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Enrique GRANADOS (1867–1916)
Orchestral Works, Vol. 2
Dante – Symphonic Poem1
La nit del mort†2 • Intermezzo from Goyescas
Danza de los ojos verdes† • Danza gitana†
Gemma Coma-Alabert, Mezzo-Soprano1
Jesús Álvarez Carrión, Tenor2 • Lieder Càmera2
Xavier Pastrana, Chorus-master2
Barcelona Symphony Orchestra • Pablo González
†WORLD PREMIÈRE RECORDING
Revered as one of the greatest Spanish composers for the piano, Enrique Granados also wrote a wide-ranging body of orchestral music. His one-act opera Goyescas contains an intensely lyrical Intermezzo that is his most popular work and one of the best-loved pieces in all Spanish music. The gypsy-tinged orientalism of Danza de los ojos verdes and Danza gitana contrast with the sombre and epic La nit del mort and the ambitious large-scale symphonic poem Dante, one of the most significant Spanish orchestral works of its time. This is the second in a series commemorating the centenary of Granados’ death. Volume 1 can be heard on Naxos 8.573263.
Gioachino ROSSINI (1792–1868)
Il viaggio a Reims
ossia L’albergo del Giglio d’Oro
Libretto by Luigi Balochi
Laura Giordano, Sofia Mchedlishvili, Alessandra Marianelli, Sopranos • Marianna Pizzolato, Contralto
Bogdan Mihai, Maxim Mironov, Tenors
Mirco Palazzi, Bruno De Simone, Bruno Praticò, Gezim Myshketa, Basses • Camerata Bach Choir, Poznań
Ania Michalak, Chorus-master • Virtuosi Brunensis
Karel Mitáš, Artistic Director • Michele D’Elia, Musical Assistant and Fortepiano • Antonino Fogliani
Naxos 8.660382-84 [3 CDs]
The great writer Stendhal wrote of Il viaggio a Reims that “this opera is a feast”. The plot is a contemporary farce tailor-made for a particular occasion – the coronation festivities of Charles X – though Rossini valued the music so highly that he reused at great part of the score three years later in the opera Le Comte Ory. With a cast of ten principal and eight smaller rôles, this sparkling work is heard complete for the first time and in accordance with the critical edition prepared by the Fondazione Rossini and Casa Ricordi.
Wolfgang Amadeus MOZART (1756–1791)
Violin Concertos Nos. 3, 4 and 5
All Cadenzas written by Henning Kraggerud
Henning Kraggerud, Violin • Norwegian Chamber Orchestra
Mozart wrote his Violin Concertos in 1775 while still living in his home town of Salzburg and in service to Prince-Archbishop Hieronymus Colloredo. Mozart had already toured internationally and found his parochial environment restricting, but as ever he rose above circumstances to create sublime and thrillingly unconventional masterpieces filled with wit and charm. The finely sustained melodic expression of each concerto’s slow centre provides the perfect foil for inventive sparkle in outer movements that include a cheeky reference to the opera Il re pastore in K. 216, and an exotic ‘Turkish’ moment in the finale of K. 219.
José Luis DOMÍNGUEZ (b. 1971)
The Legend of Joaquín Murieta
Ballet in Two Acts
Santiago Philharmonic Orchestra • José Luis Domínguez
Naxos 8.573515-16 [2 CDs]
Resident Director of the Santiago Philharmonic Orchestra, conductor and composer José Luis Domínguez is one of Chile’s leading musicians. Set in California during the Gold Rush of the mid- nineteenth century, The Legend of Joaquín Murieta is both an exciting contemporary ‘action ballet’ and a stand-alone work in the great tradition of symphonic film music. Its subject is the Californian brigand Joaquín Murieta, often seen as the inspiration for Zorro, and the struggle of a small settlement against the Galgos (The Hounds), a North American gang of vigilantes who harass immigrants and Native Americans.
Franz SCHUBERT (1797–1828)
Three Sonatas for Violin and Piano
Sonata in D major, Op. 137, No. 1, D.384
Sonata in A minor, Op. 137, No. 2, D.385
Sonata in G minor, Op. 137, No. 3, D.408
Hyejin Chung, Violin • Warren Lee, Piano
Schubert composed his three sublimely alluring Sonatas for Violin and Piano in the spring of 1816, though they had to wait until 1836 for posthumous publication by Diabelli, who re-named them ‘sonatinas’. With their sometimes subordinate role for the violin and deceptively uncomplicated style, these pieces sidestep the influence of Beethoven and return more to the world of Mozart’s later violin sonatas. The minor key works develop Schubert’s gift for drama and vocal melody further, including hints of his famous song Erlkönig from the previous year.
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.