Narciso Yepes JOAQUÍN RODRIGO Concierto de Aranjuez

 

CONCIERTO DE ARANJUEZ - FANTASÍA PARA UN GENTILHOMBRE

 

Philharmonia / Santtu-Matias Rouvali TCHAIKOVSKY Swan Lake

SWAN LAKE

Philharmonia Orchestra / Michael Collins VAUGHAN WILLIAMS Symphony No. 5 FINZI Clarinet Concerto

SYMPHONY NO. 5 - CLARINET CONCERTO

Zuill Bailey ROBERT SCHUMANN Cello Concerto JOHANNES BRAHMS Double Concerto ERNEST BLOCH Prayer MAX BRUCH Kol Nidrei

                                                                  ZUILL BAILEY

Ginette Neveu THE COMPLETE RECORDINGS

The French violinist Ginette Neveu was just 30 when her plane crashed in the Azores in October 1949. She had studied with George Enescu and Carl Flesch, and as The Observer wrote in 1945, “Her playing was superbly vigorous and passionate, and made the impression that its great qualities, such as eloquent phrasing and an apparently limitless range and variety of tone, came from the only true source – an identity with the music and with her instrument.” 

Her complete recordings, specially remastered from the best sources available, are gathered on these four CDs, with her incandescent Sibelius Concerto taking pride of place.

2019 marks the centenary of Ginette Neveu’s birth.

 “Her playing was superbly vigorous and passionate, and made the impression that its great qualities, such as eloquent phrasing and an apparently limitless range and variety of tone, came from the only true source – an identity with the music and with her instrument.” The Observer, 1945

The present box gathers the complete studio recordings done by Ginette Neveu and contains the first CD reissue in the West of Ion Scărlătescu’s Bagatelle

Lise Davidsen / Philharmonia Orchestra / Esa-Pekka Salonen LISE DAVIDSEN

Lyric dramatic soprano Lise Davidsen has attracted serious attention since she was crowned winner of both the Operalia and the Queen Sonja competitions in 2015. Growing up in Stokke, a rural town in south-eastern Norway, Lise has been an artist to watch since she began her musical training.

Lise began studying guitar and singing at age fifteen. At first she favoured the guitar but, with more training, singing took prominence. Lise’s early teachers included Mona Skatteboe and Runa Skramstad, who gave her an excellent foundation in classical music.

Lise achieved her bachelor’s degree in classical singing in 2010 from the Grieg Academy of Music in Bergen, Norway. During this time she worked with many notable singers including Bettina Smith and Hilde Haraldsen Sveen and joined the Norwegian Soloists Choir as a mezzo soprano, under artistic director Grete Pedersen.

While studying for a master’s degree at the Royal Danish Academy of Music, Lise’s teacher, Susanna Eken, urged her to develop her voice for the world of opera as a soprano. Lise’s first major engagement as a soprano was in 2011 at the Young Talent Concert in Bergen, singing arias by Strauss and Wagner with the Bergen Philharmonic Orchestra, conducted by Rory Macdonald.

Anne Akiko Meyers MIRROR IN MIRROR

Superstar violinist Anne Akiko Meyers is one of today’s most in-demand classical performers. A Billboard Top Selling Classical Instrumentalist of the Year, she is beloved by audiences around the world, with a reputation for groundbreaking recital programmes and ground-breaking commissions. Mirror in Mirror marks her 37th studio album and is one of her most personal projects to date.

With the exception of Ravel, Anne collaborated with all of the composers and arrangers on this album. Several of the works were written for her. The music is reflective and spiritual, and weaves a beautiful story. Philip Glass’ Metamorphosis II is heard in an arrangement commissioned by Anne. The original work inspired Fratres by Arvo Pärt, whose Spiegel im Speigel (Mirror in Mirror) provides the album’s title. John Corigliano’s Lullaby for Natalie was written to commemorate the birth of Anne’s first daughter. Anne has commissioned numerous works by Jakob Ciupinski who combines acoustic instruments with electronics in Edo Lullaby – a modern setting of a traditional Japanese melody that Anne recalls from her childhood – and Wreck of the Umbria which conjures the composer’s dive and discovery of the ship off the coast of Sudan. Ciupinski contributes electronics to Ravel’s Tzigane, re-creating the sound of the original version’s lutheal. The album is capped by another Anne commission – the premiere recording of Morten Lauridsen’s own arrangement for violin and orchestra of his most famous choral composition, O Magnum Mysterium.

Min-Jung Kym / Zsolt-Tihamér Visontay BEETHOVEN Piano Concerto No. 4 MENDELSSOHN Double Concerto

Why the fourth Beethoven Piano Concerto? There are so many recordings of this concerto that I admire, from Emil Gilels, Claudio Arrau and Wilhelm Kempf from one generation to Lars Vogt and Leif Ove Andsnes to another. The simple answer is that I wanted to record something that I enjoyed playing, and this concerto—one of my favourites—has always intrigued me. The moment the piano opens with this passage almost from nowhere, the association in the second movement of the tale of Orpheus taming the Furies at the gates to Hades to the jubilant Rondo third movement, I took to the concerto immediately when I first began studying it and I have travelled with the work having performed it several times over the years, and recently with the culmination of this recording.

Pairing it with the Mendelssohn Double Concerto was a very natural choice for me, because Zsolt is a regular duo partner and I wanted to have something on the disc that demonstrated both solo and duo repertoire.

With Clemens we really explored both the complexities of both concertos, the two requiring sometimes very different approaches, but both allowing the dialogue between the soloists and orchestra to come through. We learnt so much together and had a lot of fun.

Recording this disc is a realisation of the many people who have supported me throughout my musical years. I am so grateful that this has been achieved. (Min-Jung Kym)

David Aaron Carpenter / Philharmonia Orchestra / Christoph Eschenbach ELGAR & SCHNITTKE Viola Concertos

23-year-old violist David Aaron Carpenter has recently emerged as one of the world's most promising young talents. This recording, his debut album, couples two concertos: a viola arrangement of Sir Edward Elgar's famous Cello Concerto and the Viola Concerto (1985) by Alfred Schnittke. Christoph Eschenbach leads the Philharmonia Orchestra. David Aaron Carpenter adapted much of the Elgar Concerto himself, using the well-known and Elgar-sanctioned arrangement completed by Lionel Tertis in 1930 as a basis.

Since making his orchestral debut in 2005 with The Philadelphia Orchestra under Christoph Eschenbach, David Aaron Carpenter has been performing with leading musicians and orchestras in the United States and Europe. In 2006, he won the the prestigious Walter E. Naumburg Viola Competition. In 2007, he became the first American and so far the youngest protégé for the Rolex Mentor and Protégé Arts Initiative and the protégé of world-renowned violinist and violist Pinchas Zukerman. He was chosen among an international selection that included every violinist and violist of his generation.

David Aaron Carpenter has been acclaimed as producing, "a seductively rich sound and demonstrating both a forceful interpretive personality and remarkable control of his instrument," (The New York Times) and, "whose beautiful modulated tone makes a striking impression." (The Strad)

Philharmonia Orchestra / Paavo Järvi NIELSEN Flute Concerto - Clarinet Concert - Aladdin Suite

Carl Nielsen's two late woodwind concertos are performed here by the Philharmonia Orchestra with its own principals, in live recordings (no applause) at the Royal Festival Hall in London. Both works were conceived as portraits of their first soloists. Samuel Coles neatly personifies the fastidious Gilbert Jespersen, maintaining elegance and integrity in response to the intrusions of the orchestra, including a particularly obnoxious bass trombone. The controlled orchestral playing and the natural sound balance create a nice sense of chamber-music interplay between the soloist and his colleagues—including, sensibly, a solo violin rather than a whole section for the flickering runs at 2:35 in the first movement. Mark van de Wiel is equally convincing as the choleric Aage Oxenvad, responding angrily to the orchestra, and in the virtuoso cadenzas equally capable of picking a fight with himself. Unfortunately, the side drum, which frequently eggs him on, all but disappears from the balance at lower dynamic levels.

A rival account of the concertos by the New York Philharmonic with its principals under Alan Gilbert, on Dacapo, boasts equally fine solo and orchestral playing, but the recording shines more of a spotlight on the soloists (and on a larger-than-life trombone). That disc completes the set of Nielsen's concertos with an outstanding account of the Violin Concerto by Nikolaj Znaider. This one adds a colourful studio recording of the Suite from the music for the play Aladdin, with its Ivesian depiction of 'The Marketplace in Ispahan' in four superimposed, unrelated strands of music. (BBC Music Magazine)

Anne Akiko Meyers FANTASIA

Last December I travelled to Finland to play Fantasia for Violin and Orchestra, written by the great composer, Einojuhani Rautavaara, which I will be premiering with Michael Stern and the Kansas City Symphony this upcoming season. Sadly with Rautavaara’s recent death, this will be a posthumous world premiere. 

Rautavaara was a legendary Finnish composer who wrote eight symphonies, 14 concertos, and numerous other works for chamber ensembles and choir. He was a protégé of Sibelius, active until age 87, and was best known for writing Symphony No 7, Angel of Light and the beautifully haunting work, Cantus Arcticus: concerto for birds and orchestra, a piece that took my breath away the first time I heard it.

In my early twenties, I regularly went to record and sheet-music stores, looking through items one at a time in the hope of discovering music that would make the hairs on my neck stand up. It was then I first discovered Rautavaara’s music, and for years, dreamed of commissioning him to compose more music for violin. In 2014, I inquired if Rautavaara, with the wonderful support of Boosey & Hawkes, would be interested in writing a fantasy for violin and orchestra. I was beyond elated when he responded that indeed he would and worked quickly. I received a handwritten draft of the score in the fall of last year, and breathlessly ran to my music studio to play through it. 

I think there are similar qualities to the Angel of Light and Cantus Arcticus and Rautavaara’s signature soulful sound permeates throughout the piece, with fluid harmonies and deep moods  -much like flowing large movements of water and majestic scenes from nature. 

In December, I flew to Helsinki to meet Rautavaara and perform the work for him. We met at the apartment he shared with his wife, and the apartment was flooded with a special light that only seems to exist at the edge of the earth, overlooking the sea. He stood with a walker and was incredibly  gentle and kind. Smiling and laughing, we spoke about how Sibelius liked the fact that Rautavaara owned an automobile, as well as his time in New York, studying at the Juilliard School where I also went to school. 

After I played Fantasia, he looked at me and repeatedly said, 'I wrote such beautiful music!' We all laughed and agreed. He apologized for what he felt were his lazy bow markings and was so happy that I took the liberty to change the bowings to punctuate the phrasing the way I thought would bring his poetry out best. I was amazed that he made no changes to any notes or dynamics. Everything was in place just the way he wrote it. 

Fantasia is transcendent and has the feeling of an elegy with a very personal reflective mood. Rautavaara’s music will live on forever and I thank him from the bottom of my heart for writing a masterpiece that makes me cry every time I listen to it. (Anne Akiko Meyers / Gramophone)

Esther Yoo / Philharmonia Orchestra / Vladimir Ashkenazy TCHAIKOVSKY

Esther Yoo reunites with conductor Vladimir Ashkenazy and the Philharmonia Orchestra for her latest release on Deutsche Grammophon. The album, which spotlights the music of Tchaikovsky, is out now.

"This album is special to me not only because of the musical vibrancy and depth in all of the works, but also because of what Tchaikovsky and his music symbolize," says Esther. "His compositions represent how a person who endures hardships in life can create music that gives voice to feelings which cannot easily be expressed. Every young adult experiences challenging periods of searching for identity, encountering love and facing new obstacles. During such times, I often turned to Tchaikovsky's music because I felt that he expresses the most tangible of human emotions."

The release features Tchaikovsky's beloved Violin Concerto alongside five shorter works, including Pas de Deux and Danse Russe from Swan Lake, Sérénade Mélancolique, Valse-Scherzo, and Mélodie from Souvenir d'un lieu cher.

Manuel Barrueco / Plácido Domingo RODRIGO Concierto de Aranjuez - Fantasia para un Gentilhombre

This CD contains the umpteenth recordings of the Concierto de Aranjuez and Fantasia para an gentilhombre, of which there are already so many versions that the nomination of an all-time best defies my humble capacities. Suffice it to say that these are amongst the very best and, if these works are absent from your collection then [this] will serve you very well. Barrueco and [David] Russell are members of the guitar's top-drawer elite - giving performances of crystalline clarity - and they are both excellently supported by their orchestras... Barrueco adds two solos, neither one yet dulled by overfamiliarity. The Zarabanda lejana, Rodrigo's first solo work for the guitar, is given with the utmost expressivity, and Un tiempo rue Italica famosa, a tribute to the history of a once-famous Roman city near Seville, is delivered with panache; rapid passages in Rodrigo's guitar works are almost invariably scales, here (and elsewhere) appropriately testifying to the influence of flamenco.
Barrueco has one more trump card to play - his partnership with Plácido Domingo in four songs, selected from those for which Rodrigo himself has made adaptations for the guitar of the original piano accompaniments (the texts are given in four languages). Their coming together was no public relations exercise, for both are longstanding devotees of Rodrigo's music, and it shows. The partnership extends through the whole of this recording, in which Domingo also conducts the orchestra, an exercise in which both parties demonstrate their happy meeting of minds. (Gramophone)

Esther Yoo / Philharmonia Orchestra / Vladimir Ashkenazy SIBELIUS - GLAZUNOV Violin Concertos

Now in her second year as a BBC New Generation Artist, Esther Yoo first came to international attention in 2010 when, aged 16, she became the youngest prizewinner of the 10th International Sibelius Violin Competition. In 2012, the American-Korean violinist was also one of the youngest ever prizewinners of the Queen Elisabeth Competition. 

In 2015/16, Esther returns to the Philharmonia, BBC Philharmonic, BBC Scottish Symphony and Kansai Philharmonic orchestras and Orchestre National de Lille. She debuts with Royal Liverpool Philharmonic, RTÉ Symphony, Iceland Symphony and KBS Symphony orchestras. Esther also revisits South America, following her successful tour with the Philharmonia Orchestra and Vladimir Ashkenazy last season, performing with Orquesta Sinfónica Nacional de Colombia and Filarmonica de Jalisco. Chamber music highlights include her Wigmore Hall debut with regular collaborator Zhang Zuo, and recitals in Oslo, Liverpool and Istanbul.
Last season, Esther performed with the BBC Symphony Orchestra, Hallé, Philharmonie Südwestfalen, Bilkent Symphony Orchestra (Turkey) and Gävle Symphony Orchestra (Sweden), while past highlights include performances with the Finnish Radio Symphony, Helsinki Philharmonic, Warsaw Philharmonic, Tenerife Symphony, Hong Kong Philharmonic and Seoul Philharmonic orchestras. In 2014, she made her London concerto debut with the Philharmonia Orchestra under the late Lorin Maazel, following their collaboration on a 2012 tour to China and Korea. More recently, she recorded the Glazunov and Sibelius concertos with the Philharmonia Orchestra and Ashkenazy which will be released this autumn by Universal Music.
Recent and upcoming festival appearances include the Ghent Festival of Flanders, Festival de Fénétrange, Seoul International Music Festival (featuring Bach’s Double Concerto with Maxim Vengerov), Festival du Château de Chambord (France) and Dvořák Prague Festival.
Born in the U.S. and raised in Europe, Esther began playing the violin at the age of 4 and made her concerto debut aged 8. In 2006, she was given First Prize in the Junior Section of the International Henryk Wieniawski Violin Competition and also the European Union Award for Music Art for Youth. She is currently a student of Ana Chumachenco in the Excellence Bachelor Programme at the Hochschule für Musik und Theater in Munich and of Augustin Dumay in the Artist Diploma Programme at the Queen Elisabeth Music Chapel in Brussels. Prior to this, she worked with Zakhar Bron, Leonid Kerbel and Berent Korfker.

Esther plays the 1704 “Prince Obolensky” Stradivarius, generously lent to her by a private collector.

Annie Fischer SCHUMANN Piano Concerto - Leon Fleisher BEETHOVEN Piano Concerto No. 2

Two pearls of pianism: Annie Fischer in a sensitive, chamber-like and exceptionally poetic reading of the Schumann Piano Concerto – one of her favourite pieces. Leon Fleisher, a few months before he was to lose the use of his right hand (recovering it only in old age), with Beethoven’s Second Piano Concerto in an inspirationally bright and crystal clear tone.

The eighth disc in the series "LUCERNE FESTIVAL Historic Performances" is dedicated to two piano icons: in 1960 and 1962, with two years between them, Hungarian-born Annie Fischer and the American Leon Fleisher made their debuts at LUCERNE FESTIVAL. Released here for the first time in their entirety, these live recordings document them at the peak of their art.

Sviatoslav Richter called her a "brilliant musician", accrediting her with "great breath and true depth". András Schiff acknowledged: "I have never heard more poetic playing in my life." Annie Fischer, born in Budapest in 1914, gave public performances even as a child, winning the International Liszt Competition in 1930 and after that, except during the war, touring worldwide. Nonetheless, she tends to be rated as an insider's tip, not least because she left behind only a handful of studio recordings. That makes live recordings such as this, released for the first time, all the more precious: at her only performance in Lucerne in summer 1960, Annie Fischer realised a sensitive, chamber-like and exceptionally poetic reading of the Schumann Piano Concerto with which she "garnered unusually fervent success", according to the Neue Zürcher Zeitung. She found congenial musical partners in Carlo Maria Giulini and the Philharmonia Orchestra.

Leon Fleisher made his Lucerne debut in 1962 at the age of thirty-four: on the peak of his rapid career which had - as had been the case with Annie Fischer - catapulted him into musical life while he was still a child. However, only a few months after his Lucerne performance - released for the first time in its entirety - he developed "focal dystonia", making the use of his right hand impossible. During the following decades, Fleisher became a specialist of the left-handed repertoire until, in his old age, he was once again able to play with both hands, thanks to new medical treatments. In Lucerne, he presented himself with one of his party pieces - Beethoven's Second Piano Concerto, which he played with an elegant and transparent tone. The Swiss Festival Orchestra was conducted by George Szell, with whom he had made a studio recording of the concerto one year previously - an interesting comparison. The second half of this concert, Brahms' First Symphony, is already available in this series of "LUCERNE FESTIVAL Historic Performances" and has been awarded the "Diapason d'Or" as well as a nomination for the International Classical Music Awards (ICMA)

Leila Josefowicz ESA-PEKKA SALONEN Violin Concerto

The initial impulse for writing a concerto for violin was a very inspiring and enjoyable collaboration with Leila Josefowicz on a number of contemporary works in Los Angeles and Chicago. She plays new music with the same kind of dedication and panache others reserve for Brahms, Beethoven and the rest of the gang.

My long and very happy tenure as music director of the Los Angeles Philharmonic was coming to an end. After 17 years I had decided it was time to move on and try to devote more time for composing. It felt like a seismic shift in my life, and during the composing process of “Violin Concerto” I felt that I was somehow trying to sum up everything I had learned and experienced up to that point in my life as a musician. This sense of having reached a watershed was heightened by the fact that I turned 50, the kind of number that brutally wipes out any hallucinations of still being young.

There is a strong internal, private narrative in my concerto, and it is not a coincidence that the last movement is called "Adieu.” For myself, the strongest symbol of what I was going through is the very last chord of the piece; a new harmonic idea never heard before in the concerto. I saw it as a door to the next part of my life of which I didn't know so much yet, a departure with all the thrills and fears of the unknown. (Esa-Pekka Salonen)