullervo. The collection first appeared in 1835, with a final, extended version being published in 1849, and was soon hailed as Finland’s ‘national epos’ – a sensitive matter given that the country had been subjected to Russian rule since 1809. It came to play a major part in Finland’s national awakening and had a massive influence on Finnish art in the late 19th century, but its role in the national consciousness remains important even today. The present album, from the Lahti Symphony Orchestra and Dima Slobodeniouk, brings together Kalevala-related works spanning the period between 1897 and 1943. No such collection could overlook Sibelius, who composed several works inspired by the epos. Included here is a rarity – the first recording of the 1897 version of Lemminkäinen in Tuonela, from the Lemminkäinen Suite. Finnish composers from later generations all had to find a way out from under Sibelius’s shadow – especially so when composing works based on the Kalevala. The portraits of Kullervo which bookend the disc, by Leevi Madetoja and Tauno Pylkkänen, are both compact works in contrast to Sibelius’s large-scale ‘choral symphony’ on the same theme, and when Uuno Klami used bold and primitive colours in his five-movement Kalevala Suite, he was looking towards Stravinsky rather than his countryman."

Franz Schubert

Winterreise

James Rutherford, Eugene Asti

BIS2410
1 SACD (ECOPAK)
03/12/21
BIS

"When Franz Schubert in 1827 invited a friend to the first performance of his Winterreise, he called it ‘a cycle of horrifying songs’. The texts that he had chosen to set were by the poet Wilhelm Müller, whose 24 poems form a psychodrama which starts with regret over a lost love but develops into an inner voyage in which a nameless Wanderer probes for answers to existential questions. There is no plot, no events in the external world: instead, we spy on fleeting emotions and thoughts. In setting these poems to music Schubert was confronting his own probable fate: Winterreise was completed the year before his death in 1828, at the age of 31, and he will have known that the syphilis he had contracted in late 1822 often led to insanity and paralysis before release in death. With this in mind, one understands why Schubert himself said that the cycle had cost him ‘more effort than any of my other songs.’ Originally written for tenor voice, the songs are often heard transposed to other vocal ranges. Here the whole cycle is transposed a minor third down, to suit the baritone of James Rutherford. Primarily active as an opera singer – he is a Wagner specialist – Rutherford also enjoys a long-lasting partnership with pianist Eugene Asti. On BIS the two have previously released a recording of Schubert’s Schwanengesang – a disc which received top marks from the German website klassik-heute.de and was described as ‘one of the best recordings of these songs that I’ve heard’ by the reviewer in American Record Guide."

Johann Sebastian Bach

Bach on the Rauwolf Lute

Jakob Lindberg

BIS2552
1 SACD (ECOPAK)
03/12/21
BIS

"Bach was renowned as a keyboard player as well as being an accomplished violinist, but as far as we know he didn't play the lute. He seems to have been fascinated by the instrument’s special sound qualities, however, and was clearly inspired by the possibilities of the Lautenwerk. This was a gut-strung harpsichord designed to imitate the sound of the lute and at least some of the works usually referred to as ‘the Bach Lute Suites’ were probably composed for this instrument. Jakob Lindberg recorded the complete suites in 1992. Returning to the composer almost three decades later, he does so in the company of his Rauwolf lute, an instrument built in Augsburg around 1590 and ‘modernised’ in 1715, during Bach’s lifetime. But this time, only two of the works belong to the standard lute repertoire – the Prelude BWV 999 and the Suite BWV 1006a, which in fact is the composer’s own arrangement of his Partita No. 3 for solo violin. For the remaining works on the disc Lindberg has taken the cue from Bach, making arrangements of Cello Suite No.1 and Sonata No. 1 for solo violin in full. He has also chosen individual movements from other solo works, including the highly complex fugue from Sonata No. 3 for solo violin. The amply filled album (88 minutes!) closes with the iconic Chaconne from Partita No. 2 in D minor."

Egon Kornauth, Robert Fuchs

Works for viola and piano

Litton Duo

BIS2574
1 SACD (ECOPAK)
03/12/21
BIS

"In the spring of 2020, the Covid pandemic caused turmoil in the concert diaries of most musicians, including the conductor Andrew Litton and his wife Katharina Kang Litton, principal violist of New York City Ballet. To find an outlet for their musical expression they began to explore the repertoire for viola and piano together. Having played the sonatas by Brahms they came across the music by two other Viennese composers, Brahms’ near-contemporary Robert Fuchs and his student Egon Kornauth. Fuchs – who the less-than-effusive Brahms called ‘a splendid musician’ – had a long and distinguished career at the Vienna Conservatory where his other students included such composers as Mahler, Wolf, Sibelius, Zemlinsky and Korngold. That the sonatas recorded here were composed around the same time as Schoenberg’s Second String Quartet can be hard to believe – as is the fact that Fuchs’s Phantasiestücke (composed in his 80th and final year) was contemporary with Bartók’s Piano Concerto No. 1. But if they are not in any way pioneering, all three works are beautifully achieved: formally both strong and flexible, with a subtle, deeply-felt emotional colouring of their own. The Litton Duo close the recital with a piece that has a personal significance for the two – an arrangement of the Korean folk song Arirang which they received as a wedding present from Stephen Hough."

Franz Schubert

Complete Symphonies & Fragments

L‘Orfeo Barockorchester, Michi Gaigg

555228-2
4 CD
03/12/21
CPO

On the occasion of its twenty-fifth anniversary, the L’Orfeo Baroque Orchestra is releasing the present recording of Franz Schubert’s complete symphonies and complete symphonic fragments. It is the most recent gem in this orchestra’s multifaceted repertoire ranging from the suite of the French, German, and Austrian Baroque through the sinfonia of the Mannheim School to Viennese Classicism and Early Romanticism. Although Joseph von Spaun termed Schubert a 'song composer' not long after his death, Schubert’s compositional oeuvre may be said to be framed by a symphonic fragment and a sketch for a symphony. The first of these fragments was the score for an overture (D. 2 A) committed to paper around 1810/11 and abandoned in the middle of the exposition, and the last was a draft of three movements for a Symphony in D major (D. 936 A), largely worked out in full, from the last weeks, if not from the last days, of his life. During the period of some eighteen years between these two manuscripts, Schubert occupied himself creatively with almost all the established forms, ensembles, and genres. The symphonic fragments heard here often consist of scores containing only a few measures with the later addition of the instrumentation of a piece, for example, measures 209 to 223 from the first movement of the String Quartet D. 74. Since the composer assigned the date '3 September 1813' to this movement following its final notes, he must have written the fragment immediately prior to beginning his work on the Symphony No. 1 in D major (D. 82).

Antonin Dvorak

String Quartets, Vol. 4

Vogler Quartet

555451-2
1 CD
03/12/21
CPO

""Individuality that unfolds in the common effort – it is here that we are likely to find the secret of the Vogler Quartet, an ensemble that has pursued a unique career with the same membership ever since 1985. 'The Vogler Quartet demonstrates that homogeneity, tonal warmth, and rich sonority need not stand in opposition to transparency and clarity. This is congenial performing on a benchmark level!' This is what klassik-heute wrote of the preceding release in our edition of Dvořák’s quartets. We are now presenting Dvořák’s Quartets Nos. 2 and 5 and the Terzett op. 74 on Vol. 4 in this edition with these highly acclaimed interpreters. To paraphrase Hartmut Schick, the author of the most important German-language monograph on Dvořák’s quartets, the formal idea to return to the essential themes of the preceding movements in the finale of a cyclical work in order to form a summation from them at the end played a significant role in Dvořák’s composition of instrumental music in more than one movement. In his last works, such as his ninth symphony, he developed this process to its fullest potential, and it is also a factor in his young Quartet No. 2. In his Quartet No. 5, however, the composer again sought close contact with the Classical quartet tradition. Nevertheless, it is unusual that all four movements of the quartet are in F minor. His Terzett op. 74 is not a four-movement sonata cycle but a freer collection of four character pieces. This was the way that Dvořák stylized Slavic folk music: In the main part he interlocks 2/4 time and 3/4 time in the manner of a furiant. The theme of the A major trio has a second beat with syncopated accentuation and resultant lengthening pointing to closeness to the slow mazurka type. The last movement is formed by a series of variations on a theme invented by Dvořák in the manner of an instrumental recitative and then varied a total of eleven times."

Dietrich Buxtehude

Complete Organ Works, Vol. 2

Friedhelm Flamme

555407-2
2 SACD
03/12/21
CPO

The first CD of Vol. 2 of Dietrich Buxtehude’s organ works focuses on chorale settings in combination with three free preludes, thereby offering a representative cross section of his organ oeuvre. His extant works for Advent and Epiphany comprise chorale fantasias, a Magnificat, and nine organ chorales. Buxtehude displays his full artistic mastery in the expressive interpretation and elegant embellishment of the chorale verse in these short pieces mostly designed in the 'trio style', that is, with the solo leading of the treble parts, separated middle voices, and the foundation in the bass. The second CD of Vol. 2 presents various free forms and a series of chorale settings for which the composer wrote several versions in which he interpreted and emphasized various aspects of the text. In order to underscore the special features of the personal interpretive style representing the result of his decades of occupation with almost the entire Northern German repertoire, Friedhelm Flamme once again has chosen the magnificent Treutmann organ in the Grauhof Monastery near Goslar, an instrument preserved largely in its original form. This organ brings out Buxtehude’s innovative, visionary musical artistry in a much different way than Northern Germany’s famous Schnitger organs.

Julius Röntgen

Symphonies 7, 11, 12, 14 & 22-24

Brandenburgisches Staatsorchester Frankfurt, Helsingborg Symphony Orchestra, David Porcelijn

777309-2
2 CD
03/12/21
CPO

We now once again can continue our comprehensive and successful Röntgen Edition with a new production containing two CDs dedicated to his last symphonies. And these works also once again show that Röntgen was one of Holland’s most highly imaginative composers during the second half of the nineteenth century. The focus is formed by six one-movement symphonies, each with a length of a mere ten to fifteen minutes, that leave behind an intensive impression, both musically and in view of the instruments employed. In the one-movement symphony In Babylone, for example, the wind ensemble differs from those in most of Röntgen’s other orchestral works. While he otherwise generally follows Schumann’s instrumentation, here he employs three wind instruments each. The symphony begins with a stately succession of chords in the full wind apparatus with flanking by broad string tones. 'Turkish music' consisting of timpani, side and bass drums, cymbals, and triangle is also heard, reinforced by the grand organ. The Edinburgh Symphony in four movements, this in keeping with time-honored tradition, celebrated its premiere in the Usher Hall on 4 December 1930. On the following day The Scotsman wrote that it had made Röntgen even more popular with the audience of the Reid Concerts.

Francesco Maria Veracini

Overtures & Concerti, Vol.3

Federico Guglielmo, L’Arte dell‘ Arco

555241-2
1 CD
03/12/21
CPO

Fifteen years after our first CD featuring works by Francesco Veracini and two years after the release of the second such CD, cpo is now releasing the third production by L’Arte dell’Arco in this series combining a complete edition of this composer’s overtures with some of his most interesting sonatas both from the collection published without an opus number in 1716 and from his Opus 1 of 1721. When Veracini’s compositions are brought together in this way, the various characteristics of his writing style come into clearer focus. The festive manner of the overtures, often shifting to a more lavish style of greater folk character, yields to a chamber-musical stance in the sonatas and with it to a clearer picture of Veracini’s sophistication and contrapuntal talent. The manuscripts of the six overtures are in the holdings of the Conservatorio Benedetto Marcello in Venice. Veracini presumably composed them in 1716, while residing in the City of the Doges, but it is also quite possible that they enjoyed great success both in Dresden and in London.

Niels Rønsholdt

Country

Jakob Kullberg, Annekei, Orkiestra Muzyki Nowej, Szymon Bywalec

8.226713
1 CD
03/12/21
DACAPO

With Country, composer Niels Rønsholdt widens the scope of his music, reimaging the country genre as a concerto for singing solo cellist and chamber orchestra. Country shows off the fine voice of soloist Jakob Kullbergand and his extraordinary ability to play the cello ‘alla chitarra’, like a guitar. Here Rønsholdt finds expressive connections among far-flung sources, creating music which reflects and refracts its inspirations in the rich American country tradition and a sort of Nordic pastoral yearning for love, with a critique of nationalism.

Niels Rønsholdt

Archive of Emotions and Experiences, Book 1 (Birds)

Lenio Liatsou

8.226712
1 CD
03/12/21
DACAPO

With Archive of Emotions and Experiences, Book I (Birds), composer Niels Rønsholdt makes a decisive and gripping contribution to the solo piano repertoire. In an imagined future without birds, the pianist opens an archive of human emotions and experiences and tells of the creatures that once flew through the air while singing. Rønsholdt's Archive is a fascinating solo album that offers great insight into his unique musical thinking.

Gaetano Donizetti

Linda di Chamounix

Orchestra e Coro del Maggio Musicale Fiorentino, Jessica Pratt, Teresa Lervolino, Francesco Demuro, Vittorio Prato, Marina De Liso, Fabio Capitanucci, Michele Pertusi, Antonio Garés, Michele Gamba

CDS7911
3 CD
03/12/21
DYNAMIC

Linda di Chamounix is a pretty country girl who is in love with Carlo, who she believes is a penniless artist. Her honour is threatened by the local squire and she escapes to Paris in search of fortune. This is a tale of courage and madness, in which we discover and experience the strength and suffering of a woman torn apart by estrangement from family and love. Donizetti reaped full and long-lasting success with Linda di Chamounix, and it became one of his most modern, appreciated and long-lived works. Jessica Pratt leads an all-star cast in this acclaimed production from the Teatro del Maggio Musicale Fiorentino.

Giuseppe Verdi

Macbeth

Filarmonica Arturo Toscanini, Chorus of the Teatro Regio of Parma, Ludovic Tézier, Silvia Dalla Benetta, Riccardo Zanellato, Giorgio Berrugi, David Astorga, Francesco Leone, Natalia Gavrilan, Jacobo Ochoa, Pietro Bolognini, Pilar Mezzadri Corona, Roberto Abbado

CDS7915
2 CD
03/12/21
DYNAMIC

Verdi considered Shakespeare’s Macbeth to be ‘one of the greatest creations of man’. The opera’s unbroken dramatic line, incisive libretto and range of expression from the comic to the sublime, made it a work that was way ahead of its time. Verdi explores unusual theatrical characters with Macbeth, the darkness of which resonated with his desire to convey Shakespeare’s brutal realism in a visionary masterpiece that would only be fully appreciated by the mid-1900s. Macbeth is performed here in its rarely heard 1865 French language version.

Franz Schubert

Sonatas D157 – D664 – D850

Costantino Mastroprimiano

CDS7906
1 CD
03/12/21
DYNAMIC

Beethoven’s genius may have had a dominant presence in early 19th-century Vienna, but the 18-year-old Schubert composed a Sonata in E major, D.157 in 1815 that already encapsulated elements of his own genius in the Lied-like perfection of its second movement. His first true piano masterpiece followed in the Sonata in A major, D.664, with an intimacy, lyricism and perfection of form that set him apart from his contemporaries. Composed five years later, the Sonata in D major, D.850 is marked by extrovert, virtuosic writing, memorable themes and an almost improvisatory flair. Costantino Mastroprimiano is a distinctive figure in the field of historical piano. He also specializes in 18th- and 19th-century piano music, especially the works of Clementi, Dussek, Hummel, Cramer, Czerny, Kalkbrenner and Moscheles. Among his recordings are the award-winning 18-CD cycle of Clementi’s complete sonatas on Brilliant Classics and the Beethoven’s complete piano sonatas on Aulicus Classics.

Anton Bruckner

The Symphonies, Vol. 2 (Symphony No. 2 in C minor)

Hansjörg Albrecht

OC478
1 CD
03/12/21
OEHMS CLASSICS

This series marks the 200th anniversary of the birth of Anton Bruckner, which falls in 2024. It’s dedicated to Bruckner’s symphonies, all recorded in new transcriptions for organ by Hansjörg Albrecht. The third recording was made on the impressive organ of London’s Westminster Cathedral. A bonus track on each volume will be a brand new composition for organ that references Bruckner the composer.

Lowell Liebermann

Frankenstein

San Francisco Ballet Orchestra, Martin West

RR-148
2 CD
03/12/21
REFERENCE RECORDINGS

Reference Recordings proudly presents the first audio recording of Lowell Liebermann’s complete score to Liam Scarlett’s ballet adaptation of Mary Shelley's classic Gothic novel. FRANKENSTEIN was recorded during live ballet performances at War Memorial Opera House, San Francisco by RR’s engineering team, comprised of GRAMMY®-winning engineer and Technical Director Keith O. Johnson, and multi-GRAMMY® nominated engineer Sean Royce Martin. The album was produced by the GRAMMY® winning team, Marina A. Ledin and Victor Ledin. The producers state: “The live audience, the special effects, beautiful sets and incredible dancers allowed us to document an “event” rather than simply recording a musical score… The composer, Lowell Liebermann was with us at all of the performances, the orchestral musicians were collaborative throughout, and, of course, conductor Martin West worked tirelessly with us at the performances as well as in the editing and mastering of the final resulting release.“ A masterpiece!

Benjamin Britten: Les Illuminations
Claude Debussy: Ariettes oubliées & Clair de Lune

Sofie Asplund, Lunds Kammarsolister

SCD1176
1 CD
03/12/21
SWEDISH SOCIETY

The coloratura soprano Sofie Asplund, has since she graduated from University College of Opera in Stockholm 2013, excelled in her major role debuts at the Gothenburg Opera, the Royal Opera in Stockholm, Finnish National Opera and The Norwegian National Opera and Malmö Opera. She has been rewarded with scholarships such as Birgit Nilsson, Anders Wall, Stena A Olsson, Royal Music Academy and Drottningholm Court Theatre grant. 2018, she became the first artist to win the newly established singing competition Shymberg Award. Last season Sofie Asplund made her first Musetta and Waldvogel at the Göteborg Opera’s streamed productions of La Bohème and Siegfried. The previous season she sung Susanna in Le nozze di Figaro on the same stage. That year also entailed guest performances as Gilda at the Norwegian National Opera’s production of Rigoletto. That same season also included several major concerts, amongst them, Ein Deutsches Requiem with the Gothenburg Symphony Orchestra led by the esteemed Christoph Eschenbach, and solo appearances at the Nobel prize award ceremony.

Moritz Moszkowski

Orchestral Music, Vol. 3

Sinfonia Varsovia, Ian Hobson

TOCC 0598
1 CD
03/12/21
TOCCATA CLASSICS

The Polish composer Moritz Moszkowski (1854–1925) is best remembered for a handful of virtuoso piano pieces, but he also produced a substantial body of orchestral music, most of it unperformed for a century or more. This third volume presents his very first orchestral work, a strikingly assured Overture in D major, written when he was seventeen, and his last, a sombre, dignified and deeply felt Prelude and Fugue for strings, composed on the death of his mother in 1910. Between them comes Moszkowski’s First Orchestral Suite, from 1885, a joy from start to finish, with one delightful inspiration following another in a daisy-chain of dance-rhythms, memorable tunes and instrumental colour.

Manuel Cardoso, Giovanni Pierluigi da Palestrina

Complete Masses, Vol. 1
Giovanni Pierluigi da Palestrina: Motets

The Choir of the Carmelite Priory, London, Simon Lloyd

TOCC 0498
1 CD
03/12/21
TOCCATA CLASSICS

Manuel Cardoso (1566–1650) was one of the most important composers of the golden age of Portuguese polyphony around the turn of the seventeenth century. But history has not been kind to him: the 1755 Lisbon earthquake that ruined the Convento do Carmo, where he spent most of his working life, also resulted in the loss of the only attested image of the composer and a good deal of his music – and much of that which survived has been neglected, his Masses included. This series will shed long-overdue light on these forgotten masterpieces, beginning with two ‘parody’ Masses, so called because they are based on existing music, in this instance two Palestrina motets.

Derek B. Scott

Six Song-Cycles for Baritone and Chamber Ensemble

James Atkinson, Tippett Quartet, Lynn Arnold

TOCC 0619
1 CD
03/12/21
TOCCATA CLASSICS

Derek Scott, born in Birmingham in 1950, has an international reputation as a leading historian of the British music hall and other forms of light entertainment. But he is an outstanding composer in his own right, his music treading a fine line between a very English whimsy and a profoundly felt and natural response to his subject matter. These six song-cycles – with influences ranging from Vaughan Williams to The Beatles – reveal a master craftsman and natural tunesmith, who manages to unite good humour, unerring technique and deep feeling in music of immediate appeal, setting texts by poets who include Burns, Hardy, Shakespeare, Swift, Wordsworth, Yeats and the composer himself.

Samuel Adler

Chamber and Instrumental Music

Michelle Ross, Michael Brown, Cassatt Quartet

TOCC 0624
1 CD
03/12/21
TOCCATA CLASSICS

The works of Samuel Adler – born in Mannheim in 1928 but long since one of the leading figures of American music – are both modern and approachable: they blend an edgy angularity with long flights of lyrical melody, and are often informed with both a buoyant charge of energy and an impish sense of humour. This conspectus of his chamber and instrumental music covers almost sixty years of his activity as a composer and thus presents a kind of portrait in sound.

George Crumb

Metamorphoses, Books I and II

Marcantonio Barone

BRIDGE 9551
1 CD
03/12/21
BRIDGE RECORDS

Bridge's Complete Crumb Edition reaches Volume 20 with the first complete recording of the great American composer's recently completed Metamorphoses cycle.  The "20 Fantasy Pieces After Celebrated Paintings" are Crumb's "Pictures at an Exhibition"-  aural interpretations of famous paintings from our recent past including works by Picasso, van Gogh, Chagall, and Dali.  Critic David Hurwitz writes: "Bridge's decision to embark on a complete edition of George Crumb's music remains one of the most significant recording projects currently in progress, as well as one of the most artistically successful."

Franz Schubert

Piano Sonatas D. 850, D. 960

Anne-Marie McDermott

BRIDGE 9550A/B
2 CD
03/12/21
BRIDGE RECORDS

Anne-Marie McDermott continues to garner praise for her recordings. Gramophone writes that, "we have waited a long time for an American pianist of this stature," and Fanfare raves, "In a lifetime of listening, this, hands down, is the finest recording of Mozart piano concertos I've ever heard."  McDermott's superb new solo album features two of Schubert's immortal masterpieces, the fiendishly difficult Sonata in D, D. 850, and the heavenly B-flat Sonata, D. 960.

Johann Sebastian Bach, Alexander Glazunov, Eugene Bozza, David Maslanka

Project Fusion

Project Fusion

BRIDGE 9561
1 CD
03/12/21
BRIDGE RECORDS

The brilliant saxophone quartet, Project Fusion, winners of numerous competitions, including taking the Gold Medal at the 40th Fischoff Chamber Music Competition, make their debut recording featuring two major works- Glazunov's richly contrapuntal Quartet, op. 109, with its tips of the hat to Chopin and Schumann, and the late David Maslanka's Recitation Book (2006), a work based on music by J.S. Bach. Extraordinary chamber playing!

Alfonso X El Sabio

Cantigas de Santa Maria

SCANDICUS, Agnieszka Mucha, Tymoteusz Dorda, Jakub Kabus, Piotr Flis, Sławomir Witkowski

ACD285
1 CD
03/12/21
CD ACCORD

"Alfonso X the Wise, king of Castile and León (1221–1284), went down in history as a great patron of learning and art. It is under his reign that the more than 400 songs jointly referred to as Cantigas de Santa Maria were written. They offer an extraordinary glimpse of the medieval cult of Mary, as reflected in music and poetry. The songs have been preserved with music notation in several richly decorated and illustrated codices, one of which contains numerous scenes from tales which are narrated in the cantigas.Another manuscript shows musicians playing various instruments whose reconstructed versions can be heard on our CD. The singers are accompanied here by a medieval fiddle, oud, Romanesque harp, citole, symphonia, recorders, as well as percussion instruments. Some of the compositions on this album have been in the ensemble’s repertoire for years, while othershave been specially selected and prepared for this recording, in order to represent the multiplicity of musical and literary forms among the cantigas.Music Ensemble ‘Scandicus’ specialises in medieval, mostly vocal music. Its repertoire comprises both sacred and secular songs from such various collections as the Laudario di Cortona, Cantigas de Santa Maria, and Llibre Vermell. The instruments include medieval fiddle, recorders, Romanesque harp, citole, lute, symphonia, as well as percussion: riq and bendir. The ensemble gives concerts in Poland and abroad. It has taken part in such events as the ‘Salve Regina’ International Sacred Music Festival in Wigry, th the 4 International Martin Agricola Festival in Świebodzin, and the th 4 International Grzegorz Gerwazy Gorczycki Early Music Festival in Bytom."

Paul Kletzki, Jan Adam Maklakiewicz, Anton Bruckner, Carlo Gesualdo da Venosa, Johannes Brahms

Orchestral Works

Warsaw Philharmonic Orchestra, Olga Pasiecznik, Andrzej Boreyko

ACD287
2 CD
03/12/21
CD ACCORD

"Ladies and gentlemen, Dear music lovers, It is with great pleasure that I place in your hands my first recording with the Warsaw Philharmonic Orchestra. (...) Composing and conducting are two very different arts, and yet they very often interpenetrate. The album that you will hear in a moment clearly illustrates this fact as it offers an introduction to greatPolish figures of 20th-century musical culture who were familiar with both professions. The first part of the album features works that were written in the first half of the 20th century by two composers who were very unlike one other: Paul Kletzki, an artist who due to his complicated biography is known in the world more as a conductor then as a composer, and Jan Adam Maklakiewicz, who was director of the Warsaw Philharmonic in the years 1947–1948. These are truly outstanding pieces, and yet until recently were largely undiscovered – I sincerely hope that our recording will encourage Polish and foreign conductors to embrace these works. The second part, in turn, includes adaptations of a number of world famous musical pieces (by Johannes Brahms, Anton Bruckner, and Gesualdo da Venosa) made – and marked with their signature features – by two great Polish conductors, Stanisław Skrowaczewski and Grzegorz Fitelberg, who were both very closely associated with the Warsaw Philharmonic and whose output as composers was also quite significant. I regard the selection included in my first recording with the Warsaw Philharmonic to be particularly interesting and I hope that it will arouse your interest too, and that the performance will prove to be an exceptional experience for both you and for myself. Andrzej Boreyko Artistic Director of the Warsaw Philharmonic"

Matthias Muche

Bonecrusher

Matthias Muche

COL15011
1 CD
03/12/21
COL LEGNO

Matthias Muche’s "Bonecrusher“ plays music that ranges from sound-sculpture noise drones to walls-of-Jericho-collapsing blasts to delicate webs of air and tone, resonating overtones with layered articulations. Pushing the acoustic properties of the instrument and the physicality of the players to their limits and beyond, the musicians put their archaic contraption through the bone mill, pulverizing it, sublimating it, and breathing new life into it, all in the spirit of Vinko Globokar’s remark that a musical instrument is not a sacrosanct object, but merely an extension of the body. Matthias Muche studied jazz trombone and composition at the Amsterdamse Hogeschool voor de Kunsten, the Rotterdams Conservatorium, and the Cologne Hochschule für Musik und Tanz. He also completed postgraduate studies in audiovisual media at the Kunsthochschule für Medien Cologne where he works as a freelance instrumentalist in jazz and contemporary music, as an instrumental teacher, composer and improviser, and as a curator and artistic director of festivals and international artist encounters. Among other areas, the focus of his work includes interdisciplinary projects in music, theatre, dance and video art, in which intermedia compositional concepts are explored, and with which he has performed in over 50 countries under the label Zeitkunst e.V., as well as teaching master classes and workshops.His compositions and improvisations bring together these very different influences and tell a wide variety of musical stories.In his new solo project, he uses a wide variety of playing setups: feeds of speech and soundscapes into and on the trombone, spatial expansion using external bells, interactive computer graphics as synaesthetic perception, or simply the pure, naked trombone. In 2021, Muche received the Jazz Prize of the WDR in the category Improvisation.

Axis Mundi

Hélène Pereira

COL15010
1 CD
03/12/21
COL LEGNO

Axis Mundi contains a fine selcetion of contemporary works for "extended" piano (prepared piano and / or with electroacoustics). Interweaving gestures, the body stretches continuously between earth and sky, the primitive power of vibrations and the refinement of sound, the intuition of raw material and the invisible of ether. Changing your perception to find a balance is to seek within yourself the constant movement that remains motionless at its core - the point where time and eternity are one. Here, it is music that offers a double face that is inseparable from humanity, unfolding between memory and becoming between tribal ritualization in homage to the earth and the silence of prayer like an arrow thrown towards the sky, vertical axis of a world which seeks its song.