LOVE STORY


A genre originally influenced by Rachmaninov’s popular piano concertos, these pieces are arresting original scores for piano and orchestra composed for movies of the 1940s and 1950s including Dangerous Moonlight, Stagefright, and The Apartment. The album also brings us up-to-date with captivating music from Murder on the Orient Express, On Golden Pond and Pride & Prejudice.

This is a feast of original works by well-known luminaries such as Nino Rota, Richard Addinsell, Carl Davies, Richard Rodney-Bennett and Dimitri Shostakovich, set alongside scores from Charles Williams, Hubert Bath, Robert Farnon and others.

En SUITE

“This is a marvellous disc ... Romina Lischke [has] a very attractive impulsiveness, and a brilliant technique.” --Early Music Review, April 2015

Music for viola da gamba and theorbe by Marais, Sainte-Colombe & de Visée

The viola da gamba and the theorbo are string nobility: an artistic duo embodying the height of grandeur and sophistication. Indeed, the sense of intimacy that can arise between the two in French baroque repertoire provided the impetus for this recording. Though different in appearance and technique —one is bowed, the other plucked — both instruments have more in common than might at first seem.

JOHNSTON String Quartets Nos. 6, 7 & 8


The ten string quartets of Ben Johnston, written between 1951 and 1995, constitute no less than an attempt to revolutionize the medium. Only the first limits itself to conventional tuning. The others, climaxing in the astonishing Seventh Quartet of 1984, add in further microtones from the harmonic series to the point that the music seems to float in a free pitch space, unmoored from the grid of the common twelve-pitch scale. In a way, this is a return to an older conception of string quartet practice, since players used to (and often still do) intuitively adjust their tuning for maximum sonority while listening to each other’s intonation.

SUBOTNICK The Wild Beasts & After the Butterfly


Morton Subotnick is a living legend. A leading innovator of electronic music, he has used many important technological breakthroughs in his work as a composer. This release, originally recorded and released in the 80s on LP by Nonesuch Records, has been specially remastered for this reissue. It features 'The Wild Beasts', a work inspired by an exhibition of Les Fauves paintings, and 'After the Butterfly', a concerto-like work for trumpet, instrumental ensemble and electronics.

“It’s engrossing, discomfiting stuff, a fervid hubbub closer at times to jazz than classical.” --The Independent, 4th July 2015

WALTON Overture »Portsmouth Point«; ELGAR Cello Concerto


Conductor Jirí Belohlávek has fashioned a successful international career in both the concert hall and on the operatic stage. Belohlávek is known for his ability to achieve effective balances in the orchestral sound fabric, as well as for precision and a sense for not imposing eccentricity or waywardness on the score. Belohlávek has appeared on more than 80 recordings spread over a variety of labels, including Supraphon, DG, Chandos, Warner Classics, Harmonia Mundi, Arthaus Musik, and Eurodisc.

GOLDBERG Chamber Music


Though he lived for only 29 years, Johann Gottleib Goldberg (1727–1756) has been guaranteed a niche in the annals of music. Performing these chamber works is Musica Alta Ripa, a splendid Baroque period-practice ensemble formed in 1984. Its playing brilliantly highlights the urbane contrapuntal textures, poignant chromaticism, and elegant textures of Goldberg's works. Intonation, articulation, and dynamics are all well-matched throughout, and the overall recorded sound quality is clear but warm.

GRIEG String Quartets


"High-class playing and recording." --Gramophone

"The first quartet is dense, intense, and given its full due in this grand reading" --BBC Music Magazine

"In every way a thoroughly worthwhile issue" --Classic FM Magazine

"In the hands of the Chilingirian these works receive their best possible advocacy. Superbly played" --Classic CD

GRANADOS 12 Danzas Españolas

Granados's piano music is a familiar stamping ground for guitarists but, though they have done more than their fair share of keeping it alive through its earlier recession, it is only pianists who have hitherto recorded all 12 of the Danzas espanolas, wrongly described on this recording as Op. 5. Several of these dances are long familiar as guitar solos but many defy satisfactory transfer to that medium, and in consequence are commonly allotted to two or even three guitars. A single player, be he/she a pianist or a guitarist, has sole domain over the rubato that is a vital part of this music and it is hard to share it freely between two (let alone three) players of an essentially percussive instrument, which the guitar is, yet two are needed. Three things can be very helpful: Spanish blood, kinship between the two players, and unconstrained technical command, and they are all possessed by the Romeros.

BEETHOVEN & MENDELSSOHN Violin Concertos


Fresh, animated, thought-provoking - a revealing slant on two masterpieces

Interesting this, on a number of counts. Viktoria Mullova brings quite different qualities to bear on both works, chaste and unruffled in Beethoven, more demonstrably romantic in Mendelssohn, her vibrato marginally more intense and with subtly negotiated slides. Sir John Eliot Gardiner is an attentive collaborator who in Beethoven's first movement points up contrasts between a flowing legato and the forceful stamping of the timpani-inspired main idea, and lends added animation to various scale-like ascending passages.

VIRTUOSI Works for Viola da Gamba & Fortepiano


The viol first appeared in Europe in the late 15th century and subsequently became one of the most popular Renaissance and Baroque instruments. Viols were heard primarily in ensemble, or consort, music. A viol is a bowed string instrument. Similar to the cello, the viol, or viola da gamba, is played between the legs (hence the name 'viola da gamba', literally 'leg-viol'). While it is not a direct ancestor of the violin, there is some kinship between the two instrument families.

DANISH & FAROESE Recorder Concertos


“Performed with aplomb by Petri…Chacun Son Son offers a welcome astringence…the concerto snarls, sings and whispers, making for a powerful addition to the repertoire. Sunleif Rasmussen's Territorial Songs (2008-9) explores the mingling sounds of birdsong with notable originality, capturing distinct and magical soundworlds (including an arresting passage where Petri hums through the recorder).” --BBC Music Magazine, September 2015

PROKOFIEV The Piano Concertos

“…Throughout, Bavouzet displays a light touch and laudable levels of physical stamina, with a firm grasp of the very different personalities of each piece. Noseda and the BBC Philharmonic perform like soulmates for the duration, and with superb notes by Prokofiev scholar David Nice as part of the deal, you can hardly go wrong.” --Gramophone magazine, Recording of the Month - Editors Choice, March 2014

“Following Jean-Efflam Bavouzet and Gianandrea Noseda’s superlative Bartók Concerto cycle here are their attention-grabbing interpretations of Prokofiev’s characterful five of that genre. With Bavouzet’s lively temperament allied with Noseda’s fierce attention to detail, no listener will come to these performances without hearing something new in these works…” --BBC Music magazine, March 2014 ****

RAMEAU Suites in Ré & La (Piano)


Rameau was the leading French composer of his time, particularly after the death of Couperin in 1733. He made a significant and lasting contribution to musical theory. Born in Dijon, two years before the year of birth of Handel, Bach and Domenico Scarlatti, Rameau. Sixty of Rameau’s 65 harpsichord pieces were written by 1728, with a final group appearing in 1741. Published in 1706, 1724 and around the year 1728, these collections, with the final collection of 1741, consist of genre pieces and dances in the established tradition of French keyboard music.

SHOWPIECES


Yehudi Menuhin had one of the longest and most distinguished careers of any violinist of the twentieth century. The child of recent immigrants, Menuhin was born in New York in 1916. By the age of seven his performance of Mendelssohn’s Violin Concerto had found him instant fame. As a teenager he toured throughout the world and was considered one of the greats long before his twentieth birthday. Even in his earliest recordings one can sense deeply passionate responses to the great composers. Though considered a technical master, it is his highly charged emotional playing that set him apart.