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The Harmonious Musick of John Jenkins: Volume One: The Fantasias for Viols
Extent: 359 pages
Composition: Demy octavo ~ Illustrations ~ Discography ~ Bibliography ~ Index
Illustrations: 9 b/w; 148 music exx.
Milan Dvořák: Complete Jazz Piano Etudes
The Jazz Piano Études of the Czech composer Milan Dvořák (b. 1934) developed from transcriptions of popular songs in the early 1960s and soon found an identity of their own. Dvořák’s aim was two-fold: to keep the music within the range of amateur jazz pianists and yet maintain the harmonic, melodic and rhythmic interest of each piece. Small wonder that these sprightly miniatures have been taken up the world around; surprisingly, this is their first recording.
Milan Franěk, piano
The Villa-Lobos Letters
Translated and Edited by Lisa M. Peppercorn
With a Reminiscence of Villa-Lobos by Ralph Gustafson
Extent: 212 pages
Composition: Demy octavo ~ Illustrated ~ Chronology ~ Bibliography
Illustrations: 40 b/w
Harold Shapero: Piano Music
Harold Shapero (1920-2013) reacted against the dominance of modernism in American musical life in the mid-twentieth-century by using a Neoclassical language with its roots in Beethoven and Schubert, initially animated by Stravinsky. These three early piano works — two of them receiving their first-ever recordings — reveal Shapero's superb craftsmanship and his ready wit, in music which embraces the past instead of rejecting it.
Sally Pinkas, piano
Evan Hirsch and Sally Pinkas, piano duo
The Estonian Cello
The strength and richness of Estonian classical music has its origins in two contrasting schools – the international outlook taught by Heino Eller in Tartu and the craftsmanship fostered by Artur Kapp in Tallinn. This album presents Eller’s complete output for cello and piano in its first recording, complemented by works by two of his more important students, Eduard Oja and Eduard Tubin. Villem Reimann and Herman Känd, both students of Kapp, had very different careers, Reimann an established professor in Soviet Estonia, and Känd dying unknown in American exile at only 46. This is the first recording of any of his music in over half a century.
Valle-Rasmus Roots, cello
Sten Lassmann, piano
Alphons Diepenbrock: The Life, Times and Music of a Dutch Romantic Composer
by Leo Samama
With an Overture by Robin Holloway
433 Pages
15.6 x 23.4 cm
67 b/w, 35 colour images
Samuel Adler: Music for Chamber Orchestra
The music of Samuel Adler – born in Mannheim in 1928 but long since one of the leading figures of American music – has its roots in the Neo-Classical clarity of composers like Copland and Hindemith, who were among his teachers. The works on this album arose from a range of impulses: a Neo-Baroque concerto grosso and a tribute to Bach encase a series of tributes to lost individuals and traditions; and two jeux d’esprit – Ives’ tongue-in-cheek Variations on America and Holst’s ‘Jupiter’ from The Planets – both bring jollity in Adler’s idiomatic arrangements for string orchestra.
Sooyun Kim, flute (Tracks 1–4)
Michelle Farah, oboe (Tracks 1–4)
Yoonah Kim, clarinet (Tracks 1–4)
Taylor Smith, bassoon (Tracks 1–4)
Charles Neidich, clarinet (Track 6)
New York Classical Players
Dongmin Kim, leader and conductor
A Musician Divided: André Tchaikowsky in his Own Words
Edited by Anastasia Belina-Johnson
Foreword by David Pountney
Extant: 434
Composition: Royal octavo ~ Recordings of André Tchaikowsky's Music ~ André Tchaikowsky's Recordings ~ Index of Tchaikowsky's Music ~ General Index ~ CD of André Tchaikowsky in recital
Illustrations: 72
Hans Gál: Music behind Barbed Wire: A Diary of Summer 1940
Translated by Eva Fox-Gál and Anthony Fox
English edition edited by Martin Anderson
Foreword by Sir Alan Peacock
Extant: 243
Composition: Royal octavo ~ Editorial Introduction ~ Eva Fox-Gál: ‘Hans Gál: A Biographical Introduction’ ~ Richard Dove: ‘”Most Regrettable and Deplorable Things have Happened”: Britain’s Internment of Enemy Aliens in 1940’ ~ Hans Gál: Music behind Barbed Wire ~ Eva Fox-Gál: ‘Gál in Britain’ ~ Appendices – One: Personalia; Two: CD Programme; Three: Martin Anderson: Hans Gál in Conversation; Four: The Hans Gál Society; Five: The Contributors ~ Bibliography ~ Index of Gál’s Works ~ General Index
Illustrations: c. 50
Three Generations of Tcherepnins
Three Generations explores music by three generations of composers from the Tcherepnin family: Ivan, Alexander and Nikolai. Each of the three wrote a wide range…
Postcards from Ukraine, Vol. 1: Violin Miniatures
Ukrainian classical music is not even two centuries old, and for most of that time has had to contend with active attempts at suppression by a bullying neighbour. But Ukrainian composers have stood their ground, not least by taking inspiration from the folk-music that has long thrived in Ukraine’s mountains and fields. In this first of a series of Postcards from Ukraine the Ukrainian-Australian violinist Markiyan Melnychenko presents a programme of largely unknown miniatures for violin and piano, all based on, or inspired by, that folk-culture. Alternately sparkling and soulful, these violin showpieces make the case for a more thorough examination of the riches still to be discovered in Ukraine’s musical heritage.
Markiyan Melnychenko, violin
Benjamin Martin, piano
Peter de Lager, piano
Derek B. Scott: Orchestral Music, Volume Four
Derek Scott, born in Birmingham in 1950, has a long history of engagement with the British music hall and other forms of light entertainment, as both historian and performer. Many of his own compositions attest to this interest in popular styles, with his craftsmanship and natural feeling for a good tune producing music of immediate appeal. One of his two recent Dance Suites takes its cue from ska, the twist and other enthusiasms from the early 1960s, and the other from older dance favourites. Time was when works like Arthur Benjamin’s Jamaican Rumba and Percy Faith’s arrangement of Alfvén’s Swedish RhapsodyNo. 1 could be heard on every domestic radio and record-player; these good-natured Dance Suites recapture some of that lost innocence and its relaxed energy – but his Serenade, another recent composition, touches gently on deeper feelings.
Liepāja Symphony Orchestra
Paul Mann, conductor
The Romantic Castrato
Giovanni Battista Velluti (1780–1861) was one of the last of the larger-than-life castrati who had dominated operatic life in the seventeenth and eighteenth centuries. Velluti, though, spent his career almost entirely in the Romantic era, singing the music of his day. His style of ornamentation attracted widespread admiration and set the standard for the prime donne who were emerging as the stars of their age in operas by such composers as Rossini, Bellini and Donizetti. Here the American male soprano Robert Crowe recreates Velluti’s extraordinary sound-world, in a recording that helps explain why such diverse luminaries as Stendhal, Mary Shelley and the Duke of Wellington admired Velluti as one of the most accomplished and inventive singers of his time.
Robert Crowe, male soprano
Iris Rath, flute (Track 21)
Joachim Enders, piano
ALL EXCEPT * FIRST RECORDINGS
Sviatoslav Richter: The Pianist and the Person
In the autumn of 1959 I was beginning my final year at Oxford. A friend called David Tempest, like me a piano nut, asked me…
Tadeusz Majerski Remembered: An Interview With Andrzej Nikodemowicz
A December release from Toccata Classics (TOCC0344) presents the first-ever recording of works by the Polish composer Tadeusz Majerski (1888–1963), whose music incorporates elements of…
Too Many Symphonies? — Part two: Fridrich Bruk
Having traversed the symphonies of Robert Keeley in Part One of this brief survey (Too Many Symphonies – Part One – posted on 9 March…