Elgar & Walton – Cello Concertos – Gautier Capuçon
This release features Gautier Capuçon as soloist with the London Symphony Orchestra—the same ensemble that performed the premiere of the Elgar cello concerto—under the direction of Antonio Pappano. The second movement’s interplay is particularly noteworthy, requiring both warmth and technical agility. Written in 1957, Walton’s concerto provides a complementary perspective, employing a broader palette of orchestral colors—celesta, vibraphone, harp—and two demanding cello cadenzas that challenge the soloist’s expressive range. Its three movements alternate between tranquil reflection and vibrant outbursts, offering a unique counterpart to Elgar’s themes. The album’s accompanying booklet includes an interview with Capuçon and Pappano, offering insights into their approach and interpretive decisions.
Hahn – Piano Quintet & Quartet, Songs – Kaleidoscope Chamber Collective
Reynaldo Hahn’s understated charm and refined melodic grace are given a fresh perspective on this album from the Kaleidoscope Chamber Collective. The ensemble reimagines Hahn’s chamber works and songs—originally penned for the intimate salons of France—with modern arrangements by Tom Poster. From the wistful elegance of “À Chloris” and the playful poignancy of “Quand je fus pris au pavillon” to the brooding depth of the F♯ minor Quintet and the measured lyricism of the G major Quartet, each selection is meticulously reinterpreted. Tenor Karim Sulayman’s sensitive delivery, combined with the ensemble’s dynamic interplay, reveals a layered and expressive reading that remains true to Hahn’s spirit. With its subtle blend of historical homage and contemporary insight, this album invites listeners to rediscover the legacy of an overlooked master.
C.P.E. Bach – Flute Concertos – Ariel Zuckermann
Carl Philipp Emanuel Bach’s flute concertos challenge players not only with technical demands but also by requiring deep emotional expression. In this new recording, the Georgian Chamber Orchestra Ingolstadt, led by Ariel Zuckermann as both conductor and solo flutist, presents three flute concertos—in A minor (Wq 166/H.431), G major (Wq 169/H.445), and D minor (Wq 22/H.425). Zuckermann and the orchestra navigate the changing moods of the outer movements with energy and assurance, while bringing a thoughtful sensitivity to the slow sections. These qualities allow the music’s contrasts—lively passagework versus contemplative lyricism—to stand out clearly. Zuckermann’s nuanced phrasing complements the ensemble’s polished approach, revealing the richness of C.P.E Bach’s inventive writing. This program acts as an invitation to discover how this lesser-known repertoire helped pave the way for later masters, offering a fresh glimpse into an era of transition and experimentation.
Schumann, Mendelssohn – Piano Concertos – Stewart Goodyear
Pianist and composer Stewart Goodyear pairs iconic Romantic concertos by Mendelssohn and Schumann with two of his own works. The BBC Scottish Symphony Orchestra, led by Andrew Constantine, provides vibrant orchestral support, highlighting Goodyear’s dynamic interpretation. Goodyear’s “Rhapsody” delves into themes of love and loss, showcasing Goodyear’s introspective side, while the “Introduction and Rondo Capriccioso” pulses with African-inspired rhythms and Mendelssohnian flair. Schumann’s Concerto in A minor reveals both sweeping drama and tender lyricism, while Mendelssohn’s G minor counterpart brims with sparkle and charm. Goodyear’s pianism is distinguished by a fine balance between technical mastery and heartfelt expression, and he is well served by the recording engineering.
Ligeti & Bartók – String Quartets – Marmen Quartet
Bartók’s six string quartets, composed between 1908 and 1939, stand as a cornerstone of twentieth-century chamber music, blending Eastern European folk elements with a bold approach to dissonance and form. Among them, the Fourth Quartet especially shines for its daring structure, incorporating symmetrical patterns, a chilling second movement, and a finale echoing the tension of its opening movement. Ligeti’s two quartets, meanwhile, chart different phases of his creative journey. The first, “Métamorphoses nocturnes,” unfolds in a series of interlinked yet contrasting episodes, evoking eerie nocturnal landscapes, whereas the second quartet plunges further into experimental realms, marked by intricate effects and sudden bursts of intensity. The Marmen Quartet presents these works with remarkable poise and conviction. Their performances balance technical precision with expressive flair, spotlighting the timeless vigor and inventive spirit of these groundbreaking compositions.
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