Le Donne Curiose premiered in Munich in 1903, numbered among the greatest and earliest successes of the German-Italian composer Ermanno Wolf-Ferrari. Based on a comedy by Carlo Goldoni, this merry opera tells the story of the inquisitive wives who investigate the mysterious behaviour of their husbands and discover little more than their love of food! Typical figures of the Italian comedy appear in the score, here beautifully performed and recorded under the baton of Ulf Schirmer.
Since the mid-'80s, Barrence Whitfield has dedicated his life to reminding people that rock & roll and rhythm & blues are not separate but equal institutions, but healthy branches of the same tree; on-stage or in the studio, Whitfield howls vintage R&B tunes with the fury of a hot-wired rock band, and belts out vintage-style rock with a healthy portion of swagger and soul. In Whitfield's world, it's all loud and furious, and makes you want to dance, and really, who doesn't want some of that in their life? After a detour through other projects, Whitfield resurrected the Savages in 2011, and 2015's Under the Savage Sky, the group's third album since returning to duty, stands proudly alongside mid-'80s landmarks like Dig Yourself and Ow! Ow! Ow! as a master class in souped-up and full-bodied roadhouse rocking.
In this superb audiophile package of the four symphonies of Robert Schumann, Simon Gaudenz, and the Odense Symphony Orchestra give clear and focused performances that serve to clarify the often-criticized orchestration and to create a nearly chamber-like atmosphere in many passages. By avoiding the conventional homogenous orchestral blend, reducing vibrato in the strings, and emphasizing the distinctive timbres of the woodwinds and brass, Gaudenz brightens Schumann's timbral palette considerably and balances dynamics to make textures more transparent. Beyond this, Gaudenz keeps the tempos fleet and the rhythms spry, and opens up the music to let it breathe.
Siegfried Wagner had the best musical pedigree that a composer could conceivably have: the son of Richard Wagner and the grandson of Franz Liszt (through Liszt's daughter Cosima). His ancestry proved to be a decidedly mixed blessing, however, as the younger Wagner – despite working in a different musical era – was never fully able to step outside of the long shadow cast by his father, even as he engendered the jealousy of musical rivals. (…) Following Siegfried Wagner's death, the family did its best to suppress performances of his music, casting its lot with the more popular and profitable works of Richard Wagner, and it was only with lapsing of various copyrights, and the formation of the Siegfried Wagner Society in 1972, that his music was made available again, first in concert editions and more recently in full performances.
On his latest cpo CD Korstick dedicates himself to the Argentine composer Alberto Ginastera with great passion and virtuosity. This CD, released on the hundredth anniversary of Ginastera’s birth comprises of the composer’s complete published piano oeuvre – apart from his Piano Sonata No. 2.
New Chamber Music by Louise Farrenc
Following the release of her symphonies, our ambitious Louis Farrenc Edition continues with more chamber music by this French composer. Shortly after her first symphony (1841) she composed her first piano trio and performed it herself as the pianist together with two fellow musicians in Paris.
"…The accompaniments under conductor Otto Tausk couldn’t be more aptly judged, or more finely engineered. If you enjoy the orchestral Lieder of Mahler and Strauss, then this disc is a must." ~classicstoday 10/10
"A few years ago, the name of Johann David Heinichen came out of the blue as a wonderful surprise. Baroque music lovers around the world were amazed to discover an obscure composer who, in his best works, was second to none–easily comparable to Vivaldi in terms of originality, rhythmic exuberance, and boundless imagination. (…) The Fiori Musicali ensemble, on period instruments, plays with enthusiasm and poetic commitment. The virtuosity may not be as extreme as that of Concerto Köln, but each performance reaches a perfect balance between expressive ardor and precision–a quality mirrored by the accurate and natural sonics of the Radio Bremen engineers." ~classicstoday