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The article discusses a collection of horn trios from Mozart to Piazzolla and beyond, performed by Howard Wall, Elmira Darvarova, and Thomas Weaver. The set includes works by various composers, including Mozart, Brahms, and modern composers like Elizabeth Raum and Phillip Ramey. The performances are described as diverse and well-executed, with some pieces receiving world premiere recordings. The collection showcases a wide range of styles and eras, providing a unique listening experience for fans of classical music. [Extracted from the article]

The article discusses the works of composer Dinos Constantinides, focusing on his Violin Sonata, Fantasia, Idyll, and other compositions. It highlights his Greek heritage and the influence of Greece on his music. The article also mentions his career in the United States, his return to Greece, and his connection to his homeland. The text praises the performances of violinist Kurt Nikkanen and pianist Maria Asteriadou on a Centaur CD featuring Constantinides's works. [Extracted from the article]

The article from "Fanfare: The Magazine for Serious Record Collectors" features an interview with Eric Holtan, the founder of True Concord, a professional chamber choir and orchestra based in Tucson, AZ. True Concord focuses on performing choral masterworks and works from America's cultural mosaic, including new commissions. Despite the challenges posed by the COVID-19 pandemic, True Concord adapted by presenting safe outdoor concerts and making video recordings for online consumption. Holtan emphasizes the importance of music in providing beauty, joy, and hope, especially during difficult times. The article also discusses Jake Runestad's compositions, Dreams of the Fallen and Earth Symphony, which explore themes of war, humanity's impact on the Earth, and the power of music to convey emotional depth and complexity. The performances by True Concord Voices and Orchestra are praised for their excellence and emotional intensity, making the album a significant contribution to the classical music repertoire. [Extracted from the article]

The article from "Fanfare: The Magazine for Serious Record Collectors" features an interview with composer Margi Griebling-Haigh, discussing her influences, compositions, and family connections in the music industry. The article highlights her daughter Gabrielle Haigh's performance on a unique album concept featuring a cello octet and soprano soloist. Griebling-Haigh's compositions, including a three-song cycle based on poems by Edna St. Vincent Millay, showcase her lyrical gift and conservative tonal idiom. The article also mentions her connections to other composers and her approach to music composition. [Extracted from the article]

The article delves into Handel's final oratorio, Jephtha, examining the challenges he faced due to failing eyesight and the personal nature of the composition. It explores the biblical narrative of Jephtha, who unwittingly vows to sacrifice his daughter upon his return from battle. The Music of the Baroque performance in Chicago, conducted by Jane Glover, receives praise for its emotionally charged vocal performances and the clear, energetic delivery of the Music of the Baroque Chorus. Additionally, Margi Griebling-Haigh's album "Voices from the Other Side" is discussed, featuring a mix of well-known and lesser-known composers inspired by collective consciousness and literary sources. [Extracted from the article]

The article discusses pianist Luiza Borac's performance of Bach's Goldberg Variations and Chick Corea's Children's Songs. Borac's rendition of the Goldberg Variations is praised for its clarity, deftness of touch, and seamless legato, providing a sense of continuity and inevitability. The article also highlights Corea's influence on the Children's Songs, inspired by Bartók's Mikrokosmos, and Borac's masterful technique and joyful energy in playing them. Overall, the article commends Borac's artistry and musical tribute to her father, George Borac, making the recording a highly recommended and enjoyable experience for listeners. [Extracted from the article]

This document is a collection of reviews of classical music recordings, covering a variety of composers and works. The reviewers share their opinions on the performances, discussing the strengths and weaknesses of each recording. The article specifically focuses on conductor Carlos Païta's interpretations of Berlioz's Symphonie fantastique and Mussorgsky's Pictures at an Exhibition. The author praises Païta's approach, noting that it aligns with performance practice, and highlights his interpretation and execution. The article also provides background information on Païta's career and the reception of his recordings. Overall, the author finds Païta's performances to be captivating and recommends them to readers. [Extracted from the article]

This article explores three different orchestrations of works by Brahms and provides a critical analysis of each one. It discusses Virgil Thomson's orchestration of Brahms's Eleven Chorale Preludes for organ, op. 122, Bright Sheng's orchestration of Brahms's Intermezzo in A Major, op. 118/2, and Arnold Schoenberg's orchestration of Brahms's Piano Quartet No. 1. The article also mentions other compositions by Brahms and his contemporaries, including his organ works and the recognition they have gained over time. It highlights Schoenberg's unique approach to orchestrating Brahms's Piano Quartet No. 1 and recommends recordings of these works, particularly praising the performances by the Busch Quartet and Rudolf Serkin. Additionally, the article briefly mentions Luise Adolpha Le Beau, a contemporary of Brahms, and her Piano Quartet in F Minor, which is featured on a new Chandos release. [Extracted from the article]

The article "Slightly Off the Beat" from Fanfare: The Magazine for Serious Record Collectors discusses various jazz and classical music releases, including Keith Jarrett's "The Old Country" and Renee Rosnes's "Crossing Paths." The author also reflects on the use of superlatives in music criticism and shares personal opinions on Stephen Sondheim's work. Additionally, the article reviews Bartók's string quartets and highlights the unique self-determined nature of each piece. The author emphasizes the importance of conveying the distinctiveness of each quartet in performances. [Extracted from the article]

The article discusses new music for string orchestra by Philadelphia-area composers, performed by Chamber Orchestra First Editions (COFE) and conducted by James Freeman. The compositions featured on the album were commissioned and premiered by COFE between 2016 and 2022, showcasing a variety of styles and inspirations. The music is described as tonal, with some dissonances, and the performances are praised for their precision and intensity. The article highlights the importance of librettos in opera and challenges the notion that words don't matter in the genre, emphasizing the connection between opera and poetry. [Extracted from the article]

The article provides a review of the music release "Home: American String Quartets" performed by the Miró Quartet.

This article provides information on two different recordings by pianists. The first recording is of Mischa Levitzki's complete HMV recordings from 1927-33, which features a collection of works by various composers that respond to Robert Schumann's music. Levitzki's interpretation of Schumann's music is highly praised. The second recording is a piano album by Marija Jankova Noller, a Bulgarian pianist, which features short works by various composers organized around the theme of "Landscapes in Sound." The reviewer highlights Noller's ability to showcase different piano styles and praises her performances of Haydn, Beethoven, Chopin, and Janáček. [Extracted from the article]

This article provides a collection of reviews for various musical performances and recordings. The first review critiques a performance of Brahms's Fourth Symphony, describing it as a disturbing portrayal of death and destruction. The second review evaluates a recording of Schumann's Piano Concerto, noting that the pianist's interpretation lacks the playful charm found in other versions. The third review praises Jan Willem de Vriend's conducting of Schumann's symphonies, highlighting the precision and clarity of the performances. The fourth review discusses a live recording of Schumann's chamber music, commending the engaging performances and vibrant sound quality. The final review assesses a recording of Scriabin's Symphony No. 2, expressing personal disappointment with the conductor's interpretation and the symphony's lack of compelling musical ideas. The author, a devoted Scriabin enthusiast, considers the Second Symphony to be a letdown compared to the composer's other works. [Extracted from the article]

This article explores different recordings and live renditions of Mozart piano concertos by various performers. The first recording features Sibylle Mahni performing horn concertos, receiving praise for her articulation and the quality of the recording. The second recording showcases Ben Kim and the Concertgebouw Chamber Orchestra performing Mozart's first Viennese concertos, described as clever and entertaining. The third recording features Radu Lupu's performances of Mozart piano concertos, with praise for his technique and touch. The article also mentions Lupu's performance of Bach's Wohltemperierte Klavier, described as great and magisterial. Additionally, the author expresses their enchantment and spellbound experience while listening to Lupu's live renditions of various musical pieces. [Extracted from the article]

This article provides a review of the opera "The Shining" and three classical music recordings. The opera, based on Stephen King's novel, is deemed entertaining but lacks the fear and tension of the film adaptation. The classical music recordings feature performances of Mozart, Reinecke, and Poulenc concertos. The reviewers offer their opinions on the performances and the quality of the recordings. The text highlights the different approaches of Poulenc/Février and the Kodamas in a piece, with the Kodamas praised for their successful execution of challenging passages in Mozart's concertos. [Extracted from the article]

This article provides a review of various classical music recordings and performances. It highlights a recording of Meyerbeer's opera "Vasco de Gama" by Naxos, which is commended for its use of a new critical edition and the performances of the leading women. The article also evaluates a guitar transcription of piano music by Mompou, noting that while the guitar arrangements are pleasant, they do not fully capture the complexity of the original piano compositions. Additionally, the text discusses an opera adaptation of Stephen King's "The Shining," describing it as entertaining but not particularly operatic in its vocal writing. The author praises the functionality of the score and the adequacy of the singing, but suggests that the role of Jack Torrance requires a more powerful performance. The smaller roles are performed professionally but lack standout performances. The author also critiques the engineering of the recording, suggesting that it could have been more compelling and immersive. In conclusion, the author finds certain aspects of the opera and its recording to be lacking. [Extracted from the article]

This article provides a review of two musical performances. The first part discusses a performance of Mahler's symphonies, which the author feels lacks emotional engagement. The second part reviews a recording by Czech singer Magdalena Kožená, featuring songs by Dvořák and Martinů, which the author praises for its beauty and expressiveness. The article also briefly mentions a recording of works by Michele Mascitti, a lesser-known Baroque composer, describing his op. 1 sonatas and recommending the recording as an excellent example of early Baroque instrumental music. [Extracted from the article]

This article provides a review of various musical recordings. The first review praises a recording of Grieg's orchestral works, highlighting the execution and sound quality. The second review criticizes a recording of Francis Grier's compositions, describing them as dreary and dated. The third review evaluates a recording of Handel's opera Alcina, focusing on the performances of the singers and the contemporary interpretation. The fourth review examines a recording of Handel's oratorio arias, commending countertenor Oscar Verhaar's vocal abilities and the thematic coherence of the program. The summary also discusses two CDs: "Freedom," featuring Verhaar's singing accompanied by La Sfera Armoniosa and Mike Fentross, which receives praise for musicianship, engineering, and presentation; and a volume of Haydn's symphonies conducted by Giovanni Antonini and performed by the Kammerorchestra Basel, which is compared to Leonard Bernstein's recordings of Haydn's Paris symphonies. The reviewer recommends both CDs for fans of countertenors and Haydn's symphonies, respectively. [Extracted from the article]

This article provides an overview of three musical compositions and their performances. The first composition, "The Leopard" by Michael Dellaira, is an opera based on a book by Giuseppe di Tomasi. The article praises the singers but criticizes the orchestral playing. The second composition is a collection of preludes and fugues by Matt Dibble, performed by Freddy Kempf. While the music is not groundbreaking, it is described as pleasant and well-crafted. The third composition is a collection of choral works by Stephen Dodgson, performed by the ensemble SONORO. The article criticizes the choir's lack of blend and excessive vibrato. Overall, the article suggests that these compositions may appeal to fans of the respective composers but may not have broad appeal. Additionally, the article briefly discusses the performance of Donizetti's opera "L'aio nell'imbarazzo" at the 2022 Donizetti Opera Festival in Bergamo. The opera, originally performed in 1824, tells the story of a marchese named Giulio Antiquati and his attempts to protect his sons. The production is set in the future, in the year 2042. [Extracted from the article]

This article provides an overview of the album "CERRONE Beaufort Scales" by Christopher Cerrone, which features experimental music compositions. The album consists of three micro-operas, each with its own distinct style and instrumentation. The author highlights the use of various instruments such as guitar, saxophone, flute, cello, and vocals. While acknowledging the originality and inventiveness of the compositions, the reviewer also notes that some pieces may be challenging to listen to and interpret. Overall, the album is praised for its artistic merit and the performances of the musicians involved. Additionally, the text briefly discusses the opera "Gloria," which is set in 14th-century Siena during the conflicts between the Ghibellines and the Guelphs. The doomed love story between Gloria and Lionetto, due to political reasons, is explored, with Gloria's brother ultimately seeking revenge and killing Lionetto. The opera premiered in Naples in 1889 and is considered a worthwhile work, although not as memorable as the composer's other opera, Adriana Lecouvreur. [Extracted from the article]

This article provides an overview of various classical music compositions and performances. It highlights a Bruckner symphony cycle conducted by Markus Poschner and the Bruckner Orchestra Linz, as well as a performance of Bruckner's Symphony No. 9 by François-Xavier Roth and the Gürzenich Orchestra Köln. The article also reviews orchestral pieces by Greg Caffrey and compositions by Richard Cameron-Wolfe. It explores the musical qualities and emotional impact of these performances and compositions. Specifically, it delves into the chamber works of Richard Cameron-Wolfe, which include microoperas that challenge traditional opera conventions and quartets for four guitars and four cellos that create unique soundscapes. The article suggests that these works will captivate listeners familiar with the genre. [Extracted from the article]

This article explores recordings of Bruckner's Symphony No. 2 and Symphony No. 3 as part of a comprehensive project to record all versions of Bruckner's symphonies. The author provides insights into the differences between the 1872 and 1877 versions of Symphony No. 2 and offers historical context for Symphony No. 3. They express their opinion on the recordings, praising their value for those interested in Bruckner's artistic progression. Library patrons researching Bruckner's symphonies will find this article informative and helpful in understanding the nuances of these compositions. [Extracted from the article]

This article provides an overview of two different recordings of Bach's music. The first recording features Martin Helmchen playing Bach's six partitas on a tangent piano, which is a unique instrument that combines the characteristics of a harpsichord and a fortepiano. The reviewer praises Helmchen's playing style and recommends the recording for those interested in hearing Bach's keyboard music on a tangent piano. The second recording is part of a series of Bach's organ works by Jörg Halubek. The reviewer criticizes the design of the series and the lack of information provided in the booklet, as well as finding Halubek's performances to be lackluster compared to other Bach organ cycles. [Extracted from the article]

The article discusses several music recordings that have been released recently. The first recommendation is a set of everyday anthems or motets by Giovanni Battista Casali, performed by the Costanzi Consort. The second recommendation is a compendium of arias from Classical-period opera seria, performed by countertenor Philippe Jaroussky. The third recommendation is a release of the Missa in labore requies by Georg Muffat, along with other works, performed by various artists. The fourth recommendation is a legacy release of recordings by the orchestra and chorus of St. Martin in the Fields, conducted by Neville Marriner, featuring works by George Frédéric Handel. The final recommendation is the opera L'Olimpiade by Domenico Cimarosa. [Extracted from the article]

This article provides a review of music releases. These include the goth metal-rock opera "Black Lodge" by David T. Little, "Écoles de Paris: Paris pour École," which showcases music composed in Paris during World War I and II by non-French composers, "Music for Flute by Women Composers," featuring 20th-century flute compositions by lesser-known female composers, and "The Folk School of the Eastern Clarinet," a fusion of Eastern European and klezmer styles.

The article discusses various compositions for clarinet and piano, including works by Brahms, Poulenc, and Schumann, as well as arrangements for flute and harp. It highlights the historical context and significance of these pieces, as well as the challenges and controversies surrounding their adaptations for different instruments. The article also reviews a collection of contemporary solo flute pieces commissioned by flutist Roberta Michel, exploring the innovative techniques and artistic collaborations involved in creating new music for the flute. Additionally, it mentions a French label, La Dolce Volta, known for its high-quality album designs and commitment to physical media in an era dominated by digital streaming. [Extracted from the article]

The article discusses the string quartets of composer Mieczysław Weinberg, focusing on Quartets Nos. 6, 13, and 15. The quartets are described as emotionally intense and reflective of the tragedies of the past century, with themes of pity, rage, and bitterness. The performances by the Arcadia Quartet are praised for capturing the dark moods and energies of the music, making it worth exploring for those interested in Weinberg's work. Additionally, the article briefly mentions other musical works by John Williams and Erich Wolff, providing insights into their compositions and performances. [Extracted from the article]

The article discusses the musical "Carousel" by Richard Rodgers and Oscar Hammerstein II, highlighting the differences in various cast recordings and performances. It explores the emotional depth and complexity of the show, which follows the tragic marriage of Billy Bigelow and Julie Jordan. The article praises the operatic quality of Mikaela Bennett's portrayal of Julie and the overall musicality of the production, while also noting some criticisms of the lead singers' performances. The article concludes by emphasizing the significance of the complete recording in capturing the essence of the musical. [Extracted from the article]

The article discusses various musical compositions and performances, including works by composers such as Klemetti, Koppel, Koskinen, and Kovařovic. It highlights the unique fusion of Eastern and Western musical elements in Arto Koskinen's "Fuga Indiana," which showcases a blend of Indian classical music and Western composition techniques. The text also reviews piano concertos by Kovařovic, Kaprálová, and Bořkovec, providing insights into the historical context and musical styles of these lesser-known Czech composers. Overall, the article offers a diverse range of musical analyses and critiques for readers interested in exploring different genres and cultural influences in classical music. [Extracted from the article]

The article discusses various musical compositions by different composers, including Hosokawa, Janáček, Tabakova, Schumann, and Kenneth V. Jones. It provides insights into the unique approaches and styles of these composers, highlighting the emotional engagement, technical command, and aesthetic qualities of their works. The article also evaluates the performances and recordings of these compositions, offering a critical perspective on their musical impact and appeal. [Extracted from the article]

The article discusses various versions of Bruckner's symphonies, focusing on Symphony No. 3 and Symphony No. 4. Different conductors and orchestras are analyzed in their interpretations of these works, highlighting differences in tempo, sound quality, and overall performance. The text provides a detailed critique of each version, offering insights into the nuances of Bruckner's compositions and the challenges faced by conductors in bringing out the best in these symphonies. [Extracted from the article]

The article discusses the influence of various composers on Bossi's violin sonatas, highlighting the impact of Wagner, Brahms, and Franck. Verdi's critique of Bossi's use of dissonance is also mentioned. The text explores the emotional and dramatic elements of Bossi's music, noting its departure from traditional melody. Additionally, the article reviews recordings of Brahms' piano concertos, offering insights into the performances and interpretations by different artists. [Extracted from the article]