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MAY 2016
Antonino d'Urzo; PostClassical Ensemble; Deborah Spanton; Angel Gil-Ordoñez; Jim Curtis; Octavio Paz; PostClassical Ensemble (Ensemble); American Composers Orchestra; Angel Gil-Ordonez (conductor); Bill Richards (percussion); Brooklyn Philharmonic; Brooklyn Philharmonic Orchestra; Bryan Young (bassoon); Chris Gekker (trumpet); Claudia Chudacoff (violin); David Jones (percussion); David Salness (violin); Evelyn Elsing (cello); Fatma Daglar (oboe); Jonathan Richards (guitar); Martin Scorsese; National Gallery Orchestra; Netanel Draiblate (violin); New York Philharmonic; Robert Parker; Roberto Kolb (oboe); Sally McLain (violin); Susan Sontag (narrator); Angel Gil-Ordóñez; Roberto Kolb-Neuhaus; Carlos Chávez; Fred Zinnemann; Paul Strand; Clarice Smith; Lorenzo Candelaria; Aaron Muller; Alonso Ancira; Altos Hornos de México; Andrew W. Mellon Foundation; Antonio Castro Leal; Bill Pietsch; Chevron; Emilio Gómez Muriel; K&A Productions Ltd; National University of Mexico; Naxos Rights US Inc.; Noche de los Mayas; World Cinema Project; Adrienne SommervilleKiamie; Alfaro Siqueiros; American Musicological Society; Bellas Artes; Beth Plunk; Bob Birch; Brooklyn Academy of Music; Camerata de las Américas; Camille Saint-Saëns; Chandra Cervantes; Chelsea Green; Chris Shieh; Clarice Smith Performing Arts Center; Congregation of Holy Cross; Cristina Constantinescu; Diego Rivera; Duc de Guise; Emilio Gómez; Eva Cappelletti-Chao; Georgetown University Orchestra; Gita Ladd; Greg Akagi; High Noon; Jennifer Lee; Jennifer Rickard; John Spirtas; José Clemente Orozco; José Limontour; Kathy Murdock; Kerry van Laanen; Lázaro Cárdenas; Lorenzo Candelaria Lorenzo Candelaria; Louis Gazagne; Mark Hughes; Marta Bradley; Mexican Cultural Institute; Michael Rittling; Minnesota Public Radio; Monique Candelaria; Munich Philharmonic; National Endowment; National Endowment for the Arts; New York Times; Pacific Symphony; Philip Kennicott; Qatar Airways; Qatar Museum Authority; Revueltas Critical; Robert M. Stevenson; Roberto Kolb Neuhaus; Ron Hoares; Sam Barlow; Seth Cook; Silvestre Revueltas Digital Library; Sonya Chung; St. Edward's College; St. Luke; Susana Kolb Maggie Horowitz Tom; The Film Foundation's World Cinema Project; Tom Wolff; University of Maryland; University of Texas
Naxos DVD 2.110372

This DVD of a restored print of the iconic 1935 Mexican film Redes features not only the world première recording of Revueltas’ full score but includes the original soundtrack and interviews on Revueltas and his music. Spanish with English subtitles. Previous DVDs with the Post-Classical Ensemble present Virgil Thomson’s scores for The Plow that Broke the Plains (1936) and The River (1937) (2.110521), and Aaron Copland’s for The City (2.110231).


Be Glad Then, America
The President's Own U.S. Marine Band; Jason Fettig
Altissimo! ALT04032

The compositions on this new release by The President’s Own Marine Band were all composed during the last century. They draw, however, on traditional American spirituals, ballads, folk tunes, and rags from the American Revolution to the present. +The title of this release, “Be Glad Then, America,” is taken from New England Triptych by William Schuman, which is included on this album. + Particularly notable are the three world premiere recordings: “For The President’s Own,” by John Williams, Aaron Copland’s “Third Symphony,” and a set of songs by Charles Ives set for this world class ensemble.


Complete Works for String Quartet
Quatuor Diotima + Sandrine Piau (soprano) + Marie-Nicole Lemieux (contralto)
Naive V5380

This boxset dedicated to the Viennese School of Music is the first of the two recording events that have been planned to mark that special year - along with the release of a new series of contemporary composer portraits.

This Schoenberg | Berg | Webern set gathers the complete works for string quartet composed by those three iconic composers. This is a major achievement and the result of years of concerts and research by the quartet, which is now considered as a leading performer of this repertoire.


H.M. Queen Elizabeth's March
Band of the Grenadier Guards + Lieutenant-Colonel George J. Miller (conductor)
British Military Music Archive BMMAGG1603

The Band of the Grenadier Guards came to be in 1685, “born” of a royal warrant the same year as J.S. Bach and Handel. The Guards themselves trace their origin back to the exile of King Charles II when they were formed to be his bodyguard. The title track was composed by Adela Verne, one of the period’s virtuoso pianists, and although the march takes its name from the late Queen Mother rather than the reigning Queen Elizabeth, BMMA felt it appropriate to look forward to the Queen’s Birthday Parade in June. Other commemorative works on the album include Edward German’s Coronation March and Hymn, composed for King George V’s 1911 coronation, and an arrangement of Rimsky-Korsakov’s Russian Easter Festival Overture, dedicated to the memory of this fellow composers Mussorgsky and Borodin. International music of a different kind Mayhew Lester Lake’s Evolution of Dixie reels the famous American tune through a variety of styles, including the minuet and ragtime, before reaching a finale in the style of grand opera, mixing Dixie with music from Wagner’s Tannhäuser. All recordings restored and remastered by Metropolis Mastering from 78 RPM records.


Christopher Rouse: Odna Zhizn, Symphonies Nos. 3 & 4 and Prospero's Rooms
New York Philharmonic; Alan Gilbert (conductor)
Naxos 8.226110

This album presents four world premiere recordings of works by Christopher Rouse (b. 1949), the New York Philharmonic’s second Marie-Josée Kravis Composer-in-Residence, three of them composed for the Orchestra and Music Director Alan Gilbert. Taken together, the Fourth Symphony, Prospero’s Rooms, and Odna Zhizn bear witness to a remarkable period of artistic collaboration between the legendary Orchestra, its celebrated Music Director, and one of today’s most evocative American composers.


Hymns from King's
Cambridge The Choir of King's College; Tom Etheridge (organ); Richard Gowers (organ); Stephen Cleobury (conductor)
King's College Choir KGS0014

Hymns from King’s is a collection of hymn arrangements by Stephen Cleobury from the Peters Edition book of the same name. Covering the entire church year including Christmas and Easter, Hymns from King’s contains arrangements, accompaniments and descants for some of the world’s most popular hymns as they are sung at King’s College. Repertoire includes Thine be the Glory, Glorious Things of Thee are Spoken, & Come, ye Thankful People. The release will be accompanied by an international press and marketing campaign and extensive touring. On 22nd and 23rd March 2016 the Kings College Choir, Cambridge will perform Bach’s St John Passion in King’s College Chapel with the Academy of Ancient Music. They will perform again in the chapel on 26th March where this time they join the Hanover Band and soloists to perform Handel’s Brockes Passion. They then embark on a tour to Sweden to Stockholm Cathedral and Va¨stera°s Cathedral from 16th - 17th April (repertoire to be confirmed). They return to Kings Place, London with the Hanover Band and soloists to perform Handel’s Brockes Passion on 22nd April. The King’s Men perform their annual Singing on the River concert on 19th June, before travelling to Sheffield to The Cathedral Church of Saint Marie with the whole Choir on the 27th June to perform Faure´’s Requiem. This release joins the label’s other critically-acclaimed recordings including English Hymn Anthems, an Editor’s Choice from Gramophone; the celebrated Fauré Requiem Recording of the Month in BBC Music Magazine and 1615: Gabrieli in Venice release which was the first classical album ever to use Dolby’s new Atmos technology. The Choir of King’s College, Cambridge is one of the world’s foremost choirs and unquestionably among the most widely heard. It owes its existence to King Henry VI, who envisaged the daily singing of services in its magnificent chapel. This remains the Choir’s raison d’être, and is an important part of the lives of its 16 choristers, who are educated at King’s College School, and the 14 choral scholars and two organ scholars, who study a variety of subjects in the College. The Choir has produced numerous professional singers including James Gilchrist, Christopher Purves and Gerald Finley


Nino Rota: Piano Works
Christian Seibert (piano)
CPO 555019-2

Nino Rota’s relationship with the piano was extraordinary. His maternal grandfather, Giovanni Rinaldi, was a well-known composer who wrote primarily for this instrument. In his mother’s »Storia di Nino« (Nino’s Story) we read as follows: »At the age of eight Nino was improvising on the piano and producing harmonies so naturally that it was as if the keys were doing it for him on their own. When his father saw how I listened with open mouth, he asked me in a skeptical way, ‘Do you think he really has talent, or are we only fooling ourselves, as parents do?’« No, Nino’s parents were not mistaken; their son was a child prodigy. Considering Nino Rota’s close relationship with the piano, it is all the more astonishing that his oeuvre for this instrument is not all that extensive: a total of fourteen opus numbers with piano music, including works from his youth. His piano compositions of larger scope attest to Bach’s role as an important point of orientation for him. In 1950 he wrote the Variations and Fugue in Twelve Tones on the Name of Bach, a work with a magnificent fugue consisting of a most highly chromatic structure posing a genuine challenge to the pianist and in every way equal to Max Reger’s complex works. The most ambitious work composed by Rota for solo piano is formed by the 15 Preludi. Here too motifs in chromatic ascent and descent already pervade the very first four preludes.


Henry Purcell: Theatre Music Vol. 2
Johane Ansell; Aradia Ensemble; Jason Nedecky; Kevin Mallon
Naxos 8.573280

Despite his immersion in the composition of sacred music, Purcell retained a lifelong interest in the theatre - an aspect of his oeuvre that has been neglected. Among the authors of the five works in this disc were two of the most celebrated of the age – John Dryden and William Congreve - and for their ‘semi-operas’ Purcell produced incidental music and songs of vitality, wit, and imaginative text-setting that offer an intriguing look at the world of Restoration drama. Volume 1 is on 8.570149.


Anthony Burgess: Mr. W.S.; Marche pour une révolution 1789-1989; Mr. Burgess’s Almanack
Brown University Orchestra; Paul Phillips
Naxos 8.573472

Anthony Burgess, celebrated author of A Clockwork Orange so memorably filmed by Stanley Kubrick, once said that “I wish people would think of me as a musician who writes novels, instead of a novelist who writes music on the side”. Thwarted in his desire for a professional musical career he later turned to writing but retained a fascination with the interrelation of music and literature. Composing in a vigorous, tonal style - a hybrid of Holst and Hindemith - Burgess evokes the Elizabethan era in his inventive, imaginative Mr W.S. and moves toward 12-tone in Mr Burgess’s Almanack.


Dark Star Requiem
Neema Bickersteth (soprano); Krisztina Szabó (mezzo-soprano); Peter McGillivray (baritone); Marcus Nance (bass-baritone); The Gryphon Trio; Ryan Scott (percussion); Mark Duggan (percussion); The Elmer Iseler Singers; Wayne Strongman (conductor)
Centrediscs CMCCD 22716

Dark Star Requiem is a critically acclaimed operatic oratorio for four singers, piano trio, percussion and chorus by composer Andrew Staniland and poet Jill Battson. The poems deal with HIV AIDS. The original production was designed by Beth Kates and Ben Chaisson, directed by Tom Diamond and conducted by Wayne Strongman. Commissioned by the Luminato Festival and Tapestry New Opera and premiered at the Luminato festival in 2010 in Koerner Hall, Toronto, Canada.


Thompson Requiem
Philadelphia Orchestra; The Philadelphia Singers; Charles Bruck (conductor); David Hayes; Robert Frost; Thomas Jefferson; Wolfgang Sawallisch (conductor); Philadelphia Singers; American Classics; Naxos; Curtis Institute of Music; J Vreeman; Zachary J; Zachary J. Vreeman; David Pasbrig; E.C. Schirmer Music Co.; Gould Rehearsal; Harvard; Michael Korn; Inc Naxos Rights US; Inc. Naxos Rights US; André Previn; Board of Directors of Chorus America; Choral Society; Elliot Forbes; Mannes College; Mannes Orchestra; OttoWerner Mueller; Pierre Monteux School; Rebecca Haegele; Scholarship Committee of the Edwin Garrigues Foundation; University of California; Berkeley University of California; University of Hartford
Naxos 8.559789

Randall Thompson’s choral works retain the affection of American choral singers and conductors alike, and the Requiem is his masterpiece. Touched by the loss of close friends and colleagues, this work was Thompson’s personal statement on life and death. Using carefully selected biblical scripture, it takes the form of a dramatic dialogue between two choirs. Recorded here for the first time in its complete form, this Requiem is an emotional and dramatically intense journey of conflict and resolution, and entirely unique within American music history or the requiem tradition as a whole.


John Rutter: Psalmfest
John Rutter (conductor); Elizabeth Cragg; John Birch (organ); Pascal Charbonneau; Royal Philharmonic Orchestra; Michael Allen; Andrew Lucas (organ); Tom Winpenny; Tom Winpenny (organ); St. Albans Cathedral Choir; Elizabeth Cragg (soprano); Abbey Girls Choir and Abbey Singers; Mike Allen (trumpet); Royal Philharmonic Orchestra; Pascal Charbonneau (tenor); Andrew Lucas; St Albans Abbey Girls Choir; Alexander Shelley (conductor); Bournemouth Symphony Orchestra; Cantate Domino; Charles Dutoit (conductor); Daniele Gatti (conductor); David James (counter-tenor); David Juritz (violin); David Mason (trumpet); Derek Harrison (counter-tenor); George Thalben-Ball (conductor); Grzegorz Nowak (conductor); John McCabe (piano); John Wallace (trumpet); La Fenice (Ensemble); Leonard Bernstein (conductor); Mark Elder (conductor); Munich Radio Orchestra; Neil Baker (accordion); Peter Hurford (organ); Peter Martin (piano); Piet Kee (organ); Pinchas Zukerman (violin); Roger Norrington (conductor); Rudolf Kempe (conductor); Simon Eadon; Simon Rattle (conductor); Thomas Beecham (conductor); Tony Price; Trevor Pinnock (conductor); Vladimir Jurowski (conductor); William Houghton (baritone); William Thomas (cornet); Nick Rutter; Andrew Lucas RUTTER; John Anthony Birch; Royal College of Music; Abbey Girls Choir; St Albans Cathedral; St Albans Cathedral Choir; BBC Proms; Hilder Jarvis; Opéra National; Peter Grimes; Simon Tottman; St Paul; Sweeney Todd; Simon TottmanAndrew Lucas; Abbey Church of St Alban; Aidan Tanner; Alan Hebert; Alexander Hall; Alexandra Snailham; Alice Hilder; Alice Hilder Jarvis; Amber Lythgoe; Amelia Edwards; Amelia James; American Public Media's Pipedreams; André Previn; Anna Hodgkins; Antal Doráti; Anthony Birch; Barnabas Elbourn; Bbc; BBC Radio; Brett Cox; Brooklyn Academy of Music; Caspar Singh; Cecilia Young; Chichester Cathedral; Christopher Head; City United Guilds; David Martin-Smith; de Lorraine; Dixit Dominus; Eric Kocharyan; Fiona Snelling; Freddie Pazzi-Axworthy; Geoff McMahon; George Throup; Gus McMahon; House of the Dead; Huddersfield Polytechnic; Imogen Bernays; Isabelle Blain; Jack Tebbutt; John Anthony; Katie Ripley; King's College; Kristiansand Cathedral; Louis Postema; Louisa Kataria; Lucas Roseden; Lucy Walton; Lydia Pazzi-Axworthy; Maisie James; Matthew Cox; McGill University; Meyerson Hall; National de Lorraine; Niamh Shepherd; Oliver Martin-Smith; Olivia Hardy; Opéra National de Lorraine; Orlando Paladino; Oxford University Press; Penelope Hilder; Penelope Hilder Jarvis; Philippa Lawrence; Phoebe Wakefield; Raphaël Mouterde; Roger Mullis; Rory Hall; Royal Opera House; Royal Philharmonic; Saskia Lythgoe; Simon Barton; Simon Colston; St Albans Bach Choir; St Albans International; St Paul's Cathedral; Temple Church; Theo Gannon; Theo Whiterod; Thomas Johnson; Tom Pazzi-Axworthy; University of Sussex; William Glendinning; Andrew LucasFor; Laudate Dominum; Inc. Naxos Rights US; Psalmfest; Raphaelle Photography; Royal Albert
Naxos 8.573394

The psalms of David have been a source of inspiration to composers for centuries, each text forming a poetic shape the equivalent of a gothic arch, and expressing a rich range of intensely human and timeless emotions. Recorded here for the first time in its complete form, John Rutter’s Psalmfest is a collection of nine settings opened up for concert performance with full orchestra while remaining true to the emotional and spiritual sense of the texts. The remaining psalm settings were written for special occasions, including the wedding of the Duke and Duchess of Cambridge in 2008.



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