None of these reconstructions are included in Teldec’s Bach 2000, although the better-known ‘originals’ obviously are. The real newcomer is the Sinfonia, BWV1045 (5'34'') ‘to an unknown cantata’ which – as befits a BWV number that immediately precedes the First Brandenburg Concerto – is rumbustious, festive and thematically likeable. Time and again I could sense allusions to other Bach instrumental pieces, though the soloist’s ceaseless arpeggiating is sometimes a distraction. We’re told it’s authentic (the manuscript source suggests a violin concerto in the making) but something about its harmonic language doesn’t quite ring true, though that reaction might well be due to lack of familiarity.
The Finnish string quartet Meta4 has now achieved international recognition and regularly plays on the great stages of the world. In their new album, featuring the first and fifth quartets of Béla Bartók, Meta4 turns once again – as a follow up to their hugely successful 2011 recording of Shostakovich quartets – to a program of 20th century masterpieces. There is little doubt that Bartók is among the boldest quartet composers since Beethoven. His irrepressible expression will meet with the equally distinctive style of the four Finns and leads to incredibly expressive, emotionally charged interpretations. The uncompromising musical standards offered by these musicians take hold of the capricious ideas and unorthodox forms of the Hungarian master to deliver what will most likely be the string quartet album of the year.
This is Volume Six of the Rihm Edition, another excellent entry in Hanssler's composer-curated series of recordings by the orchestras of the SWR (Southwest German Radio). This time around we find Sylvain Cambreling leading his SWR Sinfonieorchester Baden-Baden und Freiburg in two concertos. "Uber die Linie II: Musik fur Klarinette und Orchester" (1999 – 37'07) was written for Jorg Widmann, composer, clarinettist, and Rihm protege….Autonomeus @ Amazon.com
Catalonian composer Xavier Montsalvatge began violin lessons at the age of nine, around the same time as his father's death and his move to Barcelona to live with his grandfather. This move later allowed him to attend the Barcelona Conservatory and numerous concerts that greatly influenced him. His teachers at the conservatory were Francisco Costa for violin and Enrique Morera and Jaume Pahissa for composition. He himself became a teacher at the school in 1933. His first important works were the 1934 Tres impromptus for piano, for which he won the Rabell prize from the Patxot Foundation, and the Suite burlesca, for which he won the Pedrell prize in 1936. Rejecting the legacies of Wagner and Richard Strauss that dominated in Spain ……..All Music Guide
C.P.E. Bach's "Magnificat" is one of the glories of the choral repertoire, and, like other reviewers, I envy you your first experience of this magnificent music. I first heard it in the impressive performance by Philip Ledger and the Academy of St.-Martin-in-the-Fields. I think Rilling's performance is even better, though, more supple and nuanced, without sacrificing speed and intensity.
Canadian-born Dale Kavanagh is acclaimed as one of the guitar world´s most gifted interpreters. Between 1986 and 1988 Ms. Kavanagh was a top prize-winner in Spain’s “Segovia Competition,” Italy’s “Gargnano Competition,” Switzerland’s “Neuchatel Competition,” and First and Special Prize winner in Finland’s “Scandinavian International Guitar Competition.”
“When and where it will be heard doesn’t worry me in the least”, wrote Liszt to a friend on finishing Christus in 1866. He was living in Rome, pondering his relationship with the Church and little concerned with the public reception for which, he was more than once to say, he was willing to wait. In fact the work, or parts of it, was quickly taken up and he himself conducted the first complete performance in Weimar in 1867. In modern times it has seldom been given in its full form, and the first recording did not come until 1970 (on Hungaroton, 3/72 – nla). It is a long piece, playing for some two-and-three-quarter hours, difficult to fit into a concert.