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Henry Litolff: Piano Music, Volume One
The British-born Henry Litolff (1818–91) maintains a toehold on the repertoire thanks to the enduring popularity of the Scherzo of his Concerto symphonique No. 4 for piano and orchestra. Litolff’s substantial output of music for solo piano – mostly virtuoso salon miniatures – has entirely slipped from sight, even though in his prime as composer and pianist he was often compared with Liszt, a personal friend. This first album devoted to Litolff’s piano music reveals a fondness for atmospheric character pieces and vigorous dances, not least the polka, mazurka and waltz.
Tingyue Jiang, piano
César Viana: Piano Music
The Portuguese composer César Viana – born in England, in 1963, and now resident in Spain – is an all-round musician: conductor, pianist, early-music enthusiast, folklorist and flautist, with a special interest in the shakuhachi, the Japanese bamboo flute. His resulting familiarity with Zen Buddhism has left its mark on his music, where the clean lines of Japanese art combine with a fondness for the contrapuntal textures that form the basis of much European art-music – imagine Bach and Hindemith in the formal elegance of a stone garden, warmed by a touch of western wit.
Carlos Marin Rayo, piano
Richard Flury: Casanova e l’Albertolli, Commedia Lirica in Due Atti
Two traditions coalesce in Casanova e l’Albertolli (1937), the third of the four operas by the Swiss late-Romantic composer Richard Flury (1896–1967): Italian bel canto and the Swiss Festspiel – high art and popular culture. Styled a ‘Commedia lirica’, it invests the comic intrigue onstage with sweeping melodies of Puccinian richness, combining them with choruses based on Ticino folksong – it even has a yodelling chorus – in an engaging hybrid that deserves to be far better known. At the end, of course, evil is banished and love rewarded, but the entire score is dappled with happy inspirations that will bring a smile to the listener’s lips.
Carlo Allemano, tenor
Lavinia Bini, soprano
Mattia Olivieri, baritone
Marco Bussi, baritone
Lucia Cirillo, mezzo-soprano
Luigi De Donato, basso buffo
Federico Benetti, baritone
Emanuele D’Aguanno, tenor
Coro della Radiotelevisione Svizzera
Orchestra della Svizzera Italiana
Diego Fasolis, conductor
The Harmonious Musick of John Jenkins: Volume Two: Suites, Airs and Vocal Music
Extent: 311 pages
Composition: Demy octavo
8 illustrations, b/w
82 music examples
List of Sources for Jenkins’ Music
List of Jenkins’ Works
Bibliography
Select Discography
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
A Narrative of Paul Creston’s Three Narratives
My introduction to Paul Creston was through his Virtuoso Technique – a book of finger exercises so demanding and so unusual that I couldn’t help…
Hans Gál In Conversation
This conversation, first published in the Journal of the British Music Society (Vol. 9, 1987, pp. 33–44), was recorded at Dr Gál’s Edinburgh home in…
Ottorino Respighi: L’Opera Per Pianoforte Solo
di Potito Pedarra Scrive Lorenzo Arruga presentando alcune “liriche più famose [di Respighi]: una volta le ho persino accompagnate in un piccolo concerto, accettando a…