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Gioachino ROSSINI (1792–1868)
Stabat mater (1831/32 Original Version)1
With sections by Giovanni Tadolini
Orchestration by Antonino Fogliani
Orchestration by Marco Taralli
Majella Cullagh, Soprano1
Marianna Pizzolato, Mezzo-soprano2 José Luis Sola, Tenor1
Mirco Palazzi, Bass1 • Camerata Bach Choir, Poznań
Tomasz Potkowski, Chorus-master
Württemberg Philharmonic Orchestra • Antonino Fogliani
Rossini’s Stabat Mater is one of the staples of the sacred music repertoire but had a complicated history. He wrote it for performance in Madrid but, running short of time, enlisted the help of his friend Giovanni Tadolini. Rossini completed six pieces, Tadolini seven. Tadolini’s pieces now only exist as piano reductions but conductor Antonino Fogliani has orchestrated them to allow listeners to hear the original work for the first time since 1833. Marco Taralli’s 2009 orchestration of Giovanna d’Arco (Joan of Arc), a cantata for solo voice, is also heard on this first recording.
John CORIGLIANO (b. 1938)
Symphony No. 1
Michael TORKE (b. 1961)
Bright Blue Music
Aaron COPLAND (1900–1990)
Appalachian Spring Suite
National Orchestral Institute Philharmonic
David Alan Miller
This is the first recording for Naxos by the National Orchestral Institute Philharmonic, which is composed of elite conservatory students from across the United States and abroad. The chosen works reflect the richness and variety of the American repertoire. A work of immense poignancy and power, John Corigliano’s Symphony No. 1 is a commemoration of friends of the composer who died during the 1980s and ’90s. Michael Torke’s Bright Blue Music evokes rich lyricism couched in the composer’s favorite key of D major. The suite from Copland’s Appalachian Spring is one of the great, quintessential American works.
– Songs of Exile and Passion from Spain and Latin America
Yaniv d’Or, Countertenor • Barrocade • Ensemble NAYA
Amit Tiefenbrunn, Director
The music and poetry of numerous persecuted and exiled minority cultures flourished throughout the Mediterranean and South America during the 17th century, the sensitivities of these displaced communities retaining powerful resonance today. These ancient narratives on beauty, love, joy and sorrow are expressed through Yaniv d’Or’s haunting voice against a ‘folk-Baroque’ instrumental backdrop that reinvents enchanting and distinctive musical worlds.
John IRELAND (1879–1962)
Ernest John MOERAN (1892–1950)
A Cradle Song • Sea Fever • Songs of Springtime
David Owen Norris, Piano • The Carice Singers
Renowned for his outstanding piano miniatures and solo songs, John Ireland is little known these days as a composer of partsongs. His deep understanding of choral forces brings a unique polish and artistry to the genre, his early style reflecting a deference to his masters Parry and Stanford, and deeply moving post-war masterpieces such as Twilight Night exploiting a more acerbic harmonic vocabulary. E.J. Moeran’s inclination towards introspective melancholy blends with his knowledge of Elizabethan madrigal and renaissance dance, resulting in true gems on themes of love such as While she lies sleeping.
Johann Simon MAYR (1763–1845)
Raùl de Créqui • Arianna a Nasso
Bavarian Classical Players • Antonio Spiller, Concertmaster
Concerto de Bassus
Theona Gubba-Chkheidze, Concertmaster
I Virtuosi Italiani • Alberto Martini, Concertmaster
Simon Mayr was born in Bavaria but made his name in Italy. Although familiar with the Venetian two-part and Neapolitan three-part operatic overture traditions, he forged a style which at first mirrored the models of his Viennese contemporaries, then broadened out into large-scale and often virtuosic sinfonias filled with unexpected modulations and intervals and beautiful instrumental solos. Spanning a period of 25 years, the works on this recording include Raùl de Créqui with its striking fugal opening, the dramatic Ercole in Lidia with its solo part for harp and Gli Americani which recalls Mozart and Beethoven.
Ross HARRIS (b. 1945)
Symphony No. 51
Sally-Anne Russell, Mezzo-Soprano1 • Ilya Gringolts, Violin2
Auckland Philharmonia Orchestra • Eckehard Stier1
Ross Harris’s Fifth Symphony was inspired by the poems of Panni Palasti, many of which reflect her experiences during the siege of Budapest in World War II. Forming the emotional core of the work and set to gentle melodies against hushed, sophisticated orchestration, the three songs form a stark contrast with the violent and disturbing imagery of the two Scherzos and the austere beauty of the opening and closing Adagios. The beautifully textured Violin Concerto hovers tantalisingly between tonality and atonality, with the soloist rarely out of the limelight, decorating and rhapsodising on the material.
Johann Michael HAYDN (1737–1806)
Symphonies, Vol. 1
Sinfonia in G major, P. 16 • Sinfonia in D major, P. 21
Sinfonia in C major, P. 19 • Sinfonia in A major, P. 15
Filip Dvořák, Harpsichord • Czech Chamber Philharmonic Orchestra Pardubice • Patrick Gallois
Overshadowed by his older brother Franz Joseph, Johann Michael Haydn enjoyed great esteem during his lifetime. There is evidence suggesting that the young Mozart patterned some of his compositions on those of Michael Haydn and the stylistic similarity between their music is such that several of Haydn’s works were long thought to be by Mozart, including the Sinfonia in G included in this first volume devoted to his Symphonies. All four of the lively and inventive works here were composed in the 1780s and specifically tailored for the Salzburg court.