Nathanaël Gouin, Sinfonia Varsovia & Aleksandar Marković – Caprice (2023)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:19:42 minutes | 1,12 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Mirare
According to pianist Nathanaël Gouin, there is in caprice a form of liberty devoid of heaviness. The fact that so many composers have taken an interest in this genre indicates a genuine liking for this liberty. Each one of them makes a mark on its identity in a profoundly different way, from Bach to Ohana. Using this idea, he was able to compose a programme of German, Russian and French music, whilst choosing works which embrace the spirit of the caprice and, more importantly, resembling him.
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Sinfonia Varsovia – Möbius (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 01:16:01 minutes | 1,36 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © WM Poland – WMI
“Separated by 7,800 kilometres, connected by culture” – this is the motto of 2019, a year full of anniversaries. It is the 30th anniversary of establishing diplomatic relations between Poland and South Korea. And Sinfonia Varsovia Orchestra is also celebrating its 35th anniversary. For this occasion, we proudly present the Möbius album, containing works by Penderecki, Lee and Ryu, performed by piano virtuoso Mackenzie Melemed (1-3), and Sinfonia Varsovia directed by Ralf Gothoni (1-4) and Grzegorz Nowak (5).
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Sinfonia Varsovia & Ian Hobson – Stöhr: Orchestral Music, Vol. 2 (2023)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:08:01 minutes | 640 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Toccata Classics
This second volume of the orchestral music of the Austro- American composer Richard Stöhr (1874–1967) reveals further marvels: the first of his two suites for string orchestra encases a moving slow movement between a charming prelude and an elegant fugue; and the four imposing spans of the expansive First Symphony offer grandeur and heartfelt profundity – as well as irresistibly catchy tunes that will set the foot tapping. Stöhr writes in a musical language somewhere between Bruckner, Mahler and his exact Viennese contemporary Franz Schmidt – but it is a voice increasingly readily recognised as his own.
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Sinfonia Varsovia & Ian Hobson – Moritz Moszkowski: Orchestral Works, Vol. 3 (2021)
FLAC (tracks) 24 bit/48 kHz | Time – 01:00:24 minutes | 631 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Toccata Classics
The Polish composer Moritz Moszkowski (1854–1925) is best remembered for a handful of virtuoso piano pieces, but he also produced a substantial body of orchestral music, most of it unperformed for a century or more. This third volume presents his very first orchestral work, a strikingly assured Overture in D major, written when he was seventeen, and his last, a sombre, dignified and deeply felt Prelude and Fugue for strings, composed on the death of his mother in 1910. Between them comes Moszkowski’s First Orchestral Suite, from 1885, a joy from start to finish, with one delightful inspiration following another in a daisy-chain of dance-rhythms, memorable tunes and instrumental colour.
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Liya Petrova, Sinfonia Varsovia & Jean-Jacques Kantorow – Mozart – Beethoven (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:18:36 minutes | 1,56 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Mirare
Liya Petrova burst onto the international scene in 2016 when she took First Prize at the Carl Nielsen Competition in Denmark, chaired by Nikolaj Szeps- Znaider.
Two years later, she recorded the Nielsen Concerto and Prokofiev’s Concerto No.1 with the Odense Philharmonic and Kristiina Poska, which earned her international acclaim from the press: “gorgeous sound – ripe and silvery, phrasing with majestic breadth” – The Sunday Times and “exceptional tonal variety… a marvellous disc” – Gramophone.
Here she joins Sinfonia Varsovia and conductor Jean-Jacques Kantorow to present Beethoven and Mozart’s violin concertos in D.
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Jakob Kullberg, BBC Philharmonic Orchestra, Sinfonia Varsovia – Remembering (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:23:10 minutes | 1,48 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © BIS
On “Remembering”, the Danish cellist Jakob Kullberg continues his collaborations with two of the foremost Nordic composers: Per Norgard and Kaija Saariaho. Praised internationally for his performances of the modern cello concerto, Kullberg regards the concerto form as the encounter of an individual soloist with the sound world of a composer. With living composers this approach often results in an unusual degree of collaboration, as the works gathered here bear witness to. Since 1999, Kullberg has enjoyed a close and unique partnership with Norgard which has resulted in a large number of works.
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Anna Agafia, Sinfonia Varsovia, Aleksandar Markovic – Nielsen & Szymanowski, Violin Concertos (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 01:04:40 minutes | 1,14 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Claves Records
Some people have a clear idea of the career they want even from early childhood. Others prefer to go with the flow, making the most out of the present, with very little projection into the future. This might be because their present is sufficiently rewarding and fulfills everything their soul longs for, or it might also be for fear of disappointment after devoting themselves to a single project, because it might narrow down their horizon… or both options as once, as it happens to be for Anna Agafia! Indeed, today she is a fully dedicated violinist; nevertheless, she could just as easily have been a professional ice-skater, an actress or a philosopher. However, life decided otherwise, and some doors were harshly shut. This is the story of a young artist, at ease with who she is, and invigorated by the awareness of her fragility.
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Astrig Siranossian, Adam Klocek, Sinfonia Varsovia – Khachaturian & Penderecki: Cello Concertos (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:09:59 minutes | 1,28 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Claves Records
French cellist Astrig Siranossian, a graduate of the Lyon CNSM and then of the prestigious Basel Hochschule went on to win First Prize and special prizes in the Krzysztof Penderecki competition: so it should come as no surprise that for this first solo album she has chosen a programme that brings together both the Second Concerto by Penderecki, written in 1982 and dedicated to Rostropovitch, and Khatchatourian’s Concerto – Khatchatourian was Armenian, and it will not have escaped readers’ notice that Siranossian is also an Armenian name. The young soloist is proving much sought-after: most notably, she has been invited to spend the next season with Daniel Barenboim at the new Pierre Boulez Hall in Berlin under the direction of Zubin Mehta, Simon Rattle and Antonio Pappano. Her musical partners include Yo-Yo Ma, Daniel Barenboim, Sol Gabetta, Bertrand Chamayou and Daniel Ottensamer, and she has graced stages as diverse as the Paris Philharmonic, the Vienna Musikverein the Salle Flagey in Brussels, the Buenos Aires Teatro Cólon the Kennedy Center in Washington… Note also that since 2015, she has been the artist in residence at the Queen Elizabeth Music Chapel in Belgium. This is a most promising musician whose career is one to watch closely.
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Agnieszka Kopacka, Sinfonia Varsovia & Ian Hobson – Stöhr: Orchestral Music, Vol. 1 (2022)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:09:08 minutes | 654 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Toccata Classics
These two works for string orchestra were composed on either side of the flight of the Viennese composer Richard Stöhr (1874–1967) from occupied Austria to the USA, and from prominence and danger to liberty and obscurity, and they reflect the change in his circumstances: the Concerto in the Old Style is expansive, witty, energetic and endlessly good-natured, whereas the Second Suite is introspective, understated and deeply felt. These first recordings allow the discovery of two major additions to the repertoire for strings; the Second Suite is also one of the last grand statements of late Romanticism.
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Aleksandra Kurzak, Sinfonia Varsovia, Pier Giorgio Morandi – Bel Raggio – Rossini Arias (2013)
FLAC (tracks) 24 bit/96 kHz | Time – 01:08:18 minutes | 1,24 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Decca Music Group Ltd.
Somewhat confusingly, three of Rossini’s heroines are named Matilde, and all are represented here. The earliest of them appears in Elisabetta, Regina d’Inghilterra (1815), the opera that opened Rossini’s Neapolitan period and a work just predating such popular scores as Barbiere and La Cenerentola. The name reappears as the heroine of Rossini’s operatic swansong, Guillaume Tell (1829), written for Paris in French but recorded here in its Italian version as Guglielmo Tell. “I’d love to sing it in the theatre. This is very mature music, showing the new direction that Rossini might have taken. But I must admit that when I’m preparing new roles I never worry too much about where they belong in a composer’s output. I concentrate hard on the technical side when working with my teacher, who also happens to be my mother” — the distinguished soprano Jolanta Żmurko — “but otherwise I need to keep things fresh and free for the interpretation to flow.”
The great showpiece “Bel raggio lusinghier” also puts the title role of Semiramide (1823) on Kurzak’s wish-list. “Because it was made famous by Joan Sutherland, I’ve followed her very beautiful ornamentation.” A rarely performed masterpiece on account of its challenges, its music is still much better known than Pamira’s aria from Le Siège de Corinthe (1826 — also heard here in an Italian version). And though Sigismondo (1814) has been described by the Rossini authority Richard Osborne as “arguably Rossini’s most unrevivable serious opera”, it is represented here for a good reason: the title character is the King of Poland. Kurzak includes an aria for Sigismondo’s wife Aldimira, the daughter of the King of Hungary, “to leave a small Polish mark on this recording”.
Even growing up around an opera house—thanks not only to her mother, but also because her father played French horn in the orchestra — Kurzak had few early opportunities to hear Rossini and has recollections from that time only really of L’italiana in Algeri. Yet despite there not being much of a Rossini tradition in Poland, she has earned her place alongside another Polish star, the contralto Ewa Podles ́, in the ranks of internationally acclaimed Rossinians. As she prepares new roles that may take her away from this composer, he will always occupy a unique place in her affections: “There is only one Rossini!” (John Allison)
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