Czech Philharmonic Orchestra / Lawrence Foster SCHUMANN Complete Symphonies

 

COMPLETE SYMPHONIES

 

Khatia Buniatishvili / Czech Philharmonic Orchestra / Paavo Järvi RACHMANINOFF Piano Concertos Nos. 2 & 3

A highlight of Khatia's recording career where she reunites with Paavo Järvi for her first orchestral recording in four years. The recording includes Rachmaninoff 2 & 3 - rarely combined on one CD and two blockbuster concertos of the late-romantic repertoire - especially the 2nd concerto was featured in many famous movies such as Billy Wilder's The Seven Year Itch (1955) or Clint Eastwoods' film Hereafter (2010). The 3rd concerto was prominently featured in Shine (1996) with David Helfgott. This album was recorded with the Czech Philharmonic Orchestra, at Rudolfinum, Dvorak Hall, Prague.

Semyon Bychkov / Czech Philharmonic THE TCHAIKOVSKY PROJECT

The Tchaikovsky Project is characterised by the way in which the orchestra and conductor have applied exhaustive research methodology to create a deep understanding for the works as whole entities. While the Czech Philharmonic was already recognised for its relationship to the music of Tchaikovsky, The Tchaikovsky Project has involved rigorous exploration of works previously not known to the orchestra; for example the Manfred Symphony. Equally important to the project, and equally rigorous, has been the rediscovery of pieces which have already been recorded countless times by the world’s orchestras – and through expansive research and studying of the scores finding the motivation, need and urgency to record them again.

The Tchaikovsky Project is characterised by the way in which the orchestra and conductor have applied exhaustive research methodology to create a deep understanding for the works as whole entities. While the Czech Philharmonic was already recognised for its relationship to the music of Tchaikovsky, The Tchaikovsky Project has involved rigorous exploration of works previously not known to the orchestra; for example the Manfred Symphony. Equally important to the project, and equally rigorous, has been the rediscovery of pieces which have already been recorded countless times by the world’s orchestras – and through expansive research and studying of the scores finding the motivation, need and urgency to record them again.

The first recording instalment in The Tchaikovsky Project in 2016 – the Pathétique Symphony No. 6 coupled with the Romeo & Juliet Fantasy-Overture – was followed by the Manfred Symphony in 2017. The review of the former in Gramophone, where it was made Editor’s Choice, commended the “powerful, devastating” Pathétique and its critic wrote of the Fantasy-Overture that “it feels personal in a way that the warm, homespun playing of the Czech Philharmonic only accentuates.” About the recording of the Manfred Symphony, The Sunday Times – where the disc was Album of the Week as well as one of the 100 Best Records of The Year – noted that “this outstanding issue makes one look forward to the other five canonical symphonies with impatience.”

Prior to recording each piece, the orchestra and Semyon Bychkov performed them live in concerts – then stepped away for a time before recreating them in recording. While working in the studio, every orchestra member had the chance to listen back to the audio between takes and was encouraged to voice any feelings of need for another take – a working method emphasising the individual ownership and responsibility of each player; and the importance of the individual to the whole.

As a transitional project into new leadership, The Tchaikovsky Project has allowed for a strong and auspicious start of the Czech Philharmonic’s creative partnership with its new Music Director and Chief Conductor. The project, signified by complete immersion into a composer’s world in the concert hall as well as recording studio, is emblematic of Semyon Bychkov’s in depth way of working – and the first of several journeys of its kind for the Czech Philharmonic. They will next delve into the music of Mahler, furthering their fusion of traditions of the East and West.

Bryn Terfel DREAMS AND SONGS

Sir Bryn Terfel has enlisted a host of impressive guest stars to duet with him on his new album Dreams and Songs – including two stars of the big screen and television, his friends Dame Emma Thompson and Rob Brydon. Fellow singers Alfie Boe, Katherine Jenkins, Joseph Calleja and Danielle de Niese also appear on the recording.

Terfel is joined by his former Sweeney Todd co-star, Oscar-winning actress Dame Emma Thompson for “Do You Love Me” from Fiddler on the Roof – a song she describes as being “just so moving”. Terfel says, “She came to the recording at Abbey Road the day after it was announced she was being made a Dame, so of course the champagne corks should have been popping but there was work to be done.”

Comedian and fellow Welshman Rob Brydon joins Terfel on the duet “The Golfer’s Lament”, a light-hearted tale of life on the fairway. The rousing romp captures their cheeky sense of humour and their shared love of the sport – as Terfel says, “I think it describes our love of golf to a tee.” Brydon adds, “It was an honour and a thrill to sing with Sir Bryn, and what better than a song celebrating my sporting shortcomings!”

Completing the remarkable line-up of singers is tenor Alfie Boe on “Perhaps Love”, soprano Danielle de Niese on “Amazing Grace”, tenor Joseph Calleja on “Granada”, and soprano Katherine Jenkins on “Tell My Father” from The Civil War. There is also a world premiere recording of “The Shepherd Poet Of Passchendaele”, written especially for Terfel by Penclawdd-born Sir Karl Jenkins, the most performed living composer. The song is inspired by the story of Welsh poet Hedd Wyn, who died on the first day of the Battle of Passchendaele (the Third Battle of Ypres), with poignant lyrics written by Sir Karl’s wife – Lady Jenkins, Carol Barratt.

Acclaimed worldwide for tackling the biggest opera roles, Sir Bryn’s new album – his first in five years – shows his lighter side with a collection of his most loved songs, recorded in brand new orchestral versions. He says, “This is some of my favourite concert repertoire. Songs and duets, some humorous encores that I just adore to sing. And how lucky I am to share the album with some incredible artists, and to record at the amazing, iconic Abbey Road.”

Jirí Belohlávek / Czech Philharmonic JANÁCEK Glagolitic Mass

Leos Janácek's magnificent Glagolitic Mass (or Slavonic Mass) had its origins in 1907, when the composer began sketching out a Latin mass for chorus and organ. Janácek had nearly finished three sections of the work (the Kyrie, Credo, and Agnus Dei) when he set it aside. He did not return to it for almost 20 years. This period of inactivity on the mass involved an attempt on the composer's part to redefine, in his most personal terms, the meanings of the mass texts. Janácek sometimes would ponder the reformulation of a traditional idea, such as the mass proper, for great stretches of time.

When the composer returned to the mass, he began with a change of text. Janácek settled on a ninth century Slavonic mass, used in ancient times in his native Moravia. The ancient Slavonic style of script, known as glagolitic, was incorporated into the title of his mass to help date the text, to connect the composer with his Moravian roots, and to honor the Greek influence of the past. The Glagolitic Mass had little to do with organized religion in the composer's mind, however, and was not intended for liturgical use. Janácek's mass was conceived as a paean to Nature, and a tribute to humanity. In 1928, Janácek was quoted as saying, "I wanted to portray the faith in the certainty of a nation, not on a religious basis, but on a basis of moral strength which takes God for witness."

In August 1926, Janácek drafted an expanded version of the Glagolitic Mass in Luhacovice, a small Moravian town to which the composer retreated for summer vacations. There, he combined the old 1907 mass with the new (or rather, ancient) Slavonic text, and composed new material. Around the time the organ Intrada was being composed, Janácek's copyist was on hand putting together a legible copy of the score. The Glagolitic Mass was completed in December of 1926. But when Janácek learned that a premiere was forthcoming, he revised it yet again, watering down some of the more complicated sections. The work was finally given its world premiere on December 5, 1927, and achieved overnight success. (Franklin Stover)

Alisa Weilerstein / Czech Philharmonic Orchestra DVORAK

American cellist Alisa Weilerstein, described by BBC Music Magazine as “one of the most extraordinary” soloists of her generation, follows her critically acclaimed Decca debut recording of Elgar’s Cello Concerto with a vital new interpretation of Dvorák's Cello Concerto, coupled with some of his best- known melodies.
This Dvorák recording casts visionary light on the Czech composer’s epic concerto, connecting directly with its passionate heart. Alisa Weilerstein’s all-Dvorák program includes the haunting melody from his “New World” Symphony, popularly known as Going Home; his song Lasst mich allein, the beautiful Silent Woods and more... This album captures the essential spirit of one of the greatest of all Romantic composers, reflecting Dvorák’s deep-rooted love for his homeland.
Alisa Weilerstein joins forces with the Czech Philharmonic Orchestra and its Czech Music Director, Jirí Belohlávek in a terrific and deeply authentic musical partnership. This radiant performance of the Cello Concerto was recorded in Prague’s Rudolfinum, where Dvorák himself conducted the Czech Philharmonic’s inaugural concert in 1896. Other works on the album recorded in the USA – Dvorák’s adopted second homeland – include Rondo in G minor, Songs My Mother Taught Me and Slavonic Dance No. 8.
“[Weilerstein] played her parts with exquisite tone, agile fingering, graded filigree and layer upon layer of nuance, at the same time, she entwined her phrases around various instrumental solos, joining them, weaving in and over them, clinging to the orchestral fabric, yet standing distinct – as if Dvorák were sending her the still-wet-inked score, straight from his head to her heart and hands .” – Huffington Post, reviewing a concert performance of the Dvorák concerto. (Arkiv Music)