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NEW RELEASES JUNE 2012

SIGNUM U.K. 307 BIS SACD 1890

SIGNUM U.K. 308 GLOSSA 920920

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ARS SACD 38106 Label Code 449 Price Code V WES10BRASS: BLECH AUS DEM WESTEN, OLD FRIENDS Works by Praetorius, Biber, Gabrieli, Holborne, et al. ARTISTS: Wes10brass. For our first recording (Very British, ARS 38 066) we selected works from the baroque and contemporary repertoire, played on modern instruments. Inspired by the principles of historically informed performance practice, we make use of period instruments to a greater extent. On our new program, entitled Old Friends, we play a variety of Baroque instruments in addition to modern instruments. Harry Ries, the ensemble’s ancient music expert, unlocked the acoustic potential of these instruments for us – a sound that is unique, attractive and strikingly different from that of modern instruments. The smaller scale length, the lack of valves on the Baroque trumpet, and the different shapes of the mouthpieces present us, the musicians of the wes10brass ensemble, with an entirely new sound spectrum and, in combination with modern instruments, with a remarkable variety of timbral characteristics. During the recording of Old Friends we made a conscious decision to use both modern and historical (Baroque) instruments in order to highlight these differences and to reveal the stylistic diversity of the ensemble.

BIS SACD 1599 Label Code 419 Price Code P ECSTATIC DRUMBEAT: WORKS FOR PERCUSSION AND CHINESE ORCHESTRA Yiu-Kwong Chung: Concerto for Percussion and Chinese Orchestra; Emperor Qin Crushing the Battle Formations for two percussionists and Chinese orchestra; Keiko Abe (orch. Yiu-Kwong Chung): Prism Rhapsody for marimba and orchestra; Nebojša Jovan Živković: Born to Beat Wild for suona and percussion; Toshiro Mayuzumi (orch. Simon Kong Su Leong): Concertino for Xylophone and Orchestra ARTISTS: Evelyn Glennie, percussion. Taipei Chinese Orchestra, En Shao and Yiu-Kwong Chung, conductors. Tzu-You Lin, suona. Tsung-Hsin Hsieh, percussion. Appearing with leading orchestras and conductors around the world, Evelyn Glennie has also collaborated with musicians as diverse as Emmanuel Ax, the King’s Singers and Bjork. Another unexpected partner is the Taipei Chinese Orchestra, with which she first performed at the 2009 Deaflympics. Returning to Taiwan a year later, she recorded the present disc of original compositions and arrangements for percussion and Chinese orchestra. The programme is wide–ranging in geographical terms, with works by composers from the Far East, as well as by German-based Nebojša Živković, whose duo Born to Beat Wild for bass drum and trumpet here is performed with a suona, ‘Chinese oboe’, replacing the trumpet. But the disc also spans a vast distance in time, in that the final work, Emperor Qin Crushing the Battle Formations, is a reworking by the composer Yiu-Kwong Chung of an ancient score first performed in the year 627 at the court of the second Tang Emperor. Ecstatic Drumbeat is the last of four discs that present collaborations between the Taipei Chinese Orchestra and soloists from a Western tradition, with Evelyn Glennie following in the footsteps of flutist Sharon Bezaly, saxophonist Claude Delangle and trombone player Christian Lindberg on her own oriental journey.

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SACD NEW RELEASES / HYBRID

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BIS SACD 1867 Label Code 419 Price Code P A SUMMER’S DAY – SWEDISH ROMANTIC SONGS 32 Swedish Romantic Songs by Adolf Fredrik Lindblad: Aftonen; Der schlummernde Amor; Mån tro? Jo, jo!; Svanvits sång; Varning; Nattviolen; Frieriet (duet); På gamla dagar (duet); Vaggvisa; En sommardag; Gubben vid vägen; En ung flickas morgonbetraktelse; Bröllopsfärden Erik Gustaf Geijer: Blomplockerskan; Gräl och allt väl; Min Politik; Skärslipargossen Franz Berwald: Romance; Lebt wohl ihr Berge; Traum; A votre âge; En parcourant les doux climats; Den 4 Juli 1844 (Konung Oscar!) August Söderman: Jungfrun i rosengård; Jungfrun i det gröna; Synden, døden; Ich hab’ im Traum geweinet; Im wunderschönen Monat Mai; Flickan i skogen; Ballade; Serenad; Majvisa ARTISTS: Anne Sofie von Otter, mezzo-soprano & Bengt Forsberg, piano, with Fredrik Zetterström, baritone (in the duets Frieriet and På gamla dagar) Brought together by Anne Sofie von Otter, the four composers on this disc lived during the space of less than a century, from the birth of Erik Gustaf Geijer in 1783 to the death of Adolf Fredrik Lindblad in 1878, and thus prepared the ground for the great generation of Swedish song composers, including Stenhammar, Peterson-Berger and Rangström. The thirty-two songs selected by von Otter and Bengt Forsberg, her piano partner of long standing, provide a broad image of the early development of a Swedish Lied tradition. At one end of the spectrum is the simple grace and tunefulness of Lindblad’s and Geijer’s songs, mainly intended for domestic performance and of a highly lyrical nature, in terms of both music and texts – which were often written by the composers themselves. Incidentally both Lindblad and Geijer were inspired by the great Swedish soprano Jenny Lind, who performed songs by especially Lindblad at concerts in Sweden and abroad, including Mån tro? Jo, jo! ('Would You Think? Indeed!') and Varning ('Warning') included here. In comparison, Franz Berwald seems to have been more intent on breaking new ground with his relatively complex songs, attempting to reach an international audience through his settings of German and French texts. He wrote just a handful of songs and most of these are early, pre-dating the symphonies on which his fame rests. August Söderman, finally, was the youngest of the four, and began his career as a successful theatre musician at an early age. By the time he emerged as a composer in the 1850s, public concerts were becoming more frequent, and at the same time Söderman discovered Wagner’s music – two factors which induced him to search for new forms of musical expression in his songs, with the aim to create a broader narrative with a greater dramatic force. With her usual gift for characterization, Anne Sofie von Otter brings these largely forgotten miniatures to charming life, with the support of Bengt Forsberg, and, in two duets, the baritone Fredrik Zetterström.

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BIS SACD 1890 Label Code 419 Price Code P EDOUARD LALO – CONCERTO RUSSE Édouard Lalo: Concerto russe for violin and orchestra, Op. 29; Romance-Sérénade for violin and orchestra (1877); Fantaisie-ballet for violin and orchestra (1885); Guitare for violin and orchestra, O28 (orchestrated by Gabriel Pierné); Piano Concerto ARTISTS: Jean-Jacques Kantorow violin; Pierre-Alain Volondat, piano. Tapiola Sinfonietta / Kees Bakels, conductor. ‘A disc without flaws, a true marvel’ is how Jean-Jacques Kantorow’s previous recording of music by Édouard Lalo was described in the Spanish magazine Scherzo. The disc in question included three works composed for the great violin virtuoso Pablo de Sarasate: the violin concerto, Fantaisie norvégienne and the perennial favourite Symphonie espagnole. In a review in Gramophone, the soloist was compared to his great predecessor: ‘Kantorow, one of today's most individual players, has the measure of Lalo's Sarasate-inspired violin-writing - he's able to toss off the virtuoso passagework in a seemingly effortless manner and his distinctive tone lends a sensuous allure to Lalo's melodies.’ On the present disc, Kantorow plays two other works intended for Sarasate, the brief Fantaisie-ballet on themes from Lalo’s ballet Namouna, and the large-scale Concerto russe. The latter piece, in four movements, borrows themes from two wedding songs included by Rimsky-Korsakov in his collection 100 Russian Folk Songs. A typically expressive and virtuosic composition, it is also one of the first important French works to draw upon Russian music – many others were to follow. Two shorter violin works are included here, but the disc closes with another concerto, the Piano Concerto from 1888. It was the composer’s final major work, and in it he seems to depart from the pattern of his violin concertos, with their prominent solo parts. Lalo rather chooses to integrate the piano into the orchestral texture, and although the writing is redolent of the great Romantic concertos, it offers few opportunities for the soloist to show off – a possible reason for the work’s absence from modern concert programmes and its rarity on disc. Championing this solo part is Pierre-Alain Volondat, and as in the other works orchestral support is provided by the eminent Tapiola Sinfonietta, conducted by Kees Bakels.

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COVIELLO SACD 31206 Label Code 192 Price Code V JOHANNES BRAHMS: SYMPHONIES 2 & 3 ARTISTS: Sinfonieorchester Aachen, Marcus Bosch, conductor. Johannes Brahms‘s overall development as a composer was dominated by the question of how to deal with Beethoven‘s symphonic legacy and whether it was still possible to compose symphonies at all after Beethoven. Brahms struggled with this question for many years, while others had long promoted their solutions everywhere. Franz Liszt, for example, announced in numerous articles and essays his view that the future of the symphony lay in the symphonic poem - a one-movement orchestral work with a literary background. Furthermore, Liszt declared the musical idea to be the measure of all things, but little importance was attached to its compositional transformation, particularly in the obsolete forms of the past - genius was more important than compositional craft. This line of thought did not suit Brahms at all. Concentration is the best key to approaching the Brahms‘ compositions - it is the most compact and formally cohesive of the four Brahms symphonies. The four movements are clearly related to each other and closely connected motivically. Nevertheless, the work is anything but monotonous, and although all the movements end very subdued and softly, the symphony is not lacking in vigorous momentum or rhythmic energy. And here, as well, we find it again: Brahms‘s ability to create fascinating symphonic complexity from simple, appealing, folk-like motifs - but, in the case of the Third Symphony, with a rather melancholy tone.

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ACCENT 24248 Label Code 086 Price Code F GEORG CHRISTOPH WAGENSEIL: CONCERTOS FOR ORGAN Konzert für Orgel und Orchester Nr. 3 F-Dur Konzert für Orgel und Orchester Nr. 5 G-Dur Konzert für Orgel und Orchester Nr. 2 C-Dur Konzert für Orgel und Orchester Nr. 6 A-Dur ARTISTS: Ullmann, Sensi, Piccolo Concerto Wien. Georg Christoph Wagenseil (1715-1777) is for Viennese musical life the pivotal point between the late Baroque and Viennese Classicism. His work, attributed to the pre-classical period, consists for the most part of keyboard music; after the harpsichord, the organ occupies second place in Wagenseil's works, and often the composer allows a choice of instrument. The four organ concertos brought together on this CD were concertos for "connoisseurs and music lovers", which were printed by Walsh in London (the collection "Six Concertos for the harpsichord or the organ"). The accompaniment for "Two violins and a bass," as it is called in the subtitle of the first London edition of 1765, indicates the kind of basso continuo the musicians of the Piccolo Concerto Wien provide: cello, violone, lute, bassoon and harpsichord make up the colourful foundation over which Elisabeth Ullmann sets up her dialogue with the two violins. The concertos themselves are a good mixture of French, Italian and German styles, including the, at that time, avant-garde forms of the "empfindsamer" and "galant" styles. "The playing of the soloist is technically correct, balanced, not mannered and for just this reason wins us over: Ullmann does not try, through creative antics, to squeeze increased significance out of Wagenseil's pleasing works ... The accompaniment of the Piccolo Concerto Wien fits the discreet approach of the soloist's playing, and pays attention to its phrasing, tone and musical contact with the organ. "(klassik.com)

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CLASSICAL NEW RELEASES

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the also mean 'magnificent trombone'!

ACCENT 24258 Label Code 086 Price Code F THE KING’S FLUTE MASTER: JOHANN JOACHIM QUANTZ FLUTE CONCERTOS Concertos in G minor QV 5:196 - D minor QV 5:86 - A minor QV 5:236 - G major QV 5:173 ARTISTS: FRANK THEUNS, TRANSVERSE FLUTE. LES BUFFARDINS. A large proportion of the compositional output of Johann Joachim Quantz has been preserved up to the present day, in particular the works written for the crown prince and subsequent King Frederick II. The approximately 281 surviving fl ute concertos form the most substantial group of works alongside vocal music, several orchestral works, trio and quartet sonatas and around 184 sonatas for transverse fl ute and basso continuo. The majority of the concertos were created specifi cally for Frederick II and took the stylistic preferences of the royal fl ute pupil into consideration. These works show that Quantz was able to blend the wide palette of impressions gained from his teachers and his extensive travels to Italy, France and England to form a highly individual style. Performances of works by Quantz in contemporary musical practice have a particular signifi cance as it is possible to adhere to the preserved authentic performance instructions and technical indications originating from the composer himself to a greater extent than with the majority of eighteenth century composers. What is more, the tonal quality and functionality of the transverse fl utes manufactured by Quantz also display an impression of his tonal ideal: all aspects which can communicate far more than would be possible to convey in words.

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ACCENT 24263 Label Code 086 Price Code F TROMBONE GRANDE Works by Frescobaldi, Fontana, Monteverdi, Bassano, Cima, et al. ARTISTS: Oltremontano Becu, trombone. Wim Becu, as the guiding spirit of the Ensemble Oltremontano and soloist on this CD, imbues the Baroque bass trombone with an unparalleled vitality and virtuosity. Not without reason is he counted among the best in his field, if not the best bass trombone player ever on the Baroque trombone! The newly-released CD Trombone Grande is exciting from every point of view - many different tone colours and arrangements, as well as very varied compositions, offer you an interesting and entertaining listening pleasure. As well as sound and coherent interpretations of the individual works, the bass trombone is at the centre - rightly so! There has never been a CD dedicated to such a wide-ranging collection of works. For the bass trombone is mostly used as a harmonic base, or for doubling the bass voice. Thus the performance of the diminution by Francesco Rognoni on Susane un jour certainly represents a highlight of bass trombone virtuosity. Technically brilliant, radiant yet touchingly soft in sound are the highly virtuoso passages which Wim Becu lures from his instrument. Treat yourself and your ear to this rarity! The title of the CD refers to the customary name attime for the Baroque bass trombone because of its size. Loosely translated, it can

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ARCHIPEL 0487 2 CD SET Label Code 393 Price Code M/P PUCCINI: LA BOHEME Pavarotti’s sensational debut from 1961 ARTISTS: Luciano Pavarotti, Alberta Pellegrini, Vito Mattioli, Dmitri Nabokov. Orchestra e Coro del Teatro Municipale di Reggio Emilia, Francesco Molinari-Pradelli, conductor.

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ARCHIPEL 0488 Label Code 393 Price Code M/P BRAHMS & TCHAIKOVSKY: VLADIMIR HOROWITZ & BRUNO WALTER Brahms: Piano Concerto No. 1 Tchaikovsky: Piano Concerto No. 1 Recorded live in Carnegie Hall, NYC, 1948 ARTISTS: Vladimir Horowitz, piano. New York Philharmonic, Bruno Walter, conductor.

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Label Code 001 Price Code P RACHMANINOV – PIANO CONCERTOS NOS 1 & 4; PAGANINI RHAPSODY Sergei Rachmaninov: Piano Concerto No.1 in F sharp minor, Op.1 – Rev. version (1891/1917); Piano Concerto No.4 in G minor, Op.40 – Final version (1926/41); Rhapsody on a Theme of Paganini, Op.43 ARTISTS: Noriko Ogawa, piano. Malmö Symphony Orchestra, Owain Arwel Hughes, conductor. The unique combination of ‘Russian’ melancholy and urbane elegance, exuberant melodies and opulent harmonies has given Sergei Rachmaninov's Second and Third Piano Concertos an undying popularity. These were the works that made Rachmaninov famous, both as performer and composer, and which became the yardstick against which his other works were measured. Less frequently programmed are the two concertos that frame them. Piano Concerto No.1 was written in 1890–91 while Rachmaninov was still a student at the Moscow Conservatory, but didn’t become widely known before extensive revisions in 1917. This was shortly before the composer left Russia for good as a consequence of the revolution, and during his first years of exile, Rachmaninov kept busy as a touring performer – often of his own works – with very little time for composing. Only in 1926 did he launch into a new large-scale composition: the Fourth Piano Concerto. With the audience expecting a work in the vein of the two preceding concertos, the first performance was not a success, however. The work was criticized for being difficult, and the lack of those ‘big tunes’ that had become a Rachmaninov trademark was bemoaned. The self-critical composer immediately started revising the work, and later withdrew it. He returned to it only in 1941 when he produced the version which is usually performed today. After the disappointment of the Fourth Concerto another long silence ensued; not until 1934 did Rachmaninov venture to compose another large-scale work, the Rhapsody on a Theme of Paganini, Op.43. This time the reception was enthusiastic and the Paganini Rhapsody remains one of his most popular works, in which the famous A minor theme of Paganini’s 24th Caprice for solo violin is made to yield breathtaking results. Noriko Ogawa has previously released the Piano Concertos Nos 2 and 3, with the same conductor and orchestra – a disc which received a warm reception, for instance in Fanfare: ‘Magnificent, beautifully refined performances… with remarkably sophisticated support provided by Arwel Hughes and the excellent Malmö orchestra’.

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BIS CD 1819 Label Code 001 Price Code P C. P. E. BACH – SOLO KEYBORD MUSIC, VOL.25 Sonatas from 1740–47 Carl Philipp Emanuel Bach: Sonata in D major, Wq 65/14 (H 42); Sonata in G major, Wq 65/12 (H 23); Sonata in F minor, Wq 62/6 (H 40); Sonata in F major, Wq 65/21 (H 52); Sonata in C major, Wq 62/7 (H 41) ARTISTS: Miklós Spányi, clavichord. This disc continues the previous volume of this series in presenting keyboard sonatas composed in 1744, a year of great significance in C.P.E. Bach’s development as a composer. Beside three sonatas from that year, the programme includes an earlier and a later work: the very substantial 1740 Sonata in G major, Wq65/12, and the Sonata in F major, Wq65/21 composed in a light and charming galant style in 1747. Many sonatas of this period are serious ‘grand’ sonatas intended for connoisseurs and professional players. Like the six ‘Württemberg’ Sonatas, Wq49, composed between 1742 and 1744, they have large-scale outer movements telling complex and exciting stories, painted in the most vivid of colours. On this disc, the Sonata in F minor, Wq62/6 is a sister work of the ‘Württemberg’ set which could have easily taken its place among them. Perhaps less ‘serious’ is the D major Sonata, Wq65/14, a sparkling work in galant style, while the C major Sonata, Wq62/7 is a very personal creation with its relatively short movements of highly contrasting characters. With his usual sensitivity to the different moods and styles of the composer, Miklós Spányi performs these works on the clavichord – an instrument favoured by C.P.E. Bach himself, and for which Spányi has a particular affinity, as remarked upon in a review in BBC Music Magazine of a recent disc in the series: ‘Spányi’s ultra-sensitive touch adds magic on this delicate instrument.’ The particular clavichord selected for this recording is unusually large, with a louder and more colourful sound which helps in realising the great contrasts required by Bach in both musical textures and dynamics, aspects which are also aided by the rich acoustics of the splendid 18th-century Keizerszaal (‘Imperial Hall’) in the Belgian town of Sint-Truiden, where the recording took place.

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BIS CD 1958 Label Code 001 Price Code P BRAIN RUBBISH Adam Gorb: Yiddish Dances; Christian Lindberg: Suite from Galamanta; Brain Rubbish; George Gershwin, arr. M. van Gils: An American in Paris; Bernardo Adam Ferrero, arr. A. Högstedt: Homenaje a Joaquín Sorolla ARTISTS: Swedish Wind Ensemble / Christian Lindberg, conductor. With a colourful programme of original works and arrangements, Christian Lindberg and his Swedish Wind Ensemble take their listeners on a wide-ranging journey to landscapes both imaginary and real. The British composer Adam Gorb (b. 1958) opens the disc with his suite of Yiddish Dances – in the composer’s own words ‘very much a party piece’ inspired by klezmer, the folk music of the Eastern European Jews. The dance theme reappears in An American in Paris, George Gershwin’s evocation of Paris during the 1920’s: this symphonic poem was commissioned by the New York Philharmonic, but later appeared in the Hollywood musical named after it. Rearranged for the purpose, it became the music for the elaborate closing dance sequence with Gene Kelly and Leslie Caron appearing in various Parisian settings. Homenaje a Sorolla by the Spanish composer Bernardo Ferrero (b. 1942) is also programmatic: its title refers to the painter Joaquín Sorolla (1863 – 1923), and the four movements are inspired by typical subjects of his, such as fishermen’s wives waiting for their men on the beach and a religious procession taking place in Valencia, hometown of both Sorolla and Ferrero. Two compositions by Christian Lindberg himself complete the programme. In his Suite from Galamanta, the conductor-composer first takes us to the mythical town which acts as the setting of his stage work Dawn at Galamanta. Our destination in Brain Rubbish, the closing work on the disc, is Lindberg’s own brain, as the piece is an inventory of material that he had discarded as being ‘too rough and rocky’ for a work he was composing for the Chicago Symphony Orchestra. The Swedish Wind Ensemble and Lindberg have appeared together on several previous releases on BIS – discs which have been warmly received, for instance by the reviewer on the website klassik-heute.de, who commented on the ‘spark and stirring vitality, the brilliance and interpretational flair’ demonstrated by the entire ensemble.

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BONGIOVANNI 2456 Label Code 002 Price Code C AMOR INGEGNOSO: GIOVANNI SIMONE MAYR Libretto included Recorded live in 2010, Teatro Donizetti di Bergamo ARTISTS: Stefania Ferrari, Livio Scarpellini, Filippo Morace, Gabriella Locatelli Serio, Gabriele Sagona, Elena Rossi. Orchestra del Bergamo Musica Festival, Pierangelo Pelucchi, director.

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BONGIOVANNI HOC 064/5 2 CD SET Label Code 483 Price Code M/P AMBROISE THOMAS: MIGNON Recorded live in Mexico City, 1949 ARTISTS: Giulietta Simionato, Giuseppe Di Stefano, Cesare Siepi, Verdad Luz Guajardo, Graciela Milera, Gilberto Cerda, Ignacio Rufino. Guido Picco, conductor.

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CEMBAL D'AMOUR 167 Label Code 341 Price Code B MINDRU KATZ, PIANO MARCELLO—J.S. BACH: Adagio from Marcello’s Oboe Concerto in D Minor (Recorded 4 November 1974, Tel-Aviv, Israel) CHOPIN: 24 Preludes Op. 28 (Recorded 4 November 1974, Tel-Aviv, Israel) KABALEVSKY: 3 Preludes from Op. 38 Prelude No. 8 in F-sharp Minor Prelude No. 6 in B Minor Prelude No. 14 in E-flat Minor (Recorded 4 November 1974, Tel-Aviv, Israel) ARTISTS: Mindru Katz, piano. Never-Before-Published Live Recordings of the Legendary Pianist Mindru Katz “Mindru Katz, a pianist of unbounded strength, vitality, and assurance. It was supremely musical and poetic playing as well as a great technical tour de force.” The Times, London “I know of no one outside Horowitz who can produce such a thrilling brio, and Katz is a far better Beethoven player than Horowitz.” Gramophone Record Review “Mindru Katz Reveals his Genius” “A musician literally to his finger tips, Mr. Katz is an exception even in a world teeming with pianists of high repute.” Yorkshire Post

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CENTAUR 3183 Label Code 079 Price Code C BACH IN TIME: ON THE CLARINET Sonata in Minor BWV 1023 Toccata and Fugue in D minor BWV 565 Sonata in G minor BWV 1029 Seufzer, Tranen, Kummer, Not from Cantata, BWV 21 Ich Nehme meni Leiden mit Freuden auf mich from Cantata, BWV 75 Ich will auf den herren schau’n from Cantata, BWV 93 Es halt’ es mit der blinden Welt from Cantata, BWV 94 Sonata in C minor BWV 1017 ARTISTS: Joseph Eller, clarinet. Jerry Curry, harpsichord. Jared Johnson, organ. Tina Milhorn Stallard, soprano. Robert Jesselson, violoncello.

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CENTAUR 3185 Label Code 079 Price Code C HENRY COWELL: PIANO MUSIC Dynamic Motion and The Five Encores to Dynamic Motion Sway Dance Two Woofs Hilarious Curtain-Opener Caoine Rhythmicana Irishman Dances Scherzo/ It Isn’t It Fairy Bells Sinister Resonance Three Irish Legends ARTISTS: Stacey Barelos, piano. CENTAUR 3186/7 2 CD SET

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Label Code 079 Price Code C STEVEN STARYK: A RETROSPECTIVE: VOLUME 1 Paganini: Concerto in D major No. 1 op. 6 Beethoven: Concerto in D major op. 61 Mozart: Concerto in A major K. 219 Saint-Saens: Introduction et Rondo Capriccioso op. 28 Schostakovich : Concerto in A minor op. 99 ARTISTS: Steven Staryk, violin. Norddeutsche Rundfunk Symphone, Herman Michael, conductor. Royal Concertgebouw Orchestra, Bernard Haitink, conductor. CBC Vancouver Chamber Orchestra, John Avison, conductor. London Festival Orchestra, Douglas Gamley, conductor. Toronto Symphony Orchestra, Sir Andrew Davis, conductor.

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CENTAUR 3188 Label Code 079 Price Code C STEVE ROUSE: CHAMBER MUSIC Violin Sonata Sonata for Cello and Piano The Flying Boy Diamonds The Avatar Shadow Rounds Inconceivable Things ARTISTS: Benjamin Sung, violin. Jihye Chang, piano. Paul York, cello. Michael Gurt, piano. Louisville Brass: Michael Tunnell, Herbert Koerselman, trumpets. Bruce Heim, horn. Brett Shuster, trombone. John Jones, tuba.

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CENTAUR 3197 Label Code 079 Price Code C LEO KRAFT Variations for Orchestra Two Pieces for Orchestra For Those We Loved The Vision of Isaiah for Chorus and Orchestra ARTISTS: The Moravian Philharmonic Orchestra, The Slovak National Opera Chorus, Joel Eric Suben, conductor.

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CENTAUR 3202 Label Code 079 Price Code C J.S. BACH: GOLDBERG VARIATIONS, BWV 988 ARTISTS: Sachiko Kato, piano. CENTAUR 3208

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Label Code 079 Price Code C MUSIC FROM THE BALKANS FOR VIOLIN AND PIANO George Enescu: Sonata for Violin and Piano No. 3, op. 25 Cesk Zadejo: Sonata for Violin and Piano Aleksandra Vrebalov: Eastern Chapel Meditations for Violin, Piano, and Pre-recorded Sounds Nikos Skalkottas: Petite Suite No. 2 for Violin and Piano Pzantcho Vladigerov: Song from Bulgarian Suite ARTISTS: Miroslav Hristov, violin. Vladimir Valjarevic, piano.

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CHRISTOPHORUS 77359 Label Code 034 Price Code F HAMELN ANNO 1284: MEDIEVAL FLUTE MUSIC ON THE TRAIL OF THE PIED PIPER ARTISTS: Norbert Rodenkirchen, flute. The figure of the mysterious flautist who according to legend enticed the children away from the town of Hamelin with his music in the year 1284 has retained its fascination up to the present day. What sort of music could the Pied Piper have played? Norbert Rodenkirchen, a specialist in medieval flute music, has evaluated contemporary sources - based on recent research findings - and produced a musical compilation forming a tonal portrait. The melodies of Prince Wizlaw III of Rügen and ancient Slavonic dances provide the focus of this CD alongside numerous sources of other minnesingers and are utilised by the musician to recreate the enchanting melodies of the Pied Piper.

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COVIELLO 51203 Label Code194 Price Code F DVORAK, BRAHMS: KLAVIERDUOS Quintett für Klavier und Streichquartett A-Dur op. 81 Quintett für Klavier und Streichquartett f-moll op. 34 ARTISTS: Sivan Silver, Gil Garburg, pianos. Nomos Quartett. The piano quintets presented on this recording illustrate that the well-established clichés of a brooding Brahms and a sanguine Dvorák are not the whole truth. Brahms also had sanguine moments as well as Dvorák let us have a look into depths. The piano duo Sivan Silver and Gil Garburg is able to show us a large spectrum of expressions, each of them performing one of the works. The Nomos Quartet perfectly harmonises with the interpretation of the pianists.

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COVIELLO 51208 Label Code194 Price Code F DUOS FOR VIOLA AND VIOLONCELLO Works by Kirchner, Beethoven & Hindemith ARTISTS: Katrin Melcher, viola. Martin Ostertag, cello. Duos for viola and cello are not exactly a typical chamber music genre - at first glance, the contrast between the two instruments, which play in a similar register, seems too small. But it is precisely this lack of a clearly dominant voice that opens up new interpretive possibilities; almost inevitably, the focus shifts away from virtuosic effects and changes to chamber music-like intimacy that compels both composer and listener to concentration. On their new CD, Katrin Melcher and Martin Ostertag explore this distinctive sound world with a series of original compositions.

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DAL SEGNO 038 Label Code 090 Price Code D THE GREAT RUSSIAN PIANISTS: THE ORIGINAL PIANO ROLL RECORDINGS Works & performances by Prokofiev, Horowitz, Scriabin, Leschetitzky ARTISTS: Sergei Prokofiev, Alexander Scriabin, Theodore Leschetitzky, Sergei Liapounov, Vladimir Horowitz, Shura Cherkassky, Leopold Godowsky, Rudolph Ganz, Ossip Gabrilowitsch, piano.

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DUX 0848/9 2 CD SET Label Code 413 Price Code D OLIVIER MESSIAEN: VINGT REGARDS SUR L’ENFANT-JÉSUS (TWENTY GAZES UPON THE INFANT JESUS) ARTISTS: Eugeniusz Knapik – piano The significance of Olivier Messiaen in the history of the 20th century music is exceptional. His willingness to face great, beyond-musical ideas and at the same time show incredible intensity and passion of expression – these are, apart from purely technical virtues, the most distinguishing features and strengths of his music.

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DUX 0865 Label Code 413 Price Code D SZABELSKI GÓRECKI KNAPIK WORKS FOR ORCHESTRA Bolesław Szabelski: Concertino (1955) Henryk Mikołaj Górecki: Refrain for orchestra (1965) Eugeniusz Knapik: Islands (1983) ARTISTS: The Silesian Philharmonic Symphony Orchestra, Zbigniew Raubo - piano, Piotr Rurański - double bass, Adam Wagner - violin solo.

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GLOSSA 920312 Label Code 119 Price Code F LUIGI BOCCHERINI: SIX QUATUORS Six Quatuors pour le clavecin ou pianoforte, violin, viola et basse obligé (G259): Quartetto I in B fl at major - Quartetto II in G minor - Quartetto III in E fl at major - Quartetto IV in A major - Quartetto V in F major - Quartetto VI in F minor ARTISTS: La Real Cámara: Arthur Schoonderwoerd, fortepiano. Emilio Moreno, violin. Antonio Clares, viola. Mercedes Ruiz, cello. As a guide to the music of Luigi Boccherini written in Spain there is no one better today than Emilio Moreno; this string player, director and scholar knows in a profound way how music composed across the map of 18th century Europe can live and breathe. For a new GLOSSA release Moreno is once again focusing on an important aspect of Boccherini‘s output from the more than 35 years he spent working within that late 18th century Spanish mixture of a severe tradition, a vibrant popular culture and an openness to culture trends coursing throughout the Europe of Haydn and Mozart. Joined by the talent of Dutch keyboard player Arthur Schoonderwoerd, Moreno leads La Real Cámara (with regular partners violist Antonio Clares and cellist Mercedes Ruiz) in six piano quartets transcribed from Boccherini‘s Op 26 two-movement quartettini of 1778, and published some years later. Moreno takes us back to the Age of Enlightenment, to the cultured court of the Infante Don Luis de Borbón (the brother of the Spanish king) in Arenas de San Pedro - a royal residence outside Madrid but also near Ávila, and clearly within the scope of the European postal service - and to those substantial demands for chamber music of all confi gurations which the Font family quartet and Boccherini (a noted cellist himself) were adept at performing with technical assurance and artistry. Here, fortepiano joins violin, viola and basse obligé coming together in elegant, witty and graceful chamber music, in scores touched by those popular Spanish motifs cheerfully incorporated by Boccherini.

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GLOSSA 920920 3 CD SET Label Code 119 Price Code F CLAUDIO MONTEVERDI: Il RITORNO D’ULISSE IN PATRIA ARTISTS: Anizio Zorzi Giustiani, Jose Maria lo Monaco, Roberta Mameli, Makoto Sakurada, Salvo Vitale, Giorgia Milanesi, La Venexiana, Claudio Cavina, direction. The dramatic energy and the instinct for colour and meaning in the text which Claudio Cavina has been bringing to the music of Claudio Monteverdi in recent years are newly and richly present in his interpretation of ‘Il ritorno d'Ulisse in patria’. Having previously directed much-admired recordings of both Orfeo and Poppea (and a wide span of madrigals too), Cavina turns his attention now to the enduring Homeric-inspired tale of constancy and virtue first performed in Venice over 350 years ago. Conscious of the restrictions inherent in the single surviving score of the work (now kept in Vienna) and that it is likely that Monteverdi was not the only composer involved for the original production, Cavina brings a deep understanding to bear on Monteverdi's inspiration - and also onto the mid-17th century Venetian operatic world as a whole (a recent demonstration of this last coming in his recent recording of Cavalli's Artemisia). In his latest artistic endeavour Claudio Cavina is joined by the instrumentalists of La Venexiana and a superb leading group of singers: in addition to Anicio Zorzi Giustiniani as Ulisse and Josè Maria La Monaco as Penelope, Makoto Sakurada and Roberta Mameli have starring roles (Cavina himself also takes a singing role).

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GLOSSA 921806 Label Code 119 Price Code F RICHARD JONES: CHAMBER AIRS FOR A VIOLIN (AND THOROUGH BASS) Sonatas No 2 in C minor - No 3 in G major - No 6 in B fl at major - No 1 in D major - No 4 in A minor - No 5 in E major - No 7 in E minor - No 8 in A major ARTISTS: KREETA-MARIA KENTALA, VIOLIN. LAURI PULAKKA, CELLO. MITZI MEYERSON, HARPSICHORD. Emboldened by her experience of playing the 6 Sets of Lessons by Richard Jones, already released on Glossa, and chancing upon another book of music which included violin sonatas by Jones, Mitzi Meyerson resolved to champion further this forgotten musical fi gure from the fi rst half of the 18th century in England, in a manner comparable to her earlier defence of Muffat and Balbastre. Joined by violinist Kreeta-Maria Kentala and cellist Lauri Pulakka, Meyerson has now recorded all eight of the sonatas, published in London in 1735 as Chamber Airs for a Violin (and Thorough Bass), and makes evident how this contemporary of Handel developed his own individual and unpredictable style, but with plenty of echoes of music by the likes of Leclair and Corelli, as well as the earlier Baroque England thrown in for good measure. This is technically secure and demanding music for the performers - Jones was a violinist himself, acting as the concertmaster for the Drury Lane Orchestra in London - which will be a delight for lovers of Baroque chamber music and which will serve to demonstrate, once more, how in music “the perfect is the enemy of the good” for composers caught in the long shadow of Georg Friedrich Handel.

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GLOSSA 922901 Label Code 119 Price Code F ANTONIO VIVALDI: OPERA ARIAS Combatta unngentil cor (Tito Manlio) - Leggi almeno, tiranna infedele (Ottone in villa) - Da due venti un mar turbato (Ercole sul Termodonte) - Non ti lusinghi la crudeltade (Tito Manlio) - Rete, lacci e strali adopra (Dorilla in Tempe) - Se garrisce la rondinella (Orlando finto pazzo) - Ombre vane, ingiusti orrori (Griselda) - Fra le procelle del mar turbato (Tito Manlio) - Dite, ohimè! Ditelo, al fine (La fids ninfa) - Nacque al bosco e nacque al prato (Il Giustino) - Tu dormi in tante pene (Tito Manlio) - Gelosia, tu già rendi l’alma mia (Ottone in villa) - Se mai senti spirarti sul volto (Catone in Utica) - Dopo un’orrida procella (Griselda)

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ARTISTS: ROBERTA INVERNIZZI, SOPRANO. LA RISONANZA, FABIO BONIZZONI, DIRECTION. A new recording from Roberta Invernizzi always betokens pleasure, but the rare occasion when the Italian soprano is placed in the spotlight - as with this new collection of opera arias by Antonio Vivaldi – promises something very special indeed. Invernizzi is known for her style and dramatic vividness in the music of the Baroque (such as on recent discs of Handel and Campra), perfectly suitable for this new rollercoaster journey of the emotions released by GLOSSA, courtesy of Vivaldi's own fertile dramatic capacity to capture moods - pastoral evocations, storms at sea, hunting and even prison scenes. And a whole range of emotional high and low points - embracing anger, despair, anxiety, amorous frustration and touching intensity - are captured by Invernizzi, crowned by her electrifying performance of Dopo un'orrida procella from Griselda. The programme offers a set of contrasts in known arias from Vivaldi's operatic music and those which deserve to be betterknown (and which surely will). Invernizzi's interpretation is aided and abetted by La Risonanza's fine group of instrumentalists; and, of course, there is sympathetic direction from Fabio Bonizzoni, speaking volumes for his long musical association with Roberta Invernizzi. A wonderful opportunity to get closer to the unfolding world of Vivaldi's dramatic music with the dazzling and alluring voice of Roberta Invernizzi.

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IDI 6638/9 2 CD SET Label Code 316 Price Code A BEETHOVEN: FIDELIO Recorded live in Covent Garden London, 1961 ARTISTS: Sena Jurinac, Jon Vickers, Elsie Morrison, Hans Hotter, Gottlob Frick, John Dobson, Forbes Robinson. Covent Garden Orchestra & Chorus, Otto Klemperer, conductor.

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MYTO HISTORICAL 00309 2 CD SET Label Code 005 Price Code M/P VERDI: MESSA DA REQUIEM Recorded in Usher Hall, Edinburgh, 1960 ARTISTS: Joan Sutherland, soprano. Fiorenza Cossotto, mezzo-soprano. Luigi Ottolini, tenor. Ivo Vinco, bass. Philharmonia Chorus and Orchestra, Carlo Maria Giulini, conductor

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MYTO HISTORICAL 00311 2 CD SET Label Code 005 Price Code M/P PUCCINI: TOSCA Recorded in Covent Garden, 1961 ARTISTS: Regine Crespin, Giuseppe Di Stefano, Otakar Kraus, David Kelly, Forbes Robinson, David Tree, Victor Godfrey, John Pyle. Orchestra and Chorus of the Royal Opera House, Edward Downes, conductor.

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MYTO HISTORICAL 00312 3CD SET Label Code 005 Price Code M/P MUSSORGSKY: BORIS GODUNOV Recorded in Covent Garden, London, 1958 ARTISTS: Boris Christoff, Josephine Veasey, Joan Carlyle, John Lanigan, Geraint Evans, Joseph Rouleau, Joseph Gostic, Regina Resnik, Otakar Draus, David Kelly, David Tree, Edith Coates. Orchestra and Chorus of the Royal Opera House, Rafael Kubelik, conductor.

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ORFEO 853121 Label Code 048 Price Code Z DANS LA NUIT G. Fauré: Après un rêve F. Poulenc: Les Chemins de l'amour R. Hahn: À Chloris R. Hahn: Mai R. Hahn: Fêtes galantes R. Hahn: Les fontaines R. Hahn: L' Enamourée R. Hahn: Dans la nuit R. Hahn: L' Heure exquise J. Massenet: Méditation C. Saint-Saëns: Introduction et Rondo capriccioso C. Saint-Saëns: Le spectre de la rose C. Saint-Saëns: L' île inconnue Fr. Borne: Fantaisie brillante sur des airs de "Carmen" ARTISTS: Nicola Jürgensen (Klarinette). Matthias Kirschnereit (Klavier). Few instruments are as adept as the clarinet at imitating the sound of the human voice in its whole range of vocal expression. This has been especially true since the Romantic period: time and again composers have had recourse to the clarinet whenever they wanted to evoke an emotional – but unsentimental – mood or to create the sort of atmosphere of dreamy otherworldliness that is associated with the hours of twilight: here one thinks especially of Carl Maria von Weber in Germany and of Berlioz in France. Nicola Jürgensen goes a step further – “into the night” – in her present programme, Dans la nuit, which takes its title from a song by Reynaldo Hahn. The clarinettist, who has appeared as a soloist with many leading European orchestras, while also making a name for herself as a chamber recitalist at international music festivals such as Risør and Lockenhaus, has adapted these 19th- and early 20th-century French works for her instrument and recorded them with the pianist Matthias Kirschnereit. Well-known and lesser-known songs by Berlioz, Hahn, Fauré and Poulenc feature here alongside more dramatic and virtuoso pieces. The result of this unexpected instrumental union is a living impression of the Paris salons of the belle époque, captured in stylish interpretations. Who would have thought that Saint-Saëns’s Introduction et Rondo capriccioso could sound as brilliantly effective on the clarinet as it does in its original version for the violin? Nicola Jürgensen has garnered equally enthusiastic reviews for her work in the world of the modern music theatre – she has already been heard onstage as Eva in Stockhausen’s Michaels Reise um die Erde at the Vienna Festival and in other leading centres of music. François Borne’s Fantaisie brillante on themes from Bizet’s Carmen is a cleverly compiled potpourri that maintains the drama of its source and holds its own even when compared with the original version for flute, at least as interpreted here by Nicola Jürgensen. A further operatic melody originally scored for the violin is the famous “Méditation” from Massenet’s opera Thaïs, which rounds off an outstanding release on a note of mellifluous inwardness.

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ORFEO D'OR 856123 3 CD SET Label Code 039 Price Code D W.A. MOZART: LE NOZZE DI FIGARO ARTISTS: Tom Krause (Graf Almaviva - Bariton). Anna Tomowa-Sintow (Gräfin Almaviva - Sopran). Ileana Cotrubas (Susanna - Sopran). José van Dam (Figaro - Bariton). Frederica von Stade (Cherubino - Mezzosopran). Jane Berbié (Marcellina - Sopran). Heinz Zednik (Basilio - Tenor). Kurt Equiluz (Don Curzio - Tenor). Zoltán Kelemen (Antonio - Baß). Janet Perry (Barbarina - Sopran). Chor der Wiener Staatsoper (Chor). Orchester der Wiener Staatsoper (Orchester). Herbert von Karajan (Dirigent) Herbert von Karajan famously resigned as director of the Vienna State Opera in 1964, but in May 1977 he was persuaded to return for a handful of performances with the company. His restudied production of Verdi’s Il trovatore opened on 8 May and was followed only two days later by Mozart’s Le nozze di Figaro in a staging previously seen at the Salzburg Festival, where it had been a resounding success. The Vienna performances were by no means a routine revival, and it is almost certainly impossible to imagine a more consistent and coherent ensemble than the one that was found in Vienna at this time, when all the participants were at the top of their form. José van Dam as the eponymous hero and Ileana Cotrubas as his fiancée, Susanna, were a picture-book couple with their distinctive voices and a charming way with the text. Still at the start of her international career, Anna Tomowa-Sintow was making her State Opera début and brought the Countess to vibrant life, producing an affecting portrayal of the melancholy mood and belligerent resolve of a woman faced with the loss of her happiness in love. In the minor role of Barbarina Janet Perry completed the illustrious line-up of sopranos, while Frederica von Stade, with her lean-toned mezzo, was altogether exemplary as the youthful Cherubino. As the Count, Tom Krause presented a convincing portrayal not only of the philanderer flaring up at such competition but also of the nobleman caught between his personal inclinations and his awareness of his own social standing. The cast is completed in the finest buffo tradition by Jane Berbié as Marcellina, who succeeds in treading a fine line between comic crone and loving mother; Jules Bastin as a well-seasoned incompetent lawyer; Heinz Zednik as a wonderfully venomous intriguer Don Basilio; and – luxury casting, indeed – Zoltán Kelemen as the ranting gardener, Antonio.

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ROMEO RECORDS 7287 Label Code 363 Price Code C FOREVER TO REMEMBER ARTISTS: Sharon Rostorf-Zamir, soprano. Hagai Yodan, piano. “Forever to Remember” – “I vowed seven decades ago. To remember my childhood home; my school-bench fellows; the synagogues; the lively, busy towns; the tunes of old; the anonymous heroes; Jewish mothers; tender children. Talks with myself. Talks with God.” -Yaakov Barzilai Internationally known soprano Sharon Rostorf-Zamir sings works based on poems by Yaakov Barzilai, a Holocaust survivor. Israeli composers Aharon Harlap, Eugene Levitas, Stella Lerner and Israel-American composer Sharon Farber have set a number of Barzilai’s “Shoah” poems to music that is immeasurably touching and profoundly moving. Like Mahler’s Kindertotenleider, the musical works heard on this recording are emotionally engaging like no other musical works on the subject of personal loss.

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SIGNUM UK 287 Label Code 303 Price Code D A NEW VENETIAN CORONATION, 1595 ARTISTS: Gabrieli Consort & Players Paul McCreesh conductor. The Gabrieli Consort and Players return to the programme that put them on the musical map when it was originally recorded and released in 1990: A Venetian Coronation 1595 is a musical re-creation evoking the grand pageantry of the Coronation Mass for Venetian Doge Marino Grimani. His love of ceremony and state festivals fuelled an extraordinary musical bounty during his reign and formed the background to the musical riches of the period, especially to the works of Giovanni Gabrieli. with cornetts, sackbuts and an all-male consort, Paul McCreesh fully exploits the dazzling polyphony of Andrea and Giovanni Gabrieli’s music and captivates the audience in a theatrical and ceremonious performance. Two decades later, the Gabrieli's New Venetian Coronation takes advantage of huge developments in early instruments, performance techniques and research into the pieces that were on the original (as well as advances in recording techniques). this disc follows on from two critically lauded releases with Signum – Berlioz's Grande Messe des Morts (BBC Music Magazine Award winner – technical excellence) and A Song of Farewell (5 Stars – Classic FM Magazine, Double 5 stars – BBC Music Magazine).

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SIGNUM UK 307 Label Code 303 Price Code D THE KING’S SINGERS: ROYAL RHYMES AND ROUNDS ARTISTS: The King’s Singers, vocals. On a new disc to celebrate the 2012 Diamond Jubilee, The King’s Singers present a selection of works from the past 500 years written in honor of the great monarchs of Britain. Starting with works for Henry VIII, the program covers the Elizabethan “Triumphs of Oriana” by composers such as Gibbons, Mundy and Dowland; a very Victorian selection of dedicatory works by Elgar, Parry and Parratt; choral arrangements from the opera Glorianna by Benjamin Britten; a new piece by Paul Drayton that comically pens “A Rough GUitde to the Royal Succession.” A recent review for The King's Singers previous disc 'High Flight' (SIGCD262) "Each track is an ethereal epic that is deeply affecting and undeniably beautiful." Choral Music Guide, January 2012

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(RELISTING) SIGNUM UK 262 Label Code 303 Price Code D HIGH FLIGHT: THE KING’S SINGERS Choral music by Eric Whitacre, Morten Lauridsen, and Bob Chilcott. ARTISTS: The King’s Singer, Concordia Choir, Rene Clausen, conductor. A must-have for choral-aficionados everywhere that sees perhaps the world’s finest a cappella ensemble The King’s Singers join forces with The Concordia Choir – one of the USA’s best collegiate groups – to perform works by choral composers Eric Whitacre, Bob Chilcott and Morten Lauridsen.

INCLUDES WORLD PREMIERE RECORDINGS

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SIGNUM UK 308 2 CD SET Label Code 303 Price Code D JIMMY: JAMES RHODES LIVE IN BRIGHTON Works by J.S. Bach, Beethoven, Moszkowski, Rachmaninov, Chopin. ARTISTS: JAMES RHODES, PIANO. In 2008/09 James Rhodes saw his profile go from complete unknown to rising star, attracting celebrity followers including Stephen Fry and Sir David Tang. He swiftly went on to headline London's historical Roundhouse, where he was the first classical pianist to perform since it's re-opening. In 2010 he made his television debut in the BBC Four documentary ‘Chopin: The Women Behind the Music’ and in 2011 James went on to present and perform in his very own television series ‘James Rhodes: Piano Man’ on Sky Arts. This new disc – recorded live at The Old Market theatre in Brighton – captures the energy of Rhodes in concert as he performs and entertainingly discusses works by Bach, Beethoven, Chopin, Rachmaninov and more in this 85-minute programme. "Performances of such natural ease and brilliance that no one can resist." Roundhouse concert review 15th May. Geoff Brown, The Times

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(RELISTING) SIGNUM U.K. 185 2 CDs for the price of 1 Label Code 303 Price Code D JAMES RHODES: PIANO RECITAL JOHANN SEBASTIAN BACH (1685 – 1750): Partita No. 6 in E minor BWV 830 J.S. BACH/ FERRUCCIO BUSONI (1866 – 1924): Toccata, Adagio & Fugue in C major BWV 564 LUDWIG VAN BEETHOVEN (1770 – 1827): Piano Sonata No. 30 in E major, Op. 109 J.S. BACH/ALESSANDRO MARCELLO (1669- 1747): Adagio from Concerto No. 3 in D minor BWV 974 FREDERIC CHOPIN (1810 – 1849): Prelude No. 4 in E minor, Op. 28; Etude No. 12 in C minor, Op. 25 BONUS: Interview with James Rhodes; Video – Live at the Roundhouse, London, J.S.Bach/A. Marcello: Adagio ARTISTS: James Rhodes, piano “As someone who has never been to a music college, done my diploma in piano playing or participated in any competitions, I feel particularly blessed to have been able to choose to learn pieces of music for the simple reason that I absolutely love them. I have never been forced to slave for hours over a piece of music that doesn’t make my skin crawl with pleasure or raise my heartbeat to almost viagra-induced levels. This CD is a perfect example of me as a musician and piano-fanatic choosing works that for as long as I can remember have blown my mind.” – James Rhodes

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SUPRAPHON MD 4082 2 CD SET Label Code 332 Price Code M/P GREAT CZECH CONDUCTORS: MARTIN TURNOVSKY Works by Martinu, Ibert, Hindemith, Myslivecek, Bizet. ARTISTS: Martin Turnovsky, conductor. Czech Philharmonic Orchestra, Prague Chamber Harmony, Prague Chamber Orchestra, Prague Symphony Orchestra. Paradoxically, a greater opportunity to witness the artistry of the remarkable Czech conductor Martin Turnovsky, whose teachers included Karel Ancerl and George Szell, has been afforded to audiences abroad. After winning the international conducting competition in Besançon (1958), he had to wait almost a decade for the real launch of his international career, since the totalitarian regime in Czechoslovakia prevented him from travelling around the world. He was chief conductor of the Dresdner Staatskapelle and Staatsoper, and, after emigrating to the West at the end of the 1960s, led the Operas in Oslo and Bonn, guest-conducted the New York Philharmonic, the Bavarian Radio Symphony Orchestra, the Royal Liverpool Philharmonic and other major orchestras. Only after the regime change in Czechoslovakia in 1989 could he renew his work with orchestras on home soil. In the 1960s he made numerous recordings for Supraphon. The majority of those presented on these discs are now available on CD for the first time. They bear witness to Turnovsky's distinct talent, which several years later would dazzle to the full in front of the world's most renowned orchestras. A Czech conductor who excelled worldwide. Martin Turnovsky recordings for the first time on CD.

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WIDESCREEN 143 2 CD SET Label Code 475 Price Code Y SHOSTAKOVICH Symphony No. 5 Symphony No. 7 “Leningrad” Piano Concerto No. 1 Recorded in 1959 & 1962 ARTISTS: New York Philharmonic Orchestra, Leonard Bernstein, conductor. Andre Previn, piano.

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WIDESCREEN 176 2 CD SET Label Code 475 Price Code Y VERDI: OTELLO 1947 NBC Production ARTISTS: Luigi Alva, Rolando Panerai, Mirella Freni, Fiorenza Cossotto. NBC Symphony Orchestra, Arturo Toscanini, conductor.

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WIDESCREEN 177 2 CD SET Label Code 475 Price Code Y WAGNER: THE FLYING DUTCHMAN Recorded in 1960 ARTISTS: George London, Leonie Rysanek, Girio Tozzi, Karl Liebl. Covent Garden Orchestra & Chorus, Antal Dorati, conductor.

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ANIMAL MUSIC 030 Label Code 478 Price Code F THE REAL DEAL Love Letters I’ll Remember April Softly As In a Morning Sunrise Too Young Listen Here Sonora Just a Closer Walk With Thee Smile Wahoo Solitude Based on Bach, Bird & Trane Je Te Veux ARTISTS: Najponk, piano. Matt Fishwick, drums. Jaromir Honzak, acoustic bass. The pianist Najponk, whose most recent trio album It’s About Time, recorded in an unorthodox line-up with the organist Ondrej Pivec and the percussionist Greg Hutchinson, received a prestigious Czech Andel Award in 2010 in the Jazz and Blues category, has initiated another ad hoc trio project. He invited along for the ride the distinguished Czech bassist Jaromir Honzak, the holder of three Andel Awards for Jazz Album of the Year, and the young English percussionist Matt Fishwick. The extremely bracing album features Najponk’s arrangements of a more or less “standard” repertoire, as well as a Najponk composition and selected works by the celebrated French avand-garde composer Erik Satie.

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HERMAN & SONOR 1042 Label Code 077 Price Code D JAZZMAZZORENE: MISSISSIPPI BLUES 1. FIDGETY FEET 2. SOMEDAY,SWEETHEART 3. DOCTOR JAZZ 4. SUGAR 5. MANDAY,MAKE UP YOUR MIND 6. MY MELANCHOLY BABY 7. MISSISSIPPI BLUES 8. NUAGES 9. WILD MAN BLUES 10. BLACK BOTTOM STOMP 11. SOMEBODY STOLE MY BABY 12. MELANCHOLY 13. EVERYBODY LOVES MY BABY 14. OLD FASHIONED LOVE 15. STEAMBOAT STOMP 16. THERE'LL COME ANOTHER DAY

JAZZ & ROCK NEW RELEASES

ARTISTS: Inge Solem, clarinet, soprano saxophone, vocals. Torstein Kuban, cornet. Jan Erling Dahl, guitar. Tonny Eliassen, trombone. Steinar Oyen, double bass. Stein Inge Storvik, banjo. Benny Buoso, piano. Sonny Breiby, drums, washboard, vocal.

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SUPRAPHON BG 5990 9 CD BOX SET Label Code 334 Price Code BG BLUE EFFECT: 1969-1989

ARTISTS: Blue Effect The Blue Effect continued in the spirit of The Matadors, playing superb r&b material with Radim Hladík's fuzz guitar in charge. In 1969 they recorded their first single "Slucený Hrob" and an untitled 4-track EP. Their album Meditace (1970) was great. "Pamet Lásky" opened the album with threatening gothic voices, narrative lead vocals and careful orchestration, much like a post Soviet invasion requiem. The other tracks ranged from Yarbirds-like sitar excursions and blues-rock highlighting the flute (similar to vintage Jethro Tull) to well-written pop-psychedelia in the typical late sixties tradition. It seems that Vladimir Misík left The Blue Effect after a dispute over lyrics. He wanted to sing English lyrics, which didn't exactly please the Czech authorities. Misík joined the second version of Flamengo, but still had to sing Czech lyrics on their 1972-album (it was banned anyway!). His place was soon occupied by Lešek Semelka, a vocalist with a very unique style. Hladik, Cozel and C(ech then embarked on the first of three experimental recordings, attempting to combine free jazz and beat with Jazz Q Praha featuring Jir(í Stivín. The sound of Coniunctio will puzzle the ears of many listeners, as this is considerably different to early Western attempts to combine jazz and rock at the time. The New Synthesis albums are indeed even stranger, recorded with the Czechoslovak Radio Jazz Orchestra. Judging by their playing techniques, these professional musicians collectively seemed to ignore any new developments in jazz since 1960 (and rock was totally out of the question). The result was not a "synthesis" but two different generations of musicians playing on top of (but not with) each other. A self-titled and largely instrumental progressive rock album was recorded in 1973, but not released until two years later. Two tracks were over 10 minutes long and ideal showcases for Hladik's intricate style (somewhere between Jan Akkcrman and the non-Latin jazz-rock style of Carlos Santana). His reputation as the best guitar player in Eastern Europe has a lot to do with this album. In 1975 Hladik reformed the group (now as M. Efekt) with C(ech and two new members: Fedor Frešo from Bratislava had been the bass player in Collegium Musicum (and he would later join Fermata) and Oldr(ich Veselý from Brno, the keyboard-player of Synkopy 61 (later relaunched as Synkopy). Their album Svitanie (1977) marked a turn towards a more lyrical and symphonic approach with a wide array of keyboards (ARP, siring ensemble, pianos and organ). Some aspects of this new sound resemble Yes circa 1972-73. Svet Hledacu (1979) was recorded after the departure of Freso. He was replaced by the returning Lešek Semelka, who in the meantime had played in the group Bohemia. The album fullfilled the M. Efekt-concept of long, elaborate tracks. It's interesting to note that no bass player was employed. This was also the case on their final album 33.

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