Beethoven’s Violin Concerto from Vadim Gluzman, Brahms by Julian Bliss, Mozart’s live performance arias starring Lisette Oropesa, a melancholy recital from Jean Rondeau and the highly effective orchestral works of Magnus Lindberg
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This new recording of Beethoven’s Violin Concerto and Schnittke’s Third Concerto shouldn’t be the primary collaboration between Vadim Gluzman and the Luzerner Sinfonieorchester with conductor James Gaffigan, they produced an exquisite account of Brahms’s Violin Concerto in 2017. That recording was an Editor’s Alternative within the July 2017, with critic Rob Cowan taking time to summarize the violinist’s type: ‘Gluzman carries forwards a Russian-Jewish taking part in custom that hails again to Jascha Heifetz, David Oistrakh and Leonid Kogan, with Maxim Vengerov and Vadim Repin representing the youthful technology. I make the purpose as a result of all these gamers show a roster of traits that marks them out as a part of an age-old violinistic group: a seductively candy tone, a biting assault of the bow, agility, brilliance, a versatile method to phrasing and an ideal steadiness of head and coronary heart.’ (Read the review in the Gramophone Reviews Database)
That includes Brahms’s two Clarinet Sonatas, Op 120, and Julian Bliss’s personal association of the Vier ernste Gesänge, this album is a return to Brahms’s music for Bliss who recorded the Clarinet Quintet with the Carducci Quartet in 2016. Curiously, this isn’t James Baillieu’s first recording of the Vier ernste Gesänge with a non-singer, he recorded these songs with trombonist Peter Moore in 2018 (read the review).
Jean Rondeau explores the character of melancholy via the keyboard works of Frescobaldi, Luigi Rossi, Picchi, Luzzaschi, Sweelinck, Dowland, Bull and Gibbons for this new album on the Erato label.
For her first solo album, a group of Mozart’s live performance arias, Lisette Oropesa is joined by Il Pomo d’Oro, who received final yr’s Gramophone Opera Award for Handel’s Agrippina starring Joyce DiDonato, and conductor Antonello Manacorda, who made his Metropolitan Opera debut with Mozart’s Le Nozze di Figaro in 2019.
Mozart’s Gran Partita has a protracted historical past on document, in fact, however its price noting that we have had two excellent recordings of the work reviewed in Gramophone in 2021 alone: one from composer/clarinettist Mark Simpson and associates (an Editor’s Choice in the February issue), and one other from members of the Royal Concertgebouw Orchestra (an Editor’s Choice in January). This new launch from Akademie für Alte Musik Berlin ought to present an fascinating comparability, nonetheless, for each the pedigree of this ensemble in Mozart’s operas (they’ve made recordings of Die Zauberflöte and Die Entführung aus dem Serail for Harmonia Mundi with conductor René Jacobs) and in addition for his or her use of interval devices. Akademie für Alte Musik Berlin was nominated for Gramophone‘s Orchestra of the Yr Award in 2019.
The Ondine label has been a strong advocate for the music of Magnus Lindberg for a few years, as certainly have the Finnish Radio Symphony Orchestra and Hannu Lintu, not least on final yr’s album of Lindberg’s Accused and 2 Episodes, which Gramophone‘s Andrew Mellor stated finds ‘Lintu’s Finnish Radio Symphony Orchestra on eye-widening kind’ (read the review). This new album options dwell accounts of Aura, Marea and Associated Rocks.
Gramophone’s The Listening Room is an Apple Music playlist that includes hand-picked number of probably the most fascinating new classical releases chosen by Editor-in-Chief James Jolly. It’s the important classical playlist:
The Official Specialist Classical Chart High 20 seems on the Gramophone web site and is up to date each Friday at 6pm (UK time). It’s an effective way of exploring the brand new classical releases:
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