The Dresdner Philharmonie and Marek Janowski present a recording of Antonin Dvorak's Stabat Mater, together with the MDR Leipzig Radio Choir, Hanna-Elisabeth Muller (soprano), Roxana Constantinescu (mezzo-soprano), Christian Elsner (tenor) and Tareq Nazmi (bass). In terms of scope and duration, Dvorak's Stabat Mater is the largest setting of this sacred text to date. Likely inspired by the tragic death of all his three children - in the timespan of just two years - the work is heartrending, yet establishes a gradual path from darkness to light, from despair to peace and hope; ascetic and restrained, yet full of suspense. This recording, made in connection to a live performance commemorating the bombing of Dresden, offers a rendition that never drags, avoids excessive sentimentality, and is all the more moving as a result. Marek Janowski is one of the most celebrated conductors of our time and has a vast PENTATONE discography, chiefly consisting of German operas and symphonic works. From 2019 to 2023 he was Chief Conductor and Artistic Director of the Dresdner Philharmonie. Dvorak's Stabat Mater is his seventh PENTATONE recording with this orchestra, with whom he recently released Schubert's Unfinished and Great Symphonies (2023), Schumann's complete symphonies (2024), as well as Haydn's Die Schopfung (2024). The MDR Leipzig Radio Choir also appeared on that recording, has frequently featured on other PENTATONE recordings and starred on Bruckner Haydn Motets (2021) and Mendelssohn Choral Works (2023). Hanna-Elisabeth Muller released Reine de coeur (2018) and Sinnbild; Strauss Songs (2022) on PENTATONE. Roxana Constantinescu featured on PENTATONE recordings of Mascagni's Cavalleria rusticana and Puccini's Il tabarro (both 2020), as well as Kodaly & Bartok (2023). Christian Elsner also has a longstanding relationship with the label, including his solo recording of Schubert Lieder (2015). Tareq Nazmi appeared on the beforementioned recording of Die Schopfung.

Dvořák’s chamber music is amongst the most extensive and significant of the 19th century, and the four surviving piano trios embody his command of the form. The first two were written in rapid succession, with No. 1 in B flat major marrying Schubertian lyricism with Slavic inflexions, serenity with joy. No. 2 in G minor is rather more classically conceived, though it shares the same formal structure as No. 1 and exudes a similar quotient of lyric beauty.

As for this new album, neither Glinka nor Dvorak are strangers to Haiou Zhang, since he is considered to be one of the most passionate pianists of his generation as far as piano chamber music is concerned. The Dvorak Piano Quintet and Glinka�s Gran Sestetto have always been at the heart of his chamber music repertoire. Haiou Zhang has performed these masterpieces in numerous concerts with ensembles. "It took me quite some time to feel really ready for a recording. Both pieces are delicate and need careful attention to obtain the perfect balance of sound and harmony".

Dvořák’s Legends and Slavonic Rhapsodies, recorded by Principal Guest Conductor of the Czech Philharmonic, Tomáš Netopil, marks the Orchestra’s fourth recording featuring Czech composers in 2024’s Year of Czech Music. Dvořák wrote his Slavonic Rhapsodies just before the Slavonic Dances that catapulted him to world fame, and they share their colorful orchestration and appealing folk dance melodies, even if the Rhapsodies have more expansive, ambitious forms. The Legends are at least as ingenious, with a smaller orchestra giving the pieces a more intimate, introspective quality. These lesser-known gems are now presented in a glorious idiomatic interpretation by the Czech Philharmonic, arguably the world’s best orchestra for this repertoire.

The Czech Philharmonic is one of the world’s orchestral gems, recognised for its rich tradition with the Czech masters as well as European repertoire. Together with their chief conductor and artistic director Semyon Bychkov, they have so far recorded for PENTATONE Mahler’s First, Second, Fourth, and Fifth Symphonies (2022-2023), part of the complete Mahler cycle to be released by the label, as well as Smetana's Má vlast and Dvořák's Seventh, Eighth, and Ninth Symphonies (2024). The Orchestra is also featured on the albums Folk Songs (2023) and Czech Songs (2024) recorded by Magdalena Kožená and Sir Simon Rattle. Principal Guest Conductor Tomáš Netopil makes his Pentatone debut.

Harriet Krijgh is one of today's most exciting and promising young cellists. Her grace and expressiveness touch her audiences as soon as she is on the concert platform. Her discography also comprises of six discs, all released by Capriccio in the last six years, featuring music by Kabalewski, Haydn, Brahms, Rachmaninoff as well as several French composers. Krijgh is winner of numerous competitions. She was chosen "Rising Star" of by the European Concert Hall Organisation (ECHO) and was artistic director of the Utrecht Chamber Music Festival in 2017 and 2018. With the present CD she made a long-held wish come true and presents two of the most popular cello concertos by Dvorak and Elgar.

Renowned bass-baritone Adam Plachetka celebrates the Year of Czech Music with an anthology of Czech evening songs by Antonin Dvorak, Bedrich Smetana, Zdenek Fibich and Josef Suk. All based on love poems for Vitezslav Halek's Vecerni pisne (Evening Songs), these songs provide a panorama of great Czech music, also zooming in on lesser-known repertoire. Plachetka performs them together with pianist David svec. Bass-baritone Adam Plachetka frequents the world's most prestigious opera houses, and is a MET regular, equally at home in dramatic and comic repertoire. He returns to PENTATONE after having released Molieri, combining opera arias by Mozart and Salieri, in 2022.

The Czech Philharmonic and its Chief Conductor and Music Director Semyon Bychkov present a new recording of Antonín Dvořák's Symphonies 7, 8, and 9, coupled with the composer's concert overtures In Nature's Realm, Carnival, and Othello.

The album is part of the 2024 Year of Czech Music. Dvořák's final three symphonies show him at the peak of his compositional power and international fame, and exhibit an astonishing range of style and expression. The three concert overtures were initially conceived as the Nature, Life, and Love trilogy, but eventually published separately. They share Dvořák's audible love for nature and fascination for human life and passion. Presenting this core Czech repertoire allows the orchestra and maestro to once more demonstrate their congenial collaboration and full command of Dvorak's abundant sound world.

The Czech Philharmonic is one of the world's orchestral gems, recognized for it's rich tradition with the Czech masters as well as European repertoire. Semyon Bychkov, who is internationally renowned for his interpretations of the core repertoire, began his tenure with the orchestra at the start of the 2018/19 season. Together, they have so far recorded for PENTATONE Mahler's First, Second, Fourth, and Fifth Symphonies, part of the complete Mahler cycle to be released by the label. The Orchestra is also featured on the albums Folk Songs (2023) and Czech Songs (2024), recorded by Magdalena Kožená and Simon Rattle.

Magdalena Kozena presents a recital of Czech songs, together with the Czech Philharmonic under the baton of Sir Simon Rattle. The first impression of Czech songs may be atmospheric nature scenes, or stories about pretty peasant girls and village pranks, but the selection on this album demonstrates that the imagination of Czech song composers stretched far wider. For example, Bohuslav Martinu's Nipponari were inspired by Japanese culture, whereas his folksy Songs on One Page obtain a deeper meaning knowing that he wrote them in the US, having fled the Nazi threat. His colleagues and contemporaries Hans Krasa and Gideon Klein did not manage to get away, and both died in concentration camps. Krasa's German-language Four Orchestral Songs show a fascination with nonsense verse typical of avant-garde circles in the early 1920s. Klein's Lullaby can be traced back to Jewish folk songs, yet it's musical realization displays an openness to French musical styles. And no Czech song recital would be complete without good old Antonin Dvorak, whose Evening Songs and Songs, Op. 2 are included. Many of these works are best known with piano accompaniment, but are presented here in orchestrations. The Czech Philharmonic and Sir Simon Rattle marvellously bring out all the colours, while Kozena once more showcases her mastery in vernacular song.

Rusalka, a water spirit, lives with her family in the pure waters of the forest lake. When she falls in love with a Prince, she sacrifices her voice and leaves her home in the hope of finding true love in a new world - a world that does not love her back.�Natalie Abrahami and Ann Yee create a poetic, contemporary new staging of Dvorak's lyric fairy tale, revealing our uneasy relationship with the natural world and humanity's attempts to own and tame it. Semyon Bychkov conducts an all-star cast featuring Asmik Grigorian in the title role.

Rusalka, a water spirit, lives with her family in the pure waters of the forest lake. When she falls in love with a Prince, she sacrifices her voice and leaves her home in the hope of finding true love in a new world - a world that does not love her back.�Natalie Abrahami and Ann Yee create a poetic, contemporary new staging of Dvorak's lyric fairy tale, revealing our uneasy relationship with the natural world and humanity's attempts to own and tame it. Semyon Bychkov conducts an all-star cast featuring Asmik Grigorian in the title role.

The story of the Prague Symphony Orchestra is closely related to the history of the Czech capital, which leaves an impression on their repertoire. After their successful recording of Karel Husa’s Music for Prague 1968 (Supraphon, 2021), the orchestra and its chief conductor are coming up with another album dedicated to Prague. This time, the program is focused on the late 19th century, i.e. the period when the Czech nation fought for its language, culture, and identity within the Austro-Hungarian Empire. The backbone of the record is Suk’s monumental symphonic poem Praga, based on the Hussite chorale, “Ktož jsú Boží bojovníci” (Ye Who Are Warriors of God); Vyšehrad from Smetana’s famous cycle Má vlast (My Country); and a rarity: Pohádka o Šemíku (A Tale of Šemík), which is a largely unknown symphonic poem based on an ancient Czech legend connected with Vyšehrad, by Otakar Ostrcil, composed when he was nineteen. And of course, there is Antonín Dvorák. In hardly any work of his is Dvorák as explicitly patriotic as in his overture My Home (which is not very well known either). It is based on the theme of the popular song “Kde domov muj,” which later became the Czech national anthem. Another rarity of this album is Dvorák’s fanfare for the opening of the National Jubilee Exhibition in Prague. After their acclaimed recording of the composer’s Slavonic Dances, the Prague Symphony Orchestra confirm that the Czech repertoire of late Romanticism is their native and most natural language. The romantic and legendary city of Prague on a record of the Prague Symphony Orchestra.

The multiple Grammy Award-winning Pacifica Quartet continues its highly acclaimed recording series that explores the sounds of America with an album comprising string quartets incorporating elements of American folk music and spirituals by Anton Dvořák, Florence Price, and Louis Gruenberg, plus a new work by James Lee III.

Praised by The Telegraph as "nothing short of phenomenal,” Pacifica is known for its “remarkable expressive range and tonal beauty” (New York Times). With a career spanning nearly three decades, Pacifica has established itself as the embodiment of the senior American quartet sound.

Dvořák's String Quartet in F Major, Op. 96, “American” draws influence from the colorful sonic world of his American experiences; from the American spiritual, indigenous folk songs, to sounds evocative of American songbirds and rhythms reminiscent of American trains.

Florence Price was inspired by Dvořák's focus on American folk music in his “New World” Symphony, and while her String Quartet No. 1 in G Major does not explicitly reference specific folk influences, the origins for many of her original melodies and musical colors can be traced directly to the folk songs that she heard in her native Little Rock, Arkansas.

Louis Gruenberg, influenced by his time as a student in New York City when Dvořák served as director of the National Conservatory, wrote Four Diversions for String Quartet, Op. 32 infusing the traditional string quartet with the quintessential sounds and style of Prohibition-era America.

Praised by The Washington Post for his “bright, pure music,” James Lee III’s Pitch In for quartet and children’s choir — receiving its world premiere recording — features Chicago’s Uniting Voices conducted by Josephine Lee. The work incorporates American folk motifs and pentatonic scales echoing the essence of American Spirituals and Dvořák’s "American" Quartet; Pitch In is set to Sylvia Dianne Beverly's poem of the same title that addresses global poverty and food insecurity.

REVIEW:

American Voices, Pacifica Quartet’s fourteenth recording for Cedille Records, upholds the high standard of its 2021 Grammy Award-winning Contemporary Voices. With respect to set-list, violinists Simin Ganatra and Austin Hartman, violist Mark Holloway, and cellist Brandon Vamos have made a wise choice in augmenting works by Antonín Dvorák, Florence Price, and Louis Gruenberg with a thought-provoking new one by James Lee III. Melody factors heavily when the string quartets integrate elements of American folk music and spirituals into their frameworks, the result a recording of strong and immediate appeal. Even Lee III’s Pitch In, scored for quartet and children’s choir, includes an earnestly intoned theme, “People are hungry, yet people continue to waste food,” that stays with you long after the album ends. Any group that celebrates its thirtieth anniversary by forging boldly into the future with exciting new projects and partnerships is clearly not suffering from creative exhaustion.

— Textura

Simon-Pierre Bestion has chosen to mirror two Stabat Mater that are more than 150 years apart: "in these two works I can feel the same tonal language, the same expression of sorrow" says the founder of La Tempête… "I have decided to ‘augment’ Scarlatti’s orchestration and ‘diminish’ Dvorák’s, so they can meet on even ground. To the Scarlatti I have added string parts sometimes doubling the vocal lines, colla parte, as was often done at the period: this not only allows the sound to be amplified, but adds an extra timbre to the voice. For the Dvorák, I have transcribed the original piano part into its minimum orchestral dimension, that is, for strings. This creates a common sound world between the two works – I would even say they have the same kind of lyricism in common, with just the timbres of the piano, organ and theorbo standing out."

Rudolf Firkušný was a great advocate for Dvořák’s Piano Concerto during his lifetime. He made several recordings of the work and this classic Vox recording from 1975 is still considered one of the best versions available. Ruggiero Ricci’s account of the Violin Concerto from 1974 is also an acclaimed classic.

Antonín Dvořák’s Cello Concerto is considered the finest of his concertos, and arguably the greatest of all such works for the cello. These Vox recordings from 1974 performed by Zara Nelsova in the Concerto, Silent Woods, and the Rondo, and Ruggiero Ricci in the Romance and Mazurek, with the St. Louis Symphony Orchestra conducted by Walter Susskind, are acclaimed classics.

REVIEW:

Zara Nelsova brings a rich, expansive tone to her warm, expressive account of the Cello Con certo’s solo part, and Susskind and his players are with her every step of the way. It is good to have the melodious Silent Woods and the spare Rondo in G minor on the program right after the concerto. Both are lovingly played here.

-- American Record Guide