Ehnes Quartet – Beethoven: String Quartets Nos. 10 & 11 (2021) [FLAC 24 bit, 96 kHz]

Ehnes Quartet – Beethoven: String Quartets Nos. 10 & 11 (2021) [FLAC 24 bit, 96 kHz]

This, the third in the series of Beethoven’s late quartets from the Ehnes Quartet deviates from the official ‘late’ works to include the last two of Beethoven’s ‘middle period’ quartets: The sunny and amiable E flat, known as the ‘Harp’, and the terse and irascible F Minor, known not surprisingly, as ‘Serioso’.

Beethoven had a habit of working on two works of wildly differing emotional ranges at the same time – never more clearly illustrated as in these two masterly quartets.

Ehnes Quartet – Beethoven: String Quartets Nos.15 & 16 (2022) [FLAC 24bit, 96 kHz]

Ehnes Quartet – Beethoven: String Quartets Nos.15 & 16 (2022) [FLAC 24bit, 96 kHz]

This is the final of four installments in the Ehnes Quartet’s survey of the late Beethoven Quartets. It was recorded in the US with their producer overseeing the sessions from London as the pandemic halted travel plans and sessions were canceled. “The albums we recorded during this intense two-week period will always be treasured reminders for us of a brief, bucolic window of artistic fulfillment during a terribly challenging period for the world,” said James Ehnes. They bring to these masterworks many years of experience.

Ehnes Quartet – Beethoven: String Quartets Nos. 12 & 14 (2021) [FLAC 24 bit, 96 kHz]

Ehnes Quartet – Beethoven: String Quartets Nos. 12 & 14 (2021) [FLAC 24 bit, 96 kHz]

The second instalment in the Ehnes Quartet’s survey of the late Beethoven Quartets recorded in the US with their producer overseeing the sessions from London as the pandemic saw the UK travel plans and sessions cancelled. They bring to these masterworks many years of experience: ‘the four CDs we recorded during this intense two-week period will always be treasured reminders for us of a brief, bucolic window of artistic fulfilment during a terribly challenging period for the world’ said James Ehnes.

Chen Reiss – Fanny Mendelssohn Hensel & Felix Mendelssohn: Arias, Lieder, Overtures (2022) [FLAC 24bit, 96 kHz]

Chen Reiss – Fanny Mendelssohn Hensel & Felix Mendelssohn: Arias, Lieder, Overtures (2022) [FLAC 24bit, 96 kHz]

Soprano Chen Reiss writes: ‘Discovering the dramatic scene “Hero & Leander” by Fanny Hensel left me amazed by the richness of colours and invention, as well as her skilful orchestration and dramatic expression’.

Felix Mendelssohn’s sister Fanny is only now emerging as a significant composer in her own right. Many of her compositions were published under her brother’s name, such was the difficulty faced by female composers in the 19th century to get published and gain recognition. This album contains a selection of her Lieder in new arrangements for orchestra, her dramatic scene for soprano & orchestra ‘Hero und Leander’ set to a text by her father, and the Introduction and an aria from her cantata ‘Lobgesang’. Felix’s concert aria Infelice and the 1st Rome version of ‘Fingals Cave’.

BBC Scottish Symphony Orchestra, Thomas Dausgaard – Bartók: The Miraculous Mandarin, Suite No. 2 & Hungarian Peasant Songs (2021) [FLAC 24bit, 96 kHz]

BBC Scottish Symphony Orchestra, Thomas Dausgaard – Bartók: The Miraculous Mandarin, Suite No. 2 & Hungarian Peasant Songs (2021) [FLAC 24bit, 96 kHz]

The violence and horror depicted in Bartók’s Miraculous Mandarin channel the events of the collapse of the first Hungarian Soviet Republic and the Red and White Terrors of 1919-1921 that followed. The inscrutable Mandarin falls into a trap set up by a gang of bloodthirsty thugs with tragic results and an ultimately touching conclusion.

The Second Suite of 1909, conceived as a Serenade for small orchestra, is on a smaller scale than the First Suite. The Hungarian Peasant Songs date from the period of the Great War. Originally a set of short piano pieces, Bartók orchestrated nine of the movements in 1933, eight of which are recorded here.

Bournemouth Symphony Orchestra, Kirill Karabits – Walton: Symphonies Nos. 1 & 2 (2017) [FLAC 24bit, 96 kHz]

Bournemouth Symphony Orchestra, Kirill Karabits – Walton: Symphonies Nos. 1 & 2 (2017) [FLAC 24bit, 96 kHz]

Walton’s First Symphony burst onto the musical scene in 1935 and quickly became recognised as a masterpiece. The influence of Sibelius and Beethoven can clearly be heard, but it is Walton’s brilliant use of the orchestra and grasp of form that shines through: a remarkable achievement for a composer of 33 years. The Second symphony has never had an easy time, in both escaping the shadow of its older sibling, and in overcoming the hostility of the late 1950s and early ’60s when avant-garde was de rigeur. Fortunately it is now clearly a masterpiece to rank alongside No.1. It is assured, mature and confident, subtle and refined, from a composer at the top of his game. High voltage performances from Kirill Karabits and the Bournemouth Symphony Orchestra.

The Bournemouth Symphony Orchestra is Classic FM’s Orchestra in the South of England. It was formed in 1893 and throughout its illustrious history it has worked with some of the finest composers, conductors and musicians in the world including Elgar, Bartók, Sibelius, Holst, Stravinsky, Vaughan Williams and Sir Thomas Beecham.

Adrian Butterfield – Handel: Chandos Te Deum – Chandos Anthem No. 8 (2018) [FLAC 24bit, 96 kHz]

Adrian Butterfield – Handel: Chandos Te Deum – Chandos Anthem No. 8 (2018) [FLAC 24bit, 96 kHz]

Before coming into contact with James Brydges, Earl of Carnarvon, Handel was is dire straits in London. His pension of £200 a year for teaching the Royal princesses had stopped, as had the public taste for opera. London had plunged into a hedonistic, alcohol- and gambling-driven lifestyle, where the bawdier things were the better. Brydges, one of the most colourful and roguish figures of the day, had built himself a vast palace (from wealth plundered whilst he was Paymaster General during the Spanish Wars of Succession) to rival anything the King could boast of – Cannons House in north London, set up as a rival court to King George I, where he employed Handel to replace Johann Pepusch as Kapellmeister. No surprise that the Earl has been described as ‘having no enmity with his conscience:’ The ‘King of Bling’ would have 13 Chandos Anthems and the Te Deum on this recording composed by a grateful Handel. It couldn’t last, though, and Handel was eventually lured back to the embrace of the Royal Court and London’s rediscovered love of opera. Now the 1st Duke of Chandos, Brydges had lost his vast fortune and his home in the South Sea Bubble financial crisis of 1720, and Cannons House was demolished, its treasures and features sold off. It was as if it had never been – except for Handel’s glorious music composed at Cannons House.