Violin Sonata in F Major

Rudens Turku’s first concerto recording for Avie uniquely couples two lesser-known works by Mendelssohn, the Concerto for Violin and Piano, and the early Sonata in F Major. Rudens Turku, who has created a trio of compelling recital and chamber recordings for Avie, presents his first concerto recording for the label. In both Mendelssohn works, he is joined by his regular piano partner Oliver Schnyder. The Double Concerto and F Major Sonata were written when Mendelssohn was in his 20s, still young but already an established soloist, conductor and composer. The ambitious three-movement Sonata lay dormant after its first performances – probably due to the composer’s career demands – and wasn’t revived until 1953 when Yehudi Menuhin published the work for the first time. The Double Concerto displays the work of a mature musician; the sensitivity with which Mendelssohn balances the two instruments is masterful, and the orchestral writing marries brilliance with beauty.

The 200th anniversary of Felix Mendelssohn’s birth in 2009 has raised the popularity of his music to new heights. This new recording of his beloved Piano Trios is a rarity, performed on period instruments. The Benvenue Fortepiano Trio is lead by the enterprising violinist Monica Huggett, whose numerous recordings for Avie have consistently resulted in critical acclaim and sales success. Monica brings a special touch to every recording she makes, whether as a leader, soloist or collaborator. Her partners here are two of America’s foremost period instrument practitioners, cellist Tanya Tomkins (making her second appearance on Avie) and Eric Zivian playing on an 1841 Viennese fortepiano which lends a unique crystalline sound to these early romantic masterpieces.

Circuit for two pianos and orchestra, T1, T2 for two Pianos, Relent for Solo Piano, Carnal for Solo Piano, From Yellow to Yellow, White for Two Pianos, Furniture for Solo Piano

While his music is sometimes described as ‘post-minimalist’, Graham Fitkin himself mentions sources of inspiration as diverse as Stravinsky, Miles Davis, Webern, Steve Reich, Frank Sinatra and Pet Shop Boys. A talented pianist, he has written a number of works centred on the piano, in singular and in plural: his work list includes pieces for one to up to as many as six pianos. Partly it is the ‘black-and-white’ nature of the instrument that attracts Fitkin – the fact that it forces the composer to articulate musical structures without hiding behind colouristic resources. Important among his tools as a composer are repetition, and manipulation of repetitive procedures. The result is music that is often energetic and highly rhythmically driven – aspects which are certainly present in Circuit, for two pianos and orchestra. The work was composed for Kathryn Stott and Noriko Ogawa, and, at its first performance in 2003 was described by one reviewer as ‘exhilarating in the extreme’ with ‘its juxtapositions of motoric hyperactivity and sweet serenity, and a final, rip-roaring climax’. Kathryn Stott has worked with Graham Fitkin over a number of years, and the solo piece Relent, which she performs on the present recording, was written specifically for her.

Listen to a sound clip: • Circuit for two pianos and orchestra (conclusion)

Celebrating the 200th anniversary of Felix Mendelssohn’s birth in 1809, Bergen Philharmonic Orchestra and their music director Andrew Litton have recorded a three-disc survey of the composer’s symphonies. This final disc in the series opens with the popular ‘Scottish’ Symphony (No.3), conceived during the composer’s visit to what was at the time regarded as the Romantic retreat par excellence, celebrated in literature as the retreat of solitary heroes amid the rugged Highland scenery. From Edinburgh Mendelssohn wrote to his parents: ‘At dusk we went today to the palace where Mary Stuart lived and loved… Everything there lies rotten and in ruins; the clear daylight shines right in. I think that today I found the beginning of my Scottish Symphony.’ Both the Scottish and the Reformation symphonies contain references to their stated subjects – the Scottish-sounding ‘folk tune’ in the finale of the Third Symphony, the use of Luther’s chorale ‘Ein’ feste Burg’ in that of the Fifth – but they also share the musical lightness of touch and the inventiveness that have made Mendelssohn a favourite with concert audiences for close to two centuries. These qualities are mirrored in the performances of Litton and the Bergen PO.

Listen to a sound clip: • Andante – Allegro con fuoco (1st movement, Symphony No.5 ‘Reformation’)

Arias from La Circe

Haydn composed more than 20 operas, mainly for the sumptuous theatre at Eszterháza, the palace of his long-time employers, the princes of Esterházy. Even so, his work in the operatic field remains largely neglected. This disc focuses on an even more closely guarded secret: the so-called ‘insertion arias’ that Haydn wrote for inclusion in operas by other composers. The rarely, if at all, recorded music includes Haydn’s three contributions to La Circe, an opera pasticcio which combined music by several composers, and six of the surviving insertion arias. Among these is Infelice sventurata, written for an opera by Cimarosa, and one of Haydn’s finest arias, here movingly performed by Swedish star Miah Persson. This varied programme offers an illustration of Mozart’s verdict on Haydn as an opera composer: ‘Nobody can do all of this – flirt and unsettle, provoke laughter and deep emotions – as well as Haydn!’ It is presented by Manfred Huss and his period band Haydn Sinfonietta Vienna, drawing to a close a Haydn bicentenary celebration that includes four previous, all highly acclaimed releases.

Le Gladiateur, Invocation, La Demoiselle Elue, Spring, Salut Printemps, L'Enfant Prodigue

Claude Debussy presented himself as a candidate for the Prix de Rome on three separate occasions during the 1880s, the most innovative decade in the history of that competition; a time when success entitled the victors (at the French government's expense) to spend several years at the Villa Medici in Rome. Prizewniners from this time include Debussy, Dukas, Leroux and Charpentier. This 2-CD set offers a group of little known compositions by Debussy dating from between 1882 and 1888: Le Gladiateur and the first versions of L'Enfant Prodigue (of which only the 1906 reorchestration is occasionally performed) and Printemps - a highly individual piece later turned into a symphonic suite. A version for piano and voice of La Damoiselle Élue and the choruses written for the competitions of 1882-1884 complete this survey of hitherto unknown works by Debussy. This release represents the first issue in a new collection from Glossa centred on music associated with the Prix de Rome.

Milhaud Cantatas for War and Peace, Hindemith Death, Stravinsky Octet for Wind Instruments

After Jean Cocteau had issued tracts such as as Le Coq et l'Arlequin (1918) and Le Rappel à l'ordre (1926) arguing against French Impressionism and German Romanticism in favour of art for art's sake with accessibility, simplicity and structural clarity, many composers responded to his clarion call. The devestation and misery caused by World War I and the fear of an impending further cataclysm also struck hard at existing artistic certainties. Through their music Igor Stravinsky, Paul Hindemith, Darius Milhaud and Kurt Weill all endeavoured to make sense of this 'new Europe' which they were experiencing. For its latest Glossa release, the Flemish Radio Choir has selected an ideal quintet of works to demonstrate these tendencies as well as highlighting the vocal talents of this leading European choral formation. Kurt Weill's 1928 secular mass for the dead, Das Berliner Requiem, represents the jewel in this crown, accompanied by I Solisti del Vento who also offer Stravinsky's 1923 Octet for Wind Instruments. Both ensembles are performing here under the direction of one of the leading choral directors of today in Paul Hillier, who is as exacting in his interpretation of music from the 20th century onwards as he is renowned to be in compositions from earlier period.

Der Zerbrochene Krug Overture, Don Quixote Dances The Fandango

The composer Viktor Ullmann (1898-1944) could not have predicted that his name would come to be inextricably linked to the Terezin ghetto. Not only does this recollectino of a black page in Western history continue to accompany haunt his music, but the label 'degenerate music' is evoked time and again. In recent years, Ullmann's largely unknown body of work has once again garnered interest. His opera Der Kaiser von Atlantis has since been performed numerous times, and his other works are also making their way onto the concert stage. It seems odd at first that mention is made here of two symphonies. In the strict sense Ullmann did not write any symphonies. His notes on the 5th and 7th Piano Sonatas suggest, however, that he intended to transcribe these works for orchestra. After Ullmann's horrific death, the task fell to composer and conductor Bernhard Wulff. Gerd Albrecht brings a real understanding and commitment to the compositions of Viktor Ullmann in directing the Brussels Philharmonic, providing an interpretation of music which is both fascinating in its own right and of the highest quality, whilst being the more poignant for being composed when Ullmann was being held captive in one of the most infamous concentration camps established during the course of the Second World War.

With Socialist Realism Stalin promulgated and imposed a cultural doctrine which in accordance with the ruling party and ideology demanded of the artist the truthful and positive representation of reality plus it also decreed that art should appeal to the masses, be simple, folkloristic and understandable to all people. The Stalinist cultural campaigns of 1936/38 and 1946/48 enforced the doctrine ruthlessly, among the artists denounced for straying from the official line are Dmitri Shostakovich and – in the last campaign – Sergei Prokofiev. The present recording's works by these two composers are performed by Turkish piano duo Ufuk and Bahar Dördüncü, described as 'two committed pianists equipped with flawless technique, delivering vigorous and evocative performances'. Visit their website

Brahms, Mozart, Lutoslawski

Güher and Süher Pekinel is the exceptional Turkish twin piano duo that has gained international success over the past 40 years. Starting as prodigies in their early childhood, they had their first public performance at the age of six. Their career brought them from Turkey over to France, Germany, Japan, the US, Great Britain and beyond. Güher and Süher Pekinel are known for playing the piano back-to-back, relying purely on sound. Their ability is often described as a telepathic gift which offers the listener a perfectly balanced sound. Their dazzling approach gives each performance an engrossing tension, making for a unique viewing and listening experience. This DVD shows remarkable live concerts from London, Lucerne and Zurich conducted by the brilliant Sir Colin Davis and Muhai Tang, both of whom can be counted among the greatest maestros of our time. Including bonus feature interview footage from the sisters in London 2009, this DVD is a treat for fans of the twins and of that other much-admired sibling piano duo, Katia and Marielle Labèque.

This unique DVD package includes excerpts from the operas by Verdi, Rossini and Ponchielli from the successful New Year’s Day Concert in the Teatro La Fenice in 2004. Eight years after a huge fire burned down the grand opera house of Venice in 1996 the reopening was celebrated with a series of amazing concerts. The highlight was certainly the final concert which was broadcasted live on Italian television and is now presented on this DVD. Throughout a programme of great opera choruses and arias, orchestral music and ballet scenes, the audience can admire not only the delightful music but also the restored glorious interior decoration. Italian soprano Stefania Bonfadelli and tenor Roberto Aronica sing with relish, while ballet stars Roberto Bolle and Greta Hodgkinson glamorously support the event with their beautifully expressive dancing. Besides the amazing performances of the singers and dancers, Lorin Maazel’s delectable conducting is highly enjoyable and makes this concert an unforgettable event.

This sumptuous 2008 production on the C Major label (new to Select) is staged by Chen Kaige, the director of the classic Chinese film Farewell My Concubine and winner of the Palme d’Or at Cannes Film Festival. Traditional oriental costuming – captured in full High Definition – brings the world of Turandot vividly to life. Conducted by the great Zubin Mehta with a celebrated Italian cast, the magnificent production is explored with extensive behind-the-scenes footage in a 36-minute documentary. Also available on Blu-Ray (700404). View excerpts on YouTube.

The outstanding tenors of the 78 era: comprising thirteen episodes, each with a biographical and a musical focus, this two-volume edition features bel canto singers captured on black and white sound film. Backed up with footage, much of which is shown here for the very first time, the individual artists are profiled and their exceptional talents demonstrated in representative recordings. Part I: Enrico Caruso Beniamino Gigli Tito Schipa Richard Tauber Leo Slezak Joseph Schmidt.

The revival of the classically choreographed version of Prokofiev’s Romeo and Juliet by senior choreographer Kenneth MacMillan enjoyed a phenomenal success at La Scala in January 2000: it was the first time that Alessandra Ferri and Angel Corella, the acclaimed stars of the American Ballet Theatre, had danced together on stage. Hailed by the Italian press as the 'new star couple'. Romeo is one of the favourite roles of the Spanish dancer Angel Corella and, indeed, the part of the fiery young man seems tailor-made for him. He combines virtuoso technique with well-defined performance qualities, and it is easy to believe his assertion that he loves being an actor as much as he loves being a dancer. He is the ideal partner for Alessandra Ferri, who is acclaimed in the USA as the 'Anna Magnani of ballet'.

Brahms Violin concerto Op 77, Dvorak Symphony No 9 'From the New World', Beethoven Egmont Overture, Verdi Overture to Sicilian Vespers

The Berliner Philharmonic's annual European Concerts are intended to recall the date on which the orchestra was founded, 1 May 1882, with a performance being given on this day in a different town or city of particular cultural and historical importance. In 2002 it was the turn of the Teatro Massimo in Palermo, one of Europe’s most important opera houses both artistically and architecturally. This was also the last time in his twelve years as the orchestra’s artistic director that the revered Italian maestro Claudio Abbado conducted a European Concert. In a programme of beloved pieces from the classical repertoire, with the celebrated Gil Shaham as violin soloist, Abbado once again demonstrated how he upheld the unsurpassed orchestral tradition of the Berliner Philharmonic with his profound music-making.

Featuring one of the finest voices of recent time, this documentary accompanies Montserrat Caballé on a journey to some of the most important places in her life. We witness her in conversation, in numerous historic performances and, through the testimonies of friends and fellow musicians, gain a deeper understanding of Montserrat the person and Caballé the artist.

Berlioz Symphonie fantastique Op 14, Rameau Les Boreades (Ballet Suite)

This 1993 recording must be hailed as a document of supreme historical importance as it is the first audio-visual live recording of a concert given by Sir Simon Rattle and the Berliner Philharmonic. Six years later the orchestra voted by a large majority to appoint Rattle its new principal conductor and artistic director in succession to Claudio Abbado. Even at this early date Rattle was already attracting attention not only with the masterly conducting but also with his extremely interesting programming. In the present programme, for example, he combines the final work by Jean-Philippe Rameau, a composer who raised the music of the French Baroque to a level never to be surpassed, with the famous Symphonie fantastique by Hector Berlioz, who, only 26 at the time of the work’s composition, was soon to be acclaimed as one of the 'musicians of the future'.

Passion, loyalty and political conspiracy are the three pillars of Un ballo in maschera (1859), the ‘most operatic of all operas’. Set in 19th-century Boston, Mario Martone’s atmospheric production for the Teatro Real brings out all the innate theatricality and drama of Verdi’s work. World famous Argentinean tenor Marcelo Álvarez, in the role of Riccardo, leads a spectacular cast including Lithuanian soprano Violeta Urmana as his lover Amelia, and Elena Zaremba as the witch Ulrica. Jesús López Cobos conducts the Chorus and Orchestra of the Teatro Real in a performance that emphasises the lyricism and majesty of this wonderful work, in which grand opera and opera comique are woven together with classic Italian style.

Illustrated synopsis, Cast gallery, Behind the scenes with Johanette Zomer, Behind the scenes with Luca Pisaroni, the making of Ercole Amante

Commissioned to celebrate the marriage of the Sun King, Louis XIV, and Marie Thérèse of Spain, the original production of Cavalli’s Ercole Amante took two years to complete and, at the time, was the grandest show ever performed in Europe. DNO’s contemporary, hilarious and surreal production, directed by David Alden, is a triumph of opera buffa, a riot of decoration and symbolism complemented by Constance Hoffman’s exceptional costumes. Luca Pisaroni’s Ercole is heroic and melodious in turn, Veronica Cangemi is a splendid Iole, and the Chorus of De Nederlandse Opera and Concerto Köln give a sublime performance under Ivor Bolton, a master of baroque music. An outstanding production, filmed in High Definition and surround sound. Sydney concert-goers who recently attended Pinchgut's Cavalli production, L'Ormindo, will be thrilled with this new DVD!