Tchaikovsky composed his Variations on a Rococo Theme for cellist Wilhelm Fitzenhagen, who reassembled the variations into his own ordering, infuriating the composer. The cello part for the virtuosic Pezzo capriccioso was also altered by its dedicatee, Anatoly Brandukov. In Gabriel Schwabe’s performances heard on this album, however, the composer's original intentions are restored and, rounding out the all-Tchaikovsky programme, we have two of Gabriel’s own arrangements – the Canzonetta from the Violin Concerto and Valse sentimentale from the Six Morceaux, recorded here for the first time. The album ends with the second version – also never before recorded – of the turbulent, romantic fantasy overture Romeo and Juliet. Stunning performances are always guaranteed from Gabriel, a laureate of three of the world’s most prestigious cello competitions: the Grand Prix Emanuel Feuermann in Berlin, the Concours Rostropovich in Paris and the Pierre Fournier Award in London.

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Stravinsky is justly renowned for his ballet scores such as The Firebird and The Rite of Spring but, alongside the ever popular Pulcinella, this programme takes us into less frequently explored areas of his output, including the surprisingly romantic hues of The Faun and the Shepherdess from his early days, a rarely recorded piece that’s shot through with hints of Wagner. Using little-known piano pieces by Tchaikovsky, The Fairy’s Kiss is another highly approachable piece, while the harder-hitting Song of the Nightingale is filled with narrative magic and sparkling orchestration. Altogether, this is a Stravinsky programme with something for everyone. Conductor JoAnn Falletta and the Buffalo Philharmonic need no introduction, adding here to their significant presence in the Naxos catalogue as reflected in albums that are constantly and liberally strewn with critical superlatives and international appreciation.

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While Puccini’s Tosca may have a history of dividing opera lovers, it continues to fascinate audiences with the dramatic force of its narrative. Coupled with the power of Puccini’s strikingly inventive score, it is now one of the most frequently staged operas of all time. There are of course numerous recordings available, but the sheer quality of this production under music director Daniele Gatti’s impressive leadership makes it an irresistible addition to the catalogue. What we have here is the audio version of the audiovisual production released last year on the Dynamic label (DYN-38057/DYN-58057). Widely acclaimed by the critics, operaramblings provided a typical appreciation: ‘Goikoetxea is a very good Tosca. Vocally she’s got the chops and her characterisation is nicely balanced … Piero Pretti is a good match as Cavaradossi. He’s always solid and occasionally has that rare Italian tenor frisson that makes the hairs on your neck stand up … the chorus and orchestra are excellent with Daniele Gatti giving a full-blooded reading of the score.’

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German composer Johanna Senfter was a student of Max Reger, who quickly recognised her musical talent and encouraged her to pursue advanced studies in his composition class in Leipzig, which she completed with distinction in 1909. In 1910, she was awarded the Arthur Nikisch Prize for the best student composition of the year. Born into a well-to-do industrial family, she was financially independent and able to devote herself entirely to her creative work throughout her life. In addition to numerous chamber works, she left behind nine symphonies. From the youthful ‘Sturm und Drang’ of her first symphony (1914) to the thoughtfully moving ninth (1949), composed after two world wars, the development of her musical language can be discovered here with these world premiere recordings.

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