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Featured Releases - Juillet 2016

ROSSINI, G.: Stabat Mater (1832 version) / Giovanna d'Arco (arr. M. Taralli)
Gioachino ROSSINI (1792–1868)
Stabat mater (1831/32 Original Version)1
With sections by Giovanni Tadolini
Orchestration by Antonino Fogliani
Giovanna d’Arco2
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

Naxos 8.573531

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.


CORIGLIANO, JR. J.: Symphony No. 1 / TORKE, M.: Bright Blue Music / COPLAND, A.: Appalachian Spring Suite
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

Naxos 8.559782

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.


Violin Concertos (Polish) - BACEWICZ, G. / TANSMAN, A. / SPISAK, M. / PANUFNIK, A.
Polish Violin Concertos
BACEWICZ: Violin Concerto No. 1
TANSMAN: Cinq pièces pour violon et petit orchestre
SPISAK: Andante and Allegro for Violin and String Orchestra
PANUFNIK: Violin Concerto

Piotr Plawner, Violin • Kammersymphonie Berlin
Jürgen Bruns

Naxos 8.573496

The works on this recording were written by four roughly contemporary Polish composers who settled and pursued their careers in different parts of the world. Grażyna Bacewicz’s First Violin Concerto displays her own glittering virtuosity as a performer, while Alexandre Tansman wrote his Baroque-infused Five Pieces for the great Josef Szigeti. Michał Spisak considered his neo-classical Andante and Allegro to be ‘a little story for violin and orchestra’, while Andrzej Panufnik’s wideranging Violin Concerto became a ‘pilgrimage into my past’ and is richly suffused with Polish atmosphere.


Counter-tenor Recital: d'Or, Yaniv (Latino Ladino - Songs of Exile and Passion from Spain and Latin America)
Latino Ladino
– Songs of Exile and Passion from Spain and Latin America

Yaniv d’Or, Countertenor • Barrocade • Ensemble NAYA
Amit Tiefenbrunn, Director

Naxos 8.573566

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.


IRELAND, J. / MOERAN, E.J.: Choral Music
John IRELAND (1879–1962)
Ernest John MOERAN (1892–1950)
Choral Music
A Cradle Song • Sea Fever • Songs of Springtime

David Owen Norris, Piano • The Carice Singers
George Parris

Naxos 8.573584

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.


MAYR, J.S.: Overtures
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
Franz Hauk

Naxos 8.573484

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.


HARRIS, Ross: Symphony No. 5 / Violin Concerto
Ross HARRIS (b. 1945)
Symphony No. 51
Violin Concerto2

Sally-Anne Russell, Mezzo-Soprano1 • Ilya Gringolts, Violin2
Auckland Philharmonia Orchestra • Eckehard Stier1
Garry Walker2

Naxos 8.573532

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.



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