Albums

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Opera - Released October 13, 2017 | Signum Records

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Classical - Released September 8, 2017 | Naxos

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Classical - Released September 1, 2017 | First Hand Records

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Maria Callas died on September 16, 1977; exactly 22 years later, September 16, 1999, Gundula Janowitz gave a recital in Athens, the city where her great colleague had grown up, and dedicated it in Callas’ memory. Now, in time for Janowitz’s 80th birthday, on August 2, 2017, a recording of that occasion – which was to be her very final public recital – is released at last. Callas and Janowitz had hardly shared a repertoire but what they both had were voices that were utterly distinctive, recognisable from the first note. Janowitz worked and recorded extensively throughout the 1960s and 1970s with all the leading conductors of the day: Karajan, Klemperer, Kempe, Kubelík, Kleiber, Solti, Bernstein and Haitink to pick but the most prominent. And the repertoire she focused on was built around two towering figures: Mozart and Richard Strauss. For her Athens recital, Janowitz chose two composers absolutely at the centre of her Lied repertoire, Franz Schubert and Richard Strauss, with a third, Robert Schumann, forming a bridge between the two. She was 62 years old by then, but the voice remains impeccable, crystal-clear, without a trace of a single wobble. One could only wish that all opera and Lied singers were in such remarkable shape at that age. © SM/Qobuz

Classical - Released September 1, 2017 | LSO Live

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Classical - Released September 1, 2017 | Champs Hill Records

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Classical - Released August 25, 2017 | Decca

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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Classical - Released August 25, 2017 | ECM New Series

Hi-Res Booklet Distinctions Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
Alexei Lubimov chose to play these works by CPE Bach on a tangent piano, a very rare keyboard instrument with an unusual sound. From the middle of the eighteenth century the tangent piano became popular because it could offer more a expressive and intense sound than the harpsichord, and thereby could respond to the changes in the Zeitgeist. It is no accident that all three of the great Viennese composers – Haydn, Mozart and Beethoven – named the ‘Hamburg Bach’ (Carl Philip Emanuel Bach), as their model. As he grew into maturity, CPE’s interest in keyboard music increasingly came to hone in on three genres: the fantasy, the rondo and the sonata. The present album is devoted to all three, plus a few lesser pieces to which the composer gave the title solfeggi. Six of the major pieces proposed by Alexei Lubimov are taken from the great collections known as “für Kenner und Liebhaber”, for connoisseurs and amateurs written between 1779 and 1787. The smaller pieces are taken from other printed collections Keyboard pieces of various kinds and Musical miscellany, published 1765. The listener may thus compare styles of works written at the very end of the Baroque period, and others composed during a time when Haydn and Mozart were already  stars. Lubimov plays a modern copy of a Späht und Schmahl tangent piano built between 1794.
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Opera - Released August 23, 2017 | Ediciones Singulares

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Each volume in the ‘Portraits’ series is devoted to a French composer who has now largely been forgotten. With performances by many talented artists, it presents a panorama of his works. The ‘Portrait’ of Félicien David aims to complement the discography already available with world premiere recordings of the composer’s works. Among these are a glimpse of his orchestral output, with the Symphony no. 3 and the Overture to his opéra-comique La Perle du Brésil, the work that really launched David on his operatic career. But it is above all Christophe Colomb (1847) that deserves mention, for this ode-symphonie with speaker was an ambitious follow-up to the success of Le Désert, performed at the Théâtre-Italien some years earlier. Nevertheless, this anthology does not forget that Félicien David was also a figure of the salons, admired for his intimate music and especially his songs. The programme therefore offers a chance to discover excerpts from the Mélodies orientales for solo piano, a selection of romances in the style of the 1840s, and the very rare early motets for chorus in varied scorings. The culmination of this Portrait is the restoration of Le Jugement dernier, which was intended as the concluding apotheosis of the opera Herculanum, but was finally deleted and has never been published until today. © Palazzetto Bru Zane / Ediciones Singulares
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Choral Music (Choirs) - Released August 18, 2017 | SKANI

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Classical - Released August 11, 2017 | Ondine

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Classical - Released July 21, 2017 | Delphian

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Classical - Released July 21, 2017 | RUBICON

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Classical - Released July 21, 2017 | Genuin

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Classical - Released July 9, 2017 | Decca

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Classical - Released July 7, 2017 | Oehms Classics

Booklet Distinctions Gramophone Editor's Choice