Violin and Piano Works – Violin Sonata / Masques /
Piano Sonatinas
Naxos
CD
$19.99Feb 25, 2014
A uniquely valuable release consisting entirely of world premiere recordings of works by a highly respected and influential name in American 20th Century music. They include a Sonata for Violin and Piano, Op. 15 which had been lost for more than 70 years until rediscovered by the soloist on this recording, Hasse Borup.
Per Nørgård is arguably the most celebrated Danish composer today, who is the recipient of the prestigious Sonning Prize this year.
Nørgård’s works have been the important part of the repertoire of LINensemble (whose very name was taken from Nørgård’s trio work “LIN”). This CD is a culmination of the long-standing close collaboration between the composer and the ensemble.
Schubert: Fantasie in C Major, Op. 15, D. 760 "Wanderer" - C
Centaur Records
CD
$18.99Oct 09, 2015
Sophia Agranovich, internationally acclaimed virtuoso pianist, and esteemed pedagogue, is a recipient of numerous teaching awards. Described by Fanfare magazine as "a bold, daring pianist in the tradition of the Golden Age Romantics," the Ukrainian-born pianist takes to the keyboard for her second Centaur release, offering up a program perfectly suited to Golden Age aficionados, Schubert's 'Wanderer' Fantasy, D760, and Chopin's Four Ballades, each a masterpiece in itself yet superseding the one before, culminating in the brilliant fourth and last Ballade, the F minor, op. 52.
Continuing their project to record all the Shostakovich String Quartets, award winning artists the Carducci Quartet return to Signum Classics for their third album of string quartets: String Quartet No. 9 in E flat major and String Quartet No. 15 in E flat minor, Op. 144.
Praise for SIGCD559 Shostakovich: String Quartets Nos. 1, 2 & 7 4 Star Performance, 4 Star Recording, "Beautiful honed" – BBC Music Magazine
Between Fire and Silence is the debut album of the young Danish pianist David Munk-Nielsen, presenting a program that brings together the Romantic worlds of Robert Schumann and Jean Sibelius. Through this combination, the recording explores a rich musical landscape shaped by contrasts between intimacy and passion, reflection and intensity. At the heart of the album are two central piano works by Schumann: Kinderszenen, Op. 15 and the monumental Fantasie, Op. 17. In Kinderszenen, Schumann looks back on childhood through a series of poetic miniatures that capture innocence, nostalgia, and quiet reflection. Pieces such as the famous Traumerei reveal the composer's deeply lyrical voice and his gift for expressing profound emotion within a small musical frame. The Fantasie, Op. 17, composed shortly afterwards, represents the other side of Schumann's artistic personality. Vast in scale and emotional scope, the work is filled with longing, passion, and dramatic power. Written during a period when Schumann was separated from Clara Wieck, the Fantasie became a deeply personal expression of love and yearning. Together, these two works reveal the dual nature often associated with Schumann's artistic identity: the poetic introspection of Eusebius and the fiery intensity of Florestan. Complementing Schumann's music are selected piano pieces by Jean Sibelius from Op. 5 and Op. 24. Although Sibelius is best known for his orchestral works and symphonies, his piano music offers a more intimate perspective on his compositional voice. These miniatures are refined, atmospheric, and rich in subtle color, revealing a quieter but deeply expressive side of the Finnish composer. Placed alongside Schumann's Kinderszenen, Sibelius' piano works create a contemplative counterpart to the dramatic scale of the Fantasie. The program thus unfolds as a dialogue between two composers and two musical worlds, balancing Nordic lyricism with German Romantic intensity. With Between Fire and Silence, David Munk-Nielsen introduces himself as a thoughtful and expressive interpreter, presenting a debut recording that reflects both his artistic roots and his commitment to exploring the storytelling power of Romantic piano music.
Tenor saxophonist Rich Perry returns with Dream, his 28th release on SteepleChase, reaffirming his place as one of the most introspective and lyrical voices in modern jazz. Joined by his long-standing quartet—Gary Versace (piano), Jay Anderson (bass), and John Riley (drums)—Perry crafts a set that is both timeless and deeply personal reflecting his evolving artistry and minimalist elegance.
Critics have long praised Perry’s “impeccable taste” and “subtle articulation” (JazzTimes), his “adventurous yet highly listenable” approach (All About Jazz), and his ability to “imbue each tune with intense feeling.”
Perry summarizes Dream as “a document of where I’m at right now…. this is the kind of album I like to listen to.
BERNARD HAITINK conducts: SHOSTAKOVICH: SYMPHONY No. 15 in A major op. 141. The Dutch conductor Bernard Haitink and the Bavarian Radio Symphony Orchestra enjoyed a long and intensive artistic collaboration, which came to an abrupt end with Haitink's death in October 2021. BR-KLASSIK now presents outstanding and previously unreleased live recordings of their concerts from past years. This recording of Shostakovich's Fifteenth Symphony documents a concert given in February 2015 in Munich's Philharmonie i'm Gasteig. Haitink first conducted a Munich subscription concert in 1958, and from then on was a regular guest with the Bavarian Radio Symphony Orchestra - either in the Herkulessaal of the Residenz or in the Philharmonie i'm Gasteig. This congenial collaboration lasted for more than six decades. The orchestra musicians and singers enjoyed working with him just as much as the BR sound engineers. As an interpreter of the symphonic repertoire, and especially that of the German-Austrian Late Romantic period, Haitink was held in high esteem throughout the world. With him, the symphonies of Dmitri Shostakovich were always in the best of hands. Haitink's driving principle was to make the sound architecture of a musical composition, with it's complex interweaving, transparently audible; extreme sensitivity of sound was combined with a clearly structured interpretation of the score. As the last symphony in the oeuvre of the Russian composer Dmitri Shostakovich, the Fifteenth is a kind of symphonic conclusion. Although the composer set out to write a "happy symphony" and this epithet has since become commonplace, everything cheerful in it has a dimension that is exaggerated into the bizarre and grotesque. The work also contains musical references, for example to Rossini's "William Tell" overture, Wagner's "The Ring of the Nibelung" (the so-called "fate motif") and "Tristan and Isolde", and Alban Berg's "Wozzeck". Quotations from Shostakovich's own earlier works also appear. The symphony was composed in 1971 in Repino, a suburb of St Petersburg. The world premiere took place on January 8, 1972, under the baton of the composer's son Maxim.
Recorded live in concert at the Krematoriet, Stockholm, on 12 October 2024. Recorded by Adam Forkelid. Mixed and mastered by Klaus Scheuermann, 4ohm Berlin. Photos by Joona Toivanen (front cover) and Fredrik Gille. Cover design by Jonas Holmberg
With their expressive timbre and the technical excellence of the recording, the Auryn Quartet need not fear the competition, even though there is already a multitude of recordings in existence. Hartmut Leck, Klassik-heute There is no shortage of great and famous Beethoven Cycles, but there are no performances such as these. For me, this is now the set to beat. (Laurence Vittes)
Shostakovich and Pupils, Vol. 2 - Weinberg, Sviridov, Bunin
Piano Classics
CD
$23.99Feb 20, 2026
While the solo piano output of Dmitri Shostakovich is smaller than one might anticipate from a composer who was himself a gifted (albeit erratic) pianist, there is more to it than the monumental sequence of 24 preludes and fugues which he composed shortly after the Second World War for the pianist Tatiana Nikolaeva, and in emulation of The Well-Tempered Clavier by Bach. Indeed some of the composer's earliest surviving music is a set of Eight Preludes, Op.2, several of which were long presumed lost. Composed between 1919 and 1921, they demonstrate the teenage composer's grasp of pianistic idioms from Chopin to Scriabin as well as the melodic facility which, it would seem, was his native gift. Towards the other end of his career, another rarity: the contributions he made in 1957 for a portmanteau set of variations on a theme of Glinka commissioned from eight different composers. In complement to Shostakovich's Preludes, Fernanda Damiano presents a gentle Berceuse from the pen of the 16-year-old Mieczyslaw Weinberg. Conceived on a much more epic scale is the Second Piano Sonata which Weinberg wrote in 1942, the year before he first met Shostakovich and became in time one of his closest confidants. Dating from two years later, and thus still very much marked by conflict, is the sonata by Gyorgy Sviridov: a ferocious and too-rarely known work in one movement (but several sections) breathing the same combative air as the 'War' Sonatas by Prokofiev. By the side of these two sonatas, the Sonatina of Revol Bunin is relatively slight, but as the work of a fluent 15-year-old, it already shows signs of the talent which caught the ear of Shostakovich before long, when he took Bunin on as his only composition pupil at the time (between 1943 and 1945). Thus, although only Sviridov's Sonata was composed under the influence of the older composer, Damiano's recital presents a compelling sketch of mid-war and mid-century Soviet culture, through the prism of both the piano and of four gifted composers, each with their own distinctive voice. 'Fernanda Damiano plays. With intelligence, conviction and. #appreciation of the music's flavour.' (Fanfare review of Volume 1)
A total of four organs group themselves around the listener in three dimensions in St. Michael's Church in Hamburg, and all four instruments are spectacularly employed on this Super Audio album. Church music director Christoph Schoener has designed a very special program for the organs in his workplace: music by Felix Mendelssohn Bartholdy that has never been heard before in just this way. Schoener pulls all the stops on the central console and covers a spectrum ranging from the complete late-romantic forces of the entire organ system to the filigree murmuring of individual tone colors. A special treat: a solo for the echo organ installed high above in the ceiling sphere! The Six Preludes and Fugues op. 35 forming the focus here, though originally intended for the piano, create a phenomenal impression on the massive St. Michael's organ in this arrangement by Christoph Bossert. After all, it was Mendelssohn, who after the organ's Viennese classical "dry spell," supported the rehabilitation of this instrument. Accordingly, numerous piano pieces by him are ideally suited for transfers into the organ's much mightier sound dimension. Things get underway with the so very famous "Wedding March" from A Midsummer Night's Dream. Even if many a bride and groom have entered many a church to this music, on this recording it is as if the listener could reach out and embrace the bride. Whether a "Song Without Words," a lovingly supplied fragment, or a "Theme with Variations," this Mendelssohn recording is a perfect complement to the Bach, Brahms, and Reger editions with which Christoph Schoener has brought delight to the organ world and beyond.
Recorded live in concert at the Krematoriet, Stockholm, on 12 October 2024. Recorded by Adam Forkelid. Mixed and mastered by Klaus Scheuermann, 4ohm Berlin. Photos by Joona Toivanen (front cover) and Fredrik Gille. Cover design by Jonas Holmberg
The third volume in the series Elgar from the Archives from SOMM Recordings includes two historic recordings conducted by Sir Adrian Boult: the oratorio The Kingdom, Op. 51 and the ever-popular Variations on an Original Theme 'Enigma,' Op. 36. These variations form an interesting comparison to the two acoustic versions from the well-received Vol 1 in this series [ARIADNE 5046], one conducted by the composer in 1920, the other by Sir Henry Wood in 1924. Again, these recordings are remastered by audio engineer Lani Spahr, whose work on Elgar from the Archives Vol 1 James Jolly, Editor in Chief of Gramophone Magazine, described as "astounding," adding that "thanks to Siva Oke's SOMM label, Spahr has an outlet for his truly revelatory work." Inspired by the remarks of one of his school teachers that the Apostles were poor men, young men, perhaps "no cleverer than some of you here," Elgar conceived the idea of a work depicting the Apostles as ordinary men reacting to extraordinary events. He envisioned a trilogy of oratorios consisting of The Apostles, Op. 49, The Kingdom, and an unrealized work, The Last Judgement. He made initial sketches for The Kingdom as early as 1882, when he was still serving as organist at St George's Church in Worcester. Following an orchestral Prelude, which introduces the main musical themes and sets the mood of the work, the oratorio is in five parts, each played without a break: I. In the Upper Room; II. At the Beautiful Gate; III. Pentecost; IV. The Sign of Healing; and V. The Upper Room. The Kingdom is written for four soloists, choir, and large orchestra-featuring, in this recording, Heather Harper, soprano (The Blessed Virgin); Helen Watts, contralto (Mary Magdalene); William Herbert, tenor (St. John); and Gordon Clinton, baritone (St. Peter), with the Croydon Philharmonic Society and BBC Symphony Orchestra conducted by Sir Adrian Boult. This programme on 29 May, 1957 at the Royal Festival Hall was part of the centenary celebrations for Elgar's birth. Boult admired The Kingdom above all the other major choral works of Elgar, and his complete understanding of and identification with the work is shown in his expert pacing and observation of dynamics. On 29th February, 1940, about ten weeks before Nazi forces invaded The Netherlands, Boult conducted the Amsterdam Concertgebouw Orchestra in a concert broadcast from Hilversum by the Dutch public broadcasting association. The program concluded with Elgar's Enigma Variations, the work that helped to establish Elgar's growing reputation internationally. In a programme note, Elgar wrote, "This work, commenced in a spirit of humour & continued in deep seriousness, contains sketches of the composer's friends." This Dutch performance is one of Boult's finest interpretations of the work, and it has more than stood the test of it's 86 years.
SOMM Recordings' Elgar from the Archives series is creating a stir amongst Elgar lovers and historic performance enthusiasts alike, with Music Web International's Nick Barnard remarking, 'SOMM's presentation is it's usual excellent self.' The series draws on the Elgar Archive of producer and master restoration engineer Lani Spahr, and SOMM is now pleased to release Volume 5, which features the oratorio The Apostles, Op. 49 (1903) and the song cycle Sea Pictures, Op. 37 (1899). Since his youth, Edward Elgar had conceived of a large-scale work depicting the disciples of Jesus and their response to the extraordinary events they witnessed. When the Birmingham Triennial Music Festival commissioned him to write a new choral work, he began to compose an intended trilogy. While the third part remains only in sketches, the first two-The Kingdom and The Apostles-are monumental contributions to British oratorio. SOMM's May 2026 release of The Kingdom (ARIADNE 5048-2) featured Sir Adrian Boult conducting The BBC Symphony Orchestra as part of the 1957 centenary celebrations for Elgar's birth. This present live recording of The Apostles is from a BBC Home Service aircheck at the Royal Festival Hall, London, on 12 June of that year. This also features The BBC Symphony Orchestra, here conducted by Sir Malcolm Sargent-who, along with Boult and Sir John Barbirolli, was strongly associated with the promotion of Elgar's music in the years following World War II. As principal conductor of The BBC Symphony Orchestra, Sargent threw himself into celebrating the Elgar centenary, when the BBC broadcast all three of the major oratorios. In addition to The Dream of Gerontius, Sargent considered both The Apostles and The Kingdom to be masterpieces, which should have been much more widely known. About Sargent's 1957 performance of The Apostles, Stanley Bayliss wrote, 'the closing pages are magnificent and give us something that cannot be found even in Gerontius. This was fully understood by Sir Malcolm Sargent, who was the hero of the evening.' Included in this album is a first CD release, newly restored by Lani Spahr, of Elgar's Sea Pictures for contralto and orchestra with Gladys Ripley and George Weldon conducting the then recently formed Philharmonia Orchestra. This was recorded in 1946 for EMI. Elgar was no doubt one of Weldon's favourite composers. In 2008 SOMM first released the Sea Pictures with Gladys Ripley and the London Symphony Orchestra (SOMMCD 073, George Weldon conducts Elgar). This was recorded in 1954 at EMI's Abbey Road and produced by the late Brian Culverhouse.
For his fourth Criss Cross Jazz release as a leader, young trumpet sensation Ryan Kisor reunites with the rhythm section from his "Point of Arrival CD" - Peter Zak on piano, bassist John Webber, and Willie Jones III on drums - for a program of six original compositions, the standard ballad "I Should Care," and the Dizzy Gillespie classic "Fiesta Mojo." on the latter track Ryan's quartet is augmented with the terrific tenor of Eric Alexander and percussionist Renato Thom's.
