March 2023
In an enchanting display of musical finesse, violinist Manon Galy and pianist Jorge Gonzalez Buajasan transport us to the vibrant streets of early 20th-century Paris with their stunning debut duo recording, “Nuits Parisiennes.” The album delves deep into the heart of French music, presenting a mesmerizing collection of sonatas and other pieces by renowned composers like Debussy, Ravel, Poulenc, and Milhaud. Prepare to be enthralled as Galy and Buajasan take you on an auditory journey through the audacious and innovative world of French musical mastery.

“Beau Soir,” originally a vocal piece by Debussy but ingeniously reimagined for violin and piano by Heifetz, serves as the captivating opening track. Galy’s violin sings with soulful elegance, resonating perfectly with Buajasan’s refined piano accompaniment. From the first note, the duo establishes an exquisite atmosphere that lingers throughout the album.

The true gem of “Nuits Parisiennes” is undoubtedly Debussy’s “Sonate pour Violon et Piano.” This sonata is a reflection of the composer’s genius and revolutionized musical language. With Galy’s impeccable artistry and Buajasan’s exceptional pianism, the duo breathes life into Debussy’s evocative melodies, showcasing their profound understanding of the music’s intricacies.

Ravel’s “Pavane pour une Infante Défunte” follows suit, and the duo’s performance creates a mesmerizing dreamscape. The violin and piano converse eloquently, painting vivid images of grace and nostalgia. Ravel’s “Sonate Posthume pour Violon et Piano” is another masterpiece brought to life by Galy and Buajasan, as they skillfully navigate the work’s dynamic contrasts and profound emotions.

Poulenc’s “Presto,” arranged for violin and piano by Heifetz, adds a delightful flair to the album. Galy and Buajasan’s dynamic interpretation captures the piece’s playful spirit, leaving us with a delightful sense of joy and amusement.

Closing the remarkable journey is Poulenc’s “Sonate pour Violon et Piano.” The duo captures the essence of Poulenc’s musical language, effortlessly traversing through its intense lyricism and moments of vibrant jubilation. Galy’s violin sings with a warm and expressive tone, entwining beautifully with Buajasan’s sensitive and passionate piano accompaniment.

In “Nuits Parisiennes,” Galy and Buajasan demonstrate their extraordinary synergy and musical prowess, offering a profound homage to the audacious spirit of early 20th-century French music. Their interpretations transport us back to the heyday of Parisian artistry, where innovation and modernity thrived. The duo’s ability to connect with the soul of each composition is truly awe-inspiring, making this album a must-have for any classical music connoisseur. Their eloquent storytelling and emotional depth breathe new life into these timeless compositions, evoking the spirit of Paris during its golden age. This album deserves a prominent place in your collection, and it will undoubtedly leave you captivated by the magic of French music’s bygone era.

March 2023
Randall Scotting (countertenor) and Stephen Stubbs (lute) unveil a mesmerizing recital that transcends time and emotion in “Lovesick.” This masterfully curated album takes listeners on a profound journey through rarely heard seventeenth-century songs, predominantly English with tantalizing exceptions. Scotting’s countertenor artistry and Stubbs’ lute virtuosity blend seamlessly to weave a tapestry of lovesickness that resonates with both heart and soul.

The accompanying booklet, adorned with vibrant insights, features essays penned by Scotting and the erudite Wendy Heller. Both contributions underscore the thematic core of lovesickness and its profound influence on music and the human experience. Heller’s discerning analysis illuminates the multifaceted repertoire, inviting listeners to traverse an emotional spectrum across the ages.

The program unveils treasures by renowned composers like Dowland and the Lawes brothers, who encapsulate lovesickness in their evocative creations. Traditional pieces, including the poignant Irish ballad “At the mid hour of the night,” enhance the album’s nostalgic charm. The inclusion of French compositions, notably by Moulinié, introduces a freer, more recitative-like style, while Italian selections by Cesti and the lesser-known Daniele da Castrovillari enrich the linguistic and emotional palette.

Henry Lawes’ compositions stand out as profound expressions of the heart’s yearnings. Scotting’s soaring countertenor, resplendent with beauty, brilliantly captures the essence of these pieces. Yet, the grandeur of his voice occasionally overwhelms the more contemplative songs, where subtlety is sought.

The lute accompaniment by Stephen Stubbs, a luminary in this repertoire, enchants with delicate precision. Stubbs claims moments in the spotlight with solo renditions like “Packington’s Round,” adroitly showcasing his mastery of the bass lute’s nuances.

The album’s accompanying booklet is a treasure trove, offering a sources list and presenting original language texts alongside their English translations. Scotting’s impeccable diction heightens the lyrical experience. A collection of poignant quotations, titled ‘Cure for Lovesickness through time,’ traces love’s tribulations through the ages, adding a layer of depth to the project’s immersion.

In summary, “Lovesick” isn’t merely an album; it’s a transcendent odyssey through the labyrinth of human emotions. Randall Scotting’s countertenor prowess, harmoniously entwined with Stephen Stubbs’ lute mastery, unveils a world where love’s rapture and anguish meld seamlessly with musical finesse. The album’s meticulous curation and thoughtful presentation elevate it beyond a mere recital, transforming it into an exploration of the human heart’s most intricate corners. “Lovesick” is an invitation to reflect on the timeless echoes of lovesickness that resonate through centuries and souls.

March 2023
Eldbjørg Hemsing’s latest release, ‘Arctic,’ is more than just an album; it’s a thought-provoking musical exploration that delves into the heart of the Arctic region, reflecting its beauty, vitality, and the urgent need for its preservation. With a combination of new compositions and reimagined classics, Hemsing takes listeners on a captivating journey through this remote and stunning landscape, all while highlighting the pressing issue of climate change.

Growing up near the Arctic Circle has deeply influenced Hemsing’s perspective on the region, and ‘Arctic’ serves as her heartfelt homage to the often misunderstood and underappreciated Arctic environment. The album is a poignant reminder that the Arctic is not a desolate wasteland, but a delicate ecosystem that plays an integral role in the health of our planet.

The album’s selection of pieces, ranging from the works of historical Norwegian composers like Ole Bull and Edvard Grieg to contemporary compositions by Jacob Shea and Frode Fjellheim, forms a diverse tapestry of musical expression. Hemsing’s masterful violin playing, accompanied by the Arctic Philharmonic Orchestra, brings these compositions to life with a rich and evocative sound.

One of the standout aspects of ‘Arctic’ is its ability to seamlessly blend traditional and modern elements. The incorporation of new arrangements by Ola Gjeilo, James Newton Howard, Selim Palmgren, Einojuhani Rautavaara, and Henning Sommerro demonstrates Hemsing’s commitment to pushing the boundaries of Nordic music. These arrangements provide a fresh perspective on the traditional melodies while maintaining a deep connection to the album’s overarching theme.

Hemsing’s connection to her heritage and her role as a protector of the fire (as her name suggests) are evident in every note she plays. Her passionate and virtuosic performances infuse the music with a sense of urgency and reverence for the Arctic landscape. The album’s recording in the remote Norwegian town of Bodø, surrounded by the very environment it seeks to celebrate, further enhances its authenticity.

Eldbjørg Hemsing’s achievements and contributions to the world of classical music are as remarkable as her talent. From performing for the Norwegian royal family at a tender age to co-founding the Hemsing Festival and leading mentoring programs, Hemsing is not only a skilled musician but also a visionary artist who strives to nurture the next generation of talent.

‘Arctic’ is not merely a collection of tracks; it’s a call to action. Through the power of music, Eldbjørg Hemsing invites us to pause, reflect, and engage with the environmental challenges facing our world. As the album’s melodies soar and intertwine, we are reminded of the interconnectedness of all living things and the responsibility we bear to safeguard our planet’s most precious ecosystems.

In a time where the effects of climate change are becoming increasingly evident, ‘Arctic’ stands as a poignant testament to the importance of preserving our natural world. Eldbjørg Hemsing’s dedication to her craft, her heritage, and the environment shines brightly in this exceptional release. ‘Arctic’ is a musical masterpiece that resonates deeply and serves as a beautiful and moving tribute to a region that deserves our utmost care and attention.

February 2023
Get ready for an extraordinary musical journey with the remarkable violist, Timothy Ridout, as he showcases Elgar’s Viola Concerto and Bloch’s Suite for Viola and Piano on this captivating CD. Ridout’s mastery and skill breathe new life into these lesser-known pieces, leaving listeners amazed and wondering why they haven’t experienced this musical marvel before.

The adventure begins with Elgar’s Viola Concerto, a rare gem rearranged by the renowned violist Lionel Tertis. Ridout flawlessly interprets Tertis’s arrangement, captivating us with his artful performance. Backed by the BBC Symphony Orchestra, conducted by Martyn Brabbins, the concerto shines as a captivating viola showcase, proving it deserves the spotlight.

Tertis’s respectful reimagining of the concerto, keeping the essence of the original while adjusting solo lines for the viola’s range, impressed Elgar himself, who conducted the premiere in 1930. Ridout’s expert rendition brings out the concerto’s brilliance, from nimble scherzos to poignant Adagios.

But the adventure doesn’t stop there! We delve into the unexplored world of Bloch’s Suite for Viola and Piano, a treasure trove of musical ingenuity. Originally composed for viola and later orchestrated, this suite is a delightful enigma, blending faux oriental themes, romantic grandeur, and daring modern twists.

Ridout, wielding his viola like a magic wand, unravels the Suite’s mysteries, revealing its hidden beauty with every stroke. The third movement, an enchanted nocturne, takes us to ethereal dreams with Ridout’s mesmerizing silvery tones, immersing us in the captivating music.

Elgar’s Viola Concerto and Bloch’s Suite are rare finds on disc, making Ridout’s interpretations even more astonishing. Prepare to join the fortunate few on this uncharted voyage through musical marvels, guided by Timothy Ridout’s virtuosity.

As a thrilling bonus, we encounter the resplendent works of César Franck, brought to life by the talented Alain Altinoglu and the Frankfurt Radio Symphony Orchestra. Franck’s Symphony in D Minor soars with resplendent harmonies, and Le Chasseur Maudit’s symphonic poem paints vivid images. The orchestral interlude from Rédemption pulls at heartstrings with its emotive melodies.

This CD isn’t just a collection of musical pieces; it’s an exhilarating quest into the unexplored wonders of the viola. Timothy Ridout’s enchanting artistry will captivate you until the final notes fade away. So, let the adventure begin, and immerse yourself in this thrilling escapade through the evocative world of the viola. Your ears will thank you, and your soul will be entranced forever.

February 2023
From the very first notes of Bruch’s Violin Concerto No. 1 in G minor, Esther Yoo weaves a spellbinding performance, infusing well-known phrases with yearning intensity and introspective awe. Vasily Petrenko’s masterful direction delicately balances the orchestra, allowing Yoo’s artistry to shine through effortlessly.

Esther Yoo’s interpretation of Bruch’s Violin Concerto No. 1 in G minor immediately captures the listener’s attention with her yearning intensity and introspective awe in the opening recitativos. Petrenko’s handling of the orchestra strikes a delicate balance, skillfully dialing down the cello and bass pizzicatos to create a true piano un poco marcato. Comparisons with other renowned recordings reveal the Royal Philharmonic Orchestra’s finesse, as they embrace the ominous descending minor thirds with controlled power rather than full-throttle forte, setting this rendition apart.

Yoo’s emotional artistry shines through in the slow movement, where she delicately floats the aching phrases with moving tendresse, inviting the listener into a world of half-whispered correspondences. In contrast, other interpretations like Isaac Stern’s display pulsating longing, creating a different but equally captivating experience. In the Adagio appassionato, Yoo brings out a heart-warming radiance, giving new life to this lesser-known gem, and outshining some previous renditions.

Moving on to the Barber Concerto, Yoo’s poetic resourcefulness and thoughtfulness add a fresh perspective, making the work feel more emotionally wide-ranging. While Stern’s rendition is overwhelmingly charismatic, Yoo’s interpretation provides a unique and captivating listening experience. The Royal Philharmonic Orchestra complements her beautifully, displaying glowing finesse, suppleness, and nimble virtuosity in the finale.

The album closes with Yoo’s spirited and indulgent performance in Vieuxtemps’ Variations on Yankee Doodle, where she confidently embraces portamentos and injects her signature flair. While Yoo excels in this piece, it’s worth noting that Itzhak Perlman’s rendition with Samuel Sanders remains a pinnacle of excitement and energy.

In summary, Barber • Bruch: Violin Concertos is a compelling recording that showcases Esther Yoo’s exceptional skills as a violinist, and the Royal Philharmonic Orchestra’s finesse under the baton of Vasily Petrenko. This album is a must-listen for both classical music enthusiasts and those looking to explore these timeless concertos with a fresh perspective.

January 2023
Eric Lu’s rendition of Schubert’s piano compositions on his album “Schubert” reveals his virtuosic prowess and profound comprehension of the composer’s emotional depth. Lu’s expertise is evident from the very outset in Schubert’s Sonata D959. He expertly sculpts each phrase, extracting the intricate nuances and complexities of the music. His performance encapsulates Schubert’s introspective and poignant style, immersing the audience in a realm of profound sentiments.

An apex of Lu’s execution lies within the Andantino, where he infuses a chorale-like quality into the music. The depth of his expression is utterly captivating, and the tragic allure he bestows upon this movement is deeply affecting. Lu delves beneath the surface, unearthing the core of the music to convey an intense sense of sorrow and longing.

The album also features Schubert’s Sonata in A minor, composed in 1823. Lu’s decision to pair it with the Sonata D959 provides a fascinating juxtaposition, enabling listeners to traverse Schubert’s evolving compositional style. In the Sonata in A minor, Lu demonstrates his virtuosity and technical finesse, navigating the intricate passages with precision while maintaining a sense of musicality and lyricism.

Lu’s inclusion of the Allegretto in C minor (D915) between the two sonatas serves as an interlude, showcasing his ability to capture the essence of a miniature gem with clarity and grace.

Throughout the album, Lu adeptly navigates the emotional trajectory intrinsic to Schubert’s music. He adeptly traverses the emotional contours of the compositions, underscoring the dichotomy between light and darkness, joy and sorrow. Particularly noteworthy is his interpretation of the Rondo in Sonata D959, where he captures the unexpected introspection that lends depth to the movement.

In summation, Eric Lu’s “Schubert” offers an insightful exploration of Franz Schubert’s piano compositions. Lu’s profound sensitivity and technical brilliance breathe new life into these compositions, allowing audiences to experience the full spectrum of Schubert’s emotions. This album highlights Eric Lu’s stature among today’s preeminent Schubert interpreters and is essential listening for those seeking an immersive and emotionally resonant musical encounter.

January 2023
Xuefei Yang’s latest offering, “Guitar Favourites,” is a captivating musical voyage that showcases her virtuosity and artistry as she delves into a rich array of guitar compositions from around the globe. Released under Decca, this album encapsulates the versatility and technical prowess that have become synonymous with Yang’s name.

Notably, Yang infuses her personal touch into every note, imbuing each piece with a distinct energy and interpretation. The album spans an impressive range, including works by renowned composers such as Barrios Mangoré, Sor, Albéniz, Lauro, Rodrigo, Tárrega, Villa-Lobos, John Williams, and her own composition, “Xinjang Fantasy,” which pays homage to the musical heritage of China’s Xinjiang region.

Yang’s technical precision and command over her instrument are undeniable, setting a high bar for her contemporaries. Her meticulous articulation and unwavering musical intention shine through, creating a spellbinding listening experience. While her mastery of technique is evident, it’s Yang’s emotive connection to the music that truly captivates the audience. Her performance of Tárrega’s “Recuerdos de la Alhambra” stands out, as she skillfully employs rubato to infuse the piece with an organic ebb and flow, evoking a sense of nostalgia and longing.

One intriguing aspect of this album is Yang’s decision to switch between two different guitars, each contributing a unique timbral quality to the recordings. Although this choice may occasionally create a subtle discontinuity, it offers a glimpse into Yang’s versatility and ability to adapt her playing style to different instruments. Her affinity for the lighter, brighter tones of her Greg Smallman guitar is palpable, lending an extra layer of authenticity to the performances where it is featured.

Xuefei Yang’s nuanced interpretations breathe new life into beloved classics and offer fresh perspectives on familiar compositions. Whether it’s the delicate harmonies of Barrios Mangoré’s “La Catedral,” the playful variations of Sor’s “Variations on a Theme by Mozart,” or the evocative allure of Rodrigo’s works, Yang proves to be a trustworthy guide through the diverse landscapes of guitar music.

In “Guitar Favourites,” Xuefei Yang proves herself to be a remarkable talent, capturing the essence of each composition while adding her own distinctive touch. Her unwavering commitment to both technical excellence and emotional expression solidifies her reputation as a true maestro of the classical guitar.

December 2022
Regula Mühlemann, a soprano of remarkable talent, invites listeners to a world of enchantment and fantasy with her latest release, “Fairy Tales.” Delving into a collection of arias and songs by diverse composers such as Adam, Britten, Dvořák, Grieg, Massenet, Mendelssohn, Monteverdi, Offenbach, Purcell, and Verdi, Mühlemann showcases her prowess as a storyteller through music. Joined by the CHAARTS Chamber Artists under the direction of Wolfgang Renz, this album takes us on a journey through the realm of fairy tales, both familiar and obscure.

The album’s theme of fairy tales is captivating, as it showcases a medley of characters and narratives, each reflecting a different facet of the magical world. From the ethereal Rusalka in Dvořák’s eponymous opera to the endearing La Fée in Massenet’s Cendrillon, Mühlemann’s vocal versatility shines as she brings these characters to life. While the inclusion of Solveig’s aria from Grieg’s “Peer Gynt” might raise an eyebrow, it nevertheless adds a unique dimension to the compilation, leaving us pondering the intricate connection between literature and music.

One intriguing aspect of “Fairy Tales” is the inclusion of purely orchestral movements from Grieg’s incidental music, contributing an instrumental interlude that beautifully weaves together the thematic essence of the album. While some might question the cohesion of such an approach, it adds an element of diversity and depth to the listening experience, underscoring the ethereal nature of the fairy tale world.

Mühlemann’s vocal artistry is showcased wonderfully in this album, her performances capturing the nuances of each character and narrative. Her rendition of the Cendrillon aria exhibits her ethereal tone and mastery of coloratura, painting a vivid picture of the fairy tale princess. Equally captivating is her interpretation of Mendelssohn’s ‘Neue Liebe,’ which carries a delicate undertone of menace, creating an enticingly mysterious atmosphere. Throughout the album, Mühlemann’s vocal control and emotive delivery draw us into the enchanting tales.

However, some listeners might find themselves wishing for a more substantial orchestral accompaniment to complement Mühlemann’s vocals. The decision to utilize the CHAARTS Chamber Artists, though executed well by Wolfgang Renz, occasionally leaves a yearning for a richer orchestral texture that could have enhanced the magical ambiance even further.

“Fairy Tales” boasts moments of true enchantment, particularly in the selections that align seamlessly with Mühlemann’s strengths. The Barcarolle from Offenbach’s “Die Rheinnixen” and Nannetta’s aria from Verdi’s “Falstaff” hold their own as engaging performances, yet they do not quite reach the same level of exceptional artistry found in other tracks.

In sum, “Fairy Tales” is a captivating journey into the realm of imagination and wonder, where Regula Mühlemann’s captivating vocals and the artistry of CHAARTS Chamber Artists intertwine to bring classic characters and stories to life. With its blend of ethereal enchantment and moments of vocal brilliance, this album is an invitation to escape into the spellbinding world of fairy tales, where music and storytelling converge in harmonious magic.

December 2022
Schwanengesang, a collection of Franz Schubert’s last 14 songs, finds its perfect interpreters in the exceptional baritone Andrè Schuen and the accomplished pianist Daniel Heide. This is Schuen’s second Schubert album in a row, following his reading of the Die schöne Müllerin cycle, and it is evident that he is rapidly establishing himself as a Schubert specialist.

The album opens with ‘Liebesbotschaft,’ where Schuen’s voice beautifully captures the bubbling brook and the emotions of a young man who once fell in love with the Miller’s daughter. Moving on, the mood takes a darker turn in ‘Kriegers Ahnung,’ with Schuen’s introspective rendition and Heide’s piano subtly adding depth to the last verse, leaving a poignant piano note lingering in the air.

One of the strengths of this album lies in its freer structure, as Schwanengesang was posthumously assembled by a publisher, allowing Schuen’s voice to shine and fully express the pure beauty of his singing. It is evident that Schuen drew inspiration from listening to Dietrich Fischer-Dieskau’s recording of this cycle during his youth. While he may not have Fischer-Dieskau’s gift for unexpected psychological insights, Schuen’s performance in the lengthy and sparse ‘Der Doppelgänger’ is impressive, showcasing his vocal control and emotional intensity. Even in familiar melodies like ‘Ständchen,’ Schuen successfully injects expressive spaces that resonate with the listener.

The collaboration between Andrè Schuen and Daniel Heide is nothing short of remarkable, and their partnership seems endlessly productive, akin to the legendary pairing of Fischer-Dieskau with Gerald Moore. Heide’s sensitive and skillful accompaniment perfectly complements Schuen’s vocal artistry, creating a captivating musical experience.

As the album progresses into the Heine settings, Schubert’s protean approach to songwriting comes to the fore. From straightforwardly strophic styles reminiscent of Beethoven to through-composed pieces hinting at the future of German lieder, Schubert’s versatility is masterfully brought to life by Schuen and Heide.

A notable highlight is the haunting ‘Der Doppelgänger,’ where Schuen’s empathetic interpretation evokes deep emotional anxiety as the poet/singer confronts his own reflection. The chilling sequence of slow-moving chords in the piano further intensifies the sense of unease and introspection.

Andrè Schuen and Daniel Heide’s rendition of Schwanengesang is a deeply moving and captivating musical journey. Schuen’s distinct vocal charm and Heide’s brilliant accompaniment paint a vivid picture of Schubert’s final songs, touching upon themes of lost love and introspection. While paying homage to the great interpretations of the past, these young artists bring their unique sensibilities to the music, promising an exciting future for Schubert’s lieder repertoire. This album is an exceptional offering from Andrè Schuen, a singer who is undoubtedly one to watch in the world of classical music.

December 2022
When it comes to interpreting the works of a complex composer like Robert Schumann, various perspectives can illuminate different facets of his music. In this notable release from Deutsche Grammophon, maestro Daniel Barenboim and the Staatskapelle Berlin present Schumann’s Symphonies Nos. 1-4 with a more traditional approach, inviting listeners to immerse themselves in the rich orchestral textures and indulgent pacing that this interpretation offers.

Alfred Brendel’s observation that great music transcends any specific performance finds resonance in this recording. While the lean and quirky interpretation of Schumann’s symphonies, as championed by John Eliot Gardiner’s iconic DG set, has brought new dimensions to the composer’s repertoire, Barenboim’s rendition stands as a counterpoint—a Schumann that is magisterial, embracing unhurried tempos and a sense of unhindered expression.

Barenboim’s ability to craft a compelling long line in his interpretations shines brilliantly throughout this recording. His skillful phrasing creates a sense of continuous, unbroken melody, akin to experiencing a Wagnerian music-drama as one sustained lyrical journey. Moments such as the languid slow movement of the Second Symphony and the grandiose ‘cathedral’ fourth movement of the ‘Rhenish’ Symphony are imbued with a profound emotional depth, stirring both conviction and sentimentality.

The warmth and depth of the orchestral sound presented in this rendition may initially surprise those accustomed to the more modern, revisionist interpretations of Schumann’s symphonies. However, with time, the listener becomes attuned to the indulgence in sonic richness that Barenboim and the Staatskapelle Berlin deliver. The horns and flute ‘awakening’ in the finale of the ‘Spring’ Symphony, for instance, are treated with loving attention, inviting us to appreciate these fleeting moments of beauty.

Yet, in this departure from the edgy, quick-witted Schumann unveiled by Gardiner’s interpretation, certain aspects do recede. The internal struggle within the Second Symphony, which Gardiner masterfully illuminated, takes on a softer hue here, trading intensity for a more lush resonance. Similarly, the Fourth Symphony, historically known for its ability to confound and challenge audiences, emerges from Barenboim’s baton with a sense of grandiosity and confidence that some may find more assertive than introspective.

In a world where Schumann’s symphonies can be dissected and presented through a variety of lenses, Barenboim’s recording stands as a tribute to the enduring power of tradition. While some of the intricate and provocative elements of Schumann’s compositions may be smoothed over in this rendition, what remains is an unabashed celebration of orchestral beauty and melodic lyricism. For those seeking a different angle on these masterworks, Barenboim’s take provides a sumptuous and emotive journey that reminds us that even amidst evolving interpretations, the heart of Schumann’s music still beats with timeless vigor.