ILLMORE MUSI - Gillmore Music

GILLMORE MUSIC 

SPECIALTY MUSIC PRODUCTS 

NEW RELEASE BOOK 

VOLUME four 

ISSUED 

May 21, 2008 

SUPRAPHON 

Tomas Netopil 

Suk: Symphony in E major 

Dvorak: Overture in Nature’s Realm 

SU 3941

ACCENT 

Solos for a German Flute 

ACC 24194 

CD 

(digipak) 

PC: 01Q 

Rec.date: 2007 

4 015023 241947 

Georg Frideric Handel: Solos in B minor, C major & E minor 

Charles Dieupart: Ouvertures in B minor & E minor 

Frank Theuns, transverse flute 

Les Buffardins 

______________________________________________________________________________ 

Within Handel’s chamber music output, the sonatas for transverse flute could appear 

insignificant in the light of to the only sonata which the composer seems to have conceived for the 

instrument from the beginning, the Sonata in B minor HWV 379. We have, nevertheless, six other 

sonatas for traversa (or “German flute”, which is the translation of the French phrase flûte 

d’Allemagne (flute of Germany) or flûte allemande (German flute)). They are all, however, 

reworkings of earlier pieces for other instruments (violin, oboe, recorder). These sonatas for 

transverse illustrate fully one of the techniques of composition dear to the musician from Saxony, 

the pastiche, which he used throughout the whole of his English career. By ceaselessly reusing 

and reworking material from this protean output, Handel himself showed the particular interest he 

had for it, and thereby its undeniable quality is emphasised still further. 

Frank Theuns studied recorder, modern flute, counterpoint and composition at the Royal 

Conservatory of Music in Brussels and baroque flute with Barthold Kuijken. He has been member 

of Europe’s most famous baroque orchestras: Anima Eterna, Le Concert des Nations, l’Orchestre 

de la Chapelle Royale, Les Talens Lyriques, La Petite Bande. Theuns is professor of baroque flute 

at the Royal Conservatory of Music in Brussels. 

Theuns solo-recordings for Accent include Sonatas by Blavet (ACC 23154), Boismortier (ACC 

24168), Montéclair (ACC 24163), and Hotteterre (ACC 21149).

new release information 

Cover art not 

available 

artist: Charles Owen, Piano 

title: Gabriel Fauré: The Complete Nocturnes 

price: Full 

release date: March 2008 

selection number: AV 2133 

bar code: 822252213324 

ISRC codes: GB-ELX-08-02596 to GB-ELX-08-02608 

about the release 

Gabriel Fauré's set of thirteen Nocturnes for solo piano contain some of the most 

beautiful and original pieces that the composer created. 

Their composition over half a century (1870 - 1921) charts the development 

of a highly personal voice beginning with the Chopinesque early works and 

culminating in the passionate outpourings of the final masterpieces. 

CHARLES OWEN began his musical studies at the Yehudi Menuhin School with Seta Tanyel and continued at the Royal 

College of Music under the guidance of Irina Zaritskaya. While at the college he won all the major piano prizes before 

completing his studies with Imogen Cooper. He received the Silver Medal at the Scottish International Piano Competition 

(1995) and was a finalist in the 1996 London Philharmonic/Pioneer Young Soloist of the Year competition. In 1997 he won 

the prestigious Parkhouse Award in partnership with violinist Katharine Gowers. 

Charles has performed in many of Britain’s leading concert halls including the Barbican, Queen Elizabeth Hall, Wigmore 

Hall and Symphony Hall, Birmingham. Internationally, he has appeared at the Lincoln Center and Carnegie/Weill Recital 

Hall in New York, the Brahmssaal in the Vienna Musikverein, the Paris Louvre, the St Petersburg Philharmonic and the 

Moscow Conservatoire. 

Charles has performed with celebrated orchestras including the Philharmonia, Royal Scottish National, English Symphony 

Orchestra, London Philharmonic, Lodz Filharmonia and the Moscow State Academic Symphony. He has also collaborated 

with many outstanding artists including violinists Antje Weithaas, Chloe Hanslip, Henning Kraggerud, Jack Liebeck, Renaud 

Capucon and Catherine Leonard as well as cellists Adrian Brendel, Natalie Clein, Guy Johnston, Paul Watkins and Tim 

Hugh. In addition, Charles has appeared in performances with the Wihan, Vertavo and Vogler quartets and the Haffner Wind 

Ensemble. 

As a solo recitalist and chamber musician he has played for numerous concert societies and established festivals in the UK 

and internationally including the Homecoming Festival in Moscow, Ireland’s West Cork Chamber Music Festival and the 

Vogler Spring Festival in County Sligo, the Perth International Music Festival in Western Australia, the Oxford Chamber 

Music Festival, the Elverum Festival in Norway, the Leicester International Festival, Sheffield’s Music in the Round, the 

Worcester Three Choirs Festival and festivals in Bath, Cheltenham, Chester and Harrogate. 

His first solo disc, featuring the piano music of Leos Janácek was listed as a “key” recording in The Penguin Good CD 

Guide. A highly acclaimed disc of works by Poulenc was selected as Editor’s Choice in the June 2004 edition of 

Gramophone and was subsequently nominated for a Classical Brit Award in 2005. An EMI Classics for Pleasure recording of 

cello and piano sonatas by Brahms and Schubert, with Natalie Clein, won a Classical Brit Award in 2005. His most recent 

recording, again with Natalie Clein, features works by Rachmaninov and Chopin. 

Charles Owen is a Professor at the Guildhall School of Music and Drama in London.

MAY 2008 

new release information NEW RELEASES 

artist: Marianne Beata Kielland, mezzo-soprano 

Christian Hilz, baritone 

Katia Bouscarrut, piano 

title: Schumann Lieder 

price: £ 8.49 

release date: 27 May 2008 


bar code: 822252213423 

ISRC codes: GB-ELX-07-02448 --- GB-ELX-07-02477 


Robert Schumann was a romantic par excellence. His life was 

nomadic, with longed-for fulfilment always elusively out of reach. 

For Schumann life, love and creative energy rolled themselves 

together in an unfolding drama, causing together with his long 

struggle with syphilis – moments of euphoria amidst constant anxiety and self-doubt. His wife and longest love 

Clara Wieck, though today a ‘moon in eclipse’, was during their lifetimes very much the celebrity of the pair. 

The three song cycles in this recital reveal Schumann’s deep sensitivity both to poetry heightened as sung 

melody, and to the piano, supplying its non-verbal accompaniment. It has always been a delicate balance for 

any composer: maintaining a piano party that is never banal or formulaic, yet not overwhelming. Schumann’s 

song-writing supports the voice, or more importantly the poetic gesture, with the native virtuosity of Carnaval 

or the Dävidsbundlertänze, but turned into the most exquisite commentary beneath the vocal line. 

On their debut recording for Avie records, German baritone Christian Hilz and Marianne Beate Kielland, 

accompanied by Katia Bouscarrut, deliver exquisite performances of some of Schumann’s most loved Lieder as 

well as some of the rarest on record. 

track list 

1 – 9 Lieder und Gesänge aus Wilhelm Meister, Op. 98a 

10 – 21 Liederkreis, Op. 39 

22 – 26 Gedichte der Königin Maria Stuart, Op. 135 

27 – 29 3 Duette 

MARKETED BY NEW NOTE 01322 616 050 – DISTRIBUTED BY PINNACLE 020 8309 3926

FEBRUARY 2008 

NEW RELEASE 

artist: Andreas Haefliger, piano 

title: Perspectives 3 

price: Two CDs for the price of one full price CD 

release date: February 2007 


bar code: 822252214826 

ISRC codes: disc 1 GB-ELX-07-02522 --- GB-ELX-07-02528 

disc 2 GB-ELX-07-02529 --- GB-ELX-07-02532 


Regarding the fourth release by Andreas Haefliger on Avie, the artist describes his recording 

philosophy: “In creative programming, I have always seen an opportunity for illuminating 

the individuality of works by placing them in tonal, dramatic and historic relief. Thus, 

through the sequence of a recital program, repertoire that has long been familiar to us is put 

into a new perspective.This series of Perspective CDs is a document of my concert activity and aims at bringing the recital experience to 

the living room.” 

critical acclaim 

“The idea of recording for CD piano-recital programmes designed for the concert hall is a good one, provided that the programmes make 

musical sense and that the spontaneity of live performance can be preserved. On both counts, Haefliger succeeds.” – Sunday Times 

“taste, imagination, no apparent technical limitations, and, very significantly, an ingrained respect for the composers 

he is bringing to life”- Fanfare 

track list 

CD 1 

Ludwig van Beethoven (1770 – 1827) 

Piano Sonata No. 15 in D major · D-Dur · ré majeur Op.28 ‘Pastoral’ (1801) 

[1] I Allegro 

[2] II Andante 

[3] III Scherzo: Allegro vivace 

[4] IV Rondo: Allegro ma non troppo - Più allegro quasi presto 

Piano Sonata No. 23 in F minor · f-moll ٠ fa mineur Op.57 ‘Appassionata’ (1807) 

[5] I Allegro assai - Piü allegro 

[6] II Andante con moto 

[7] III Allegro ma non troppo – Presto 

CD 2 

Franz Schubert (1797 – 1828) 

Piano Sonata No. 21 in B flat major · B-Dur · si bémol majeur D.960 (1828) 

[1] I Molto moderato 

[2] II Andante sostenuto 

[3] III Scherzo: Allegro vivace con delicatezza - Trio – Scherzo 

[4] IV Allegro ma non troppo – Presto 

also available: AV 0041 AV 2082 AV 0025

new release information 

March 2008 

artist: Imogen Cooper, Piano 

Northern Sinfonia 

title: Mozart Piano Concertos Nos. 24 & 25 

Fantasia K397 

price: £ 8.49 

release date: 31 March 2008 


bar code: 822252217520 

ISRC codes: GB-ELX-08-02610 to GB-ELX-08-02616 


Imogen Cooper and the Northern Sinfonia follow up their successful first 

volume on AVIE of Mozart Piano Concertos (Nos. 9 & 23 – AV 2100) with 

this new recording of two of Mozart’s masterpieces – Concertos Nos. 24 & 25. 

The Fantasia for solo piano K397 completes the disc. 

Recognized worldwide as a pianist of virtuosity and poetic poise, Imogen Cooper has established a reputation as one of the 

finest interpreters of the classical repertoire. 

Imogen Cooper has a widespread international career. She has appeared with the New York Philharmonic Orchestra and Sir 

Colin Davis and the Vienna Philharmonic Orchestra with Sir Simon Rattle. Other concerts have included the Leipzig 

Gewandhaus Orchestra, the Cincinnati Symphony Orchestra and a major tour with the Australian Chamber Orchestra. 

Elsewhere she has performed with the Dresden Staatskapelle, Royal Concertgebouw Orchestra and undertaken tours with the 

Camerata Salzburg and Orpheus Chamber Orchestras. She has played with all the major British orchestras including the 

Philharmonia with Christoph Eschenbach, the London Phiharmonic Orchestra with Mark Elder at the BBC Proms and the 

City of Birmingham Symphony and has given recitals in Paris, Vienna, New York, Washington, Philadelphia, San Francisco, 

Rotterdam, Prague and London. 

Imogen Cooper is a committed chamber music player and as a Lieder recitalist, she collaborates with Wolfgang Holzmair. 

They have worked together in a Mozart-Schubert-Mahler project with the Scottish Chamber Orchestra and have performed 

recitals in major venues such as Vienna, Paris, London and Frankfurt. Imogen frequently performs and records with the 

cellist Sonia Wieder-Atherton. She also performs with the Belcea Quartet. Her solo discography includes six CDs of the 

piano works of Schubert’s last six years and a CD box set entitled “Imogen Cooper and Friends” encompassing solo and 

chamber music as well as Lieder. 

Northern Sinfonia and its Music Director Thomas Zehetmair command a unique position in Europe. With repertoire 

spanning three centuries, from early baroque to the twentieth century and commissioned new work, the orchestra has won a 

reputation for giving committed and revelatory performances as if “the ink is still wet” on composers’ scores, its 

performances attracting consistent critical acclaim for their detailing and lucidity. 

The orchestra moved into its own spectacular Lord Foster designed home for music, The Sage Gateshead, on the banks of the 

River Tyne in northeast England, when the building opened in 2004. It is central to the extensive classical programme in The 

Sage Gateshead’s acoustically excellent halls. 

Northern Sinfonia appears at the world’s leading music venues, including recent visits to the Berlin Philharmonie, 

Concertgebouw Amsterdam, Vienna’s Musikverein, and visits to the world’s newest performing centres such as Casa da 

Música in Porto. The orchestra is also a regular visitor to major UK festivals such as the BBC Proms, the Edinburgh 

International Festival and Aldeburgh, and its concerts are regularly broadcast on BBC Radio 3.

CHRISTOPHORUS entrée 

Sigismondo d’India (c.1582-1629) 

Arie, Madrigali & Lamenti 

CHE 01342 

CD 

PC: 01C 

Rec-date: 2000 

4 010072 013422 

Arie: O del cielo d’amor; O che gradita; Sfere fermate – Canzonette: Tu mi lasci, o cruda, o bella; 

Pallidetta quai viola; Vaghe faville – Madrigali: Da l’onde del mio pianto; Intenerite voi; Lagrimate, 

occhi miei; “Mercè!” grido piangendo; E pur tu parti – Lamento di Olimpia – Canto di rosignolo – 

Lettera amorosa del Cavalier Marini – La Virtù (Prologo) – Piangono al pianger mio (Ottava) 

Giovanni Kapsberger (1580-1651): Preludio IV 

Alessandro Piccinni (1560-1638): Toccata IV & XI, Ciaccona 

Gudrun Anders, soprano 

Sigrun Richter, Arciliuto & Chitarrone – Hille Perl, Viola da gamba & Lirone 

Sigismondo d'India (c.1582-1629), an Italian nobleman and a contemporary of Monteverdi, wrote 

exclusively vocal music. A highly respected composer who travelled to all of Italy's important 

centres, he is thought to have come from Naples and been one of Carlo Gesualdo di Venosa's 

circle of musicians. Even today D'India's musical language seems astonishingly audacious with its 

chromatic idioms, unresolved dissonances and emotional interval leaps. 

This CD contains pieces from all of D'India's printed collections and offers a cross section of his 

works for solo voice with continuo: arias, canzonettas, madrigals, laments and a Lettera Amorosa, 

a musical love letter.

CHRISTOPHORUS entrée 

Ignaz Moscheles (1794-1870) 

Symphony in C major op. 81 

Piano Concerto No. 6 op. 90 

Overture to «The maiden of Orléans» op. 91 

Liu Xiao Ming, piano 

Brandenburgisches Staatsorchester Frankfurt 

Nikos Athinäos, direction 

CHE 01352 

CD 

PC: 01C 


4 010072 013521 

Ignaz Moscheles (1794-1870) was one of the leading piano virtuosos of the 19 th century. He 

performed works by himself and others, including improvisations and fantasies, and was also a 

concert organiser. Moscheles appears to have enjoyed a good relationship with his "competitors", 

many of whom were his friends. They even played music together: if only recordings had been 

invented when he performed with Hummel and Mendelssohn, and extemporised with Liszt or 

Chopin. 

Here the Brandenburgisches Staatsorchester Frankfurt presents Moscheles's Sixth Piano 

Concerto and his only two works without piano: the overture to Schiller's "Maid of Orleans" and his 

one symphony.

CHRISTOPHORUS 

Le Bal 

Gesellschaftstänze im Frühbarock 

Social Dances in the Early Baroque 

Works by : 

Michael Praetorius (1571-1621), Jacques Cordier (c.1580-1653), Étienne Nau (1596- 

1647), Jacques Mangeant (Ed.) & Anonymus 

Regina Kabis, soprano – Benoit Haller, tenor 

I Ciarlatani 

Klaus Winkler, direction 

The Art of the Dancing Masters 

CHR 77295 

CD 

PC: 01Q 


4 010072 772954 

In contrast with the familiar, well-researched ballets and dances of the High Baroque as 

exemplified at Versailles under Louis XIV, very little is known about social dances in France (and 

Europe) around 1600. There was no established style of dance step notation at this time and the 

dancing masters' own collections remain largely undiscovered. Unlike at Versailles, most dance 

music at court and in aristocratic circles was provided by small ensembles, with occasional singing 

by the dancers or violin playing by the dancing master. 

This wonderful collection of curiosities is the fruit of an extensive collaboration between I Ciarlatani 

and early dance expert Nicoline Winkler. It offers fascinating insights into the social dances of the 

Early Baroque and reveals astonishing musical variety – a veritable cornucopia, not only for 

aficionados of historical dance …

CHRISTOPHORUS 

Paulus 

Gregorianische Gesänge auf Texte des Apostel Paulus 

Gregorian Chants to texts by Paul the Apostle 

Frauenschola Exsulta Sion Freiburg 

Christoph Hönerlage, direction 

Happy Birthday, St. Paul! 

CHR 77299 

CD 

PC: 01Q 


4 010072 772992 

Paul the Apostle (originally known as Saul) was born 2,000 years ago. Although the exact year of 

his birth is not known, Pope Benedict will proclaim the Year of St. Paul on 28 June, the eve of the 

Feast of the Apostles Peter and Paul. Throughout the year people will be remembering St. Paul's 

life and his immensely important work: without him and without his tireless endeavours on his 

many journeys, Christianity would be far from what it is today. 

The Frauenschola Exsulta Sion Freiburg is marking the Year of St. Paul with Gregorian chants 

to texts by the Apostle. Many passages from Paul's Letters have entered the Catholic liturgy and 

were sung to Gregorian melodies in medieval times. St. Paul's theology is excitingly interpreted 

through the selection and compilation of the text passages and by the musical settings. An 

accompanying text by the Schola's director Christoph Hönerlage, a theologian as well as a 

church musician, provides a fascinating introduction to the Apostle's life and theology.

COVIELLO 

COV 20804 

SACD 

PC: 01S 


4 039956 208044 

„Stadtpfeifer, Waits, Ministriles, Piffari“ 

Instrumental Music of the 16th and 17th century 

William Dongois, cornett – Julian Behr, lute 

Capella de la Torre 

Katharina Bäuml, direction www.capella-de-la-torre.de 

________________________________________________________________________ 

During the Renaissance and early Baroque, the best-known instrumental ensembles in Europe 

consisted primarily of wind musicians. Composers such as Johann Herrmann Schein and Michael 

Praetorius often expressly called for the use of specific wind instruments. As musicians in the 

service of towns or courts, as waits, piffari, or ministriles, they not only had to entertain guests 

during dinner at festive events and accompany dancing; their instruments also resounded in 

churches, both to praise God and to demonstrate the power, pomp, and artistic sensibility of their 

employers. Capella de la Torre, which specializes in period wind instruments and has been highly 

acclaimed by critics for its previous recordings, embarks on a journey through Europe of early 

modern times. With cornett and trombone, shawm and dulcian, they recreate the sounds of the 

sixteenth and seventeenth century "Stadtpfeifer". 

ALSO AVAILABLE: 

COV 20714 Mater Matris Christi 

"… one of the most impressive recordings of vocal polyphony in recent years, and superbly recorded as 

well." (RBB Kulturradio, February 12, 2008) 

COV 20701 Music for Emperor Charles V 

"The quality of this debut CD is extraordinarily high. The group's level is without a doubt comparable with that 

of Jordi Savall's ensemble." (NDR Kultur, April 25, 2007)

COVIELLO 

Leoš Janáček (1854-1928) 

String Quartets No. 1 “The Kreutzer Sonata” & 

No. 2 “Intimate letters” 

Béla Bartók (1881-1945) 

String Quartet No. 4 

COV 50802 

CD 

PC: 01Q 


4 039956 508021 

BENNEWITZ QUARTET: 

Jirí Nemecek, Stepán Jezek, violin – Jirí Pinkas, viola – Stepán Dolezal, cello 

________________________________________________________________________ 

"You stand behind every note, you, living, forceful, loving ... Oh, it's a work as if carved out of living 

flesh. I think that I won't write a more profound and a truer one." The passionate lover's declaration 

of a 73-year-old. Leoš Janáček's second string quartet "Intimate Letters" can scarcely be 

surpassed in the profundity of its personal expressiveness. He composed his first string quartet a 

few years earlier and gave it the subtitle "The Kreutzer Sonata," after the novella by Leo Tolstoy. 

An emotional intensity is steadily built up during the four movements of the quartet. Parallels to the 

narrative of Tolstoy's tale, which ultimately ends in the catastrophic murder out of jealousy, are 

clearly recognizable. Critics also spoke of the "fiery glow of human emotions" in Béla Bartók's 

fourth string quartet. 

Soon after its establishment at the Academy of Performing Arts in Prague in 1998 Bennewitz 

Quartet acquired a wide reputation and quickly found its way among the most outstanding 

chamber music ensembles of Czech musical life. The work of the Quartet was honoured with 

various awards not only in the Czech Republic, but also in many places abroad. The ensemble 

regularly participates in various international music festivals and its reputation often attracts 

prestigious invitations to European venues.

COVIELLO 

Notturno 

German Romantic Folk Songs 

COV 50803 

CD 

PC: 01Q 


4 039956 508038 

Works by Albert, Brahms, Fincke, Gluck, Kreutzer, Mendelssohn, Schubert, 

Schumann, Schubert, Silcher, Weber, Werner, Woyna & Zöllner 

Ensemble Vokalzeit: 

Hans-Christian Braun, Joachim Vogt, tenor – Michael Timm, Oliver Gawlik, bass 

Horns of the Berlin Philharmonic Orchestra: 

Stefan de Leval Jezierski, Fergus McWilliam, Klaus Wallendorf & Sarah Willis 

________________________________________________________________________ 

E. T. A. Hoffmann affirmed it: Music is the most romantic of the arts – and the most romantic of all 

is the German lied. That is also the problem, however; it is often classified as bourgeois and 

kitschy, even suspected of having nationalistic undertones. All of these elements can be found, but 

the German lied tradition goes far beyond that. There is a great deal of valuable musical and 

literary material to be rediscovered in the works of Schubert, Schumann, Mendelssohn, 

Fallersleben, Heine, Eichendorff, and many other composers and poets of their day. 

Ensemble Vokalzeit, founded in October 2001 on the occasion of the 200th anniversary of Albert 

Lortzing's birth, is a well-established ensemble on the men's vocal scene known for its diverse 

repertoire encompassing many genres. The four professional singers from the Rundfunkchor Berlin 

are classically trained and have a special love for vocal chamber music and the repertoire of the 

Romantic German masters as well as unknown composers. On their current CD “Notturno” the 

ensemble frees romantic songs of sentimentality and false pathos. The four singers have found 

congenial partners in the Berlin Philharmonic Horn Quartet; a wealth of musical subtleties 

emerge in the sensitive interpretations of the small ensembles.

COVIELLO CLASSICS 

between the lines 

COV 60703 

SACD 

4 039956 607038 

Contemporary Works by Erkki-Sven Tüür, Gerhard Müller-Hornbach 

Andreas Sorg, Elliot Sharp, Patrik Bishay & Gary Kulesha 

BÄRMANN TRIO: 

Sven van der Kuip, clarinet / basset horn / bass clarinet 

Ulrich Büsing, bass clarinet & basset horn 

John Noel Attard, piano 

Felix Mendelssohn was a fan of this particular tone colour: a trio with two clarinets (or related 

instruments, such as the basset horn) and piano has its own aura of the mysterious with its deep 

resonances. With contemporary compositions – partly written under the ensembles own initiative – 

the Bärmann Trio has continued the fascinating Romantic tradition. The compositions go in 

different directions however. Impressions of Black Forest landscapes are the theme, architecture 

made audible, disappearing shadows, the- for almost all composers- compulsory discourse on 

Mozart, on the biblical Eve, even on philosophical mysteries. The works, written between 1980 and 

2005, once again demonstrate the aesthetic and contentual variety of composers today for the 

Coviello Contemporary label.

COVIELLO 

Christian Jost (b. 1963) 

Works for Orchestra 

COV 60716 

CD 

(digipak) 

PC: 01Q 

4 039956 607168 

CocoonSymphonie (Five Gateways of a Journey into the Interior) 

Astralis – one small step … – The End of the Game 

Stuttgarter Philharmoniker 

Gabriel Feltz, director 

________________________________________________________________________ 

Christian Jost, born in Trier in 1963, studied from 1983 to 1989 composition, analysis and 

conducting in Cologne and San Francisco. He has been awarded several grants, including from 

the Stiftung Kulturfonds des Deutschen Volkes (Cultural Foundation of the German People) and 

the Stiftung Kunst und Kultur des Landes Nordrhein Westfalen (Arts and Cultural Foundation of the 

Land North Rhine-Westphalia). 

In 1992 Jost attracted attention for the first time with “Magma“, a work commissioned by the 

orchestra of the State theatre in Darmstadt. During the 1999-2000 season Christian Jost was the 

first Composer in Residence of the Beethoven Hall in Bonn, for whose orchestra he composed 

“The End of Game“. In May 2003 Christian Jost received one of the renowned prices by the Ernst 

von Siemens Stifung and in 2003/04, he is composer in residence of the Staatskapelle Weimar 

which premiered his “CocoonSymphonie“ in December 2003. 

Recently, Jost has received commissions from renowned orchestras from all over the world. So he 

has recently composed the Concerto for Orchestra for the Radio Sinfonie-Orchester Stuttgart (April 

2007) and Heart of Darkness for the Berlin Philharmonic (November 2007).

COVIELLO 

Cornelius Schwehr (b. 1953) 

COV 60717 

CD 

PC: 01Q 

4 028183 039956 004529 607175 

À nous deux (for viola, piano & orchestra) – innen & außen 

(for percussion solo) – aus den kamalattanischen liedern 

(for accordion solo) – Wie bei Bogen und Leier (for woodwin trio) 

Teodoro Anzellotti, accordion – Christian Dierstein, percussion – 

Sven Thomas Kiebler, piano – Barbara Maurer, viola 

ensemble recherche 

Rundfunk-Sinfonieorchester Berlin 

Lothar Zagrosek, conductor 

______________________________________________________________________________ 

“This CD presents four works, which, within the scope of my work, could not be more 

diverse. In fact, very different things occupied me when writing these pieces. The bond 

with tradition for example, in the double concerto, then in the wind trio, the phenomenon of 

the perception of musical categories at certain thresholds, where they become blurred and 

blend into each other. Or the coherence of music and text in the accordion solo; and 

finally, the solo work for percussion, which squeezes its substance from the relation of 

tempo and metrical structure.” 

Here Cornelius Schwehr outlines the essence of his work in his own words – the ensemble 

recherche and the Rundfunk-Sinfonieorchester Berlin under Lothar Zagrosek have made 

Schwehr’s world of thought into a fascinating listening experience.

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NEW RELEASE NMC D134 

Joe Cutler: Bartlebooth 

(b1968) 

www.nmcrec.co.uk 

Artists: Robin Michael cello 

BBC Concert Orchestra 

Charles Hazlewood conductor 

Fidelio Trio 

Sarah Leonard soprano 

Andrew Sparling clarinet 

Stephen Gutman piano 

Orkest de Ereprijs 

Cat No.: NMC D134 

RRP: full-price 

Total Duration: 75’56 

Barcode: 5023363013420 

Release Date: 16 June 2008 

Buckley’s Hot Licks · Bartlebooth · Archie · In Praise of Dreams · Clavinova Music · 

Music for Cello and Strings · Sal’s Sax 

� Joe Cutler was winner of the 2005 SCO/SWCO International Composers Competition and was awarded 2nd Prize 

in the 2000 Toru Takemitsu Award. 

� Joe Cutler has written pieces for artists from the London Sinfonietta to Icebreaker. 

� Featuring one of Britain’s most respected and versatile sopranos, Sarah Leonard, who has worked for many years 

with the Hilliard Ensemble singing works by Arvo Pärt and Michael Nyman, appearing on many CD’s and film 

soundtracks. 

Joe Cutler demonstrates his multi-faceted style of composition in this first collection of his works on NMC. His music is 

influenced by the minimalist music of Louis Andriessen, the driving energy of Igor Stravinsky and his love for complex 

rhythms and jazz. 

Joe uses unconventional direction in his score to conjure up the mood he want for his composition. The laid-back melismatic 

solos in Archie are directed to be played 'grundgily' [sic] and for Sal’s Sax the wild, rhythmic passages are marked as “really 

pumping” along with a carefully chosen Jack Kerouac quote: 'I like my whiskey wild, I like Saturday night in the shack to be 

crazy … I like to be gassed by a back alley music’. 

NMC D108: OPERA ‘new works for violin and piano’ (feat. Cutler’s ‘re(GAIA)’) 

‘Of the six young British composers sampled here, Joe Cutler dispenses with the piano for a hard-edged fantasy which embraces virtuosity with the freedom of 

composers as disparate as Pärt and Zimmermann’ THE STRAD 

NMC D078: State of the Nation (feat. Cutler’s ‘Without fear of vertigo’) 

THE GUARDIAN CLASSICAL CD OF THE WEEK, 2002 

NMC D080: Bright Future (feat. Cutler’s ‘Jiggadybox’) 

‘Committed playing throughout by the Schubert Ensemble ... those who’ve already acquired the earlier volume need not hesitate: an ideal starting-point to 

experience the rewards of Chamber Music 2000’ GRAMOPHONE 

TEL: +44 (0)20 7403 9445 FAX: +44 (0)20 7403 9446 EMAIL: eleanor@nmcrec.co.uk

NEW RELEASE NMC D146 

Edward Rushton: The Shops 

(b1972) 

The Shops - a comic opera (libretto by Dagny Gioulami) 

www.nmcrec.co.uk 

Artists: The Opera Group 

Patrick Bailey conductor 

Darren Abrahams tenor 

Anna Dennis soprano 

Phyllis Cannan contralto 

Richard Burkhard baritone 

Louise Mott mezzo-soprano 

Paul Reeves bass 

Cat No.: NMC D146 

RRP: full-price 

Total Duration: 71’13 

Barcode: 5023363014625 

Release Date: 16 June 2008 

Recorded with funding from the Peter Moores Foundation 

� Edward Rushton and Dagny Gioulami are rapidly becoming one of Europe’s leading composer-writer 

partnerships. In 2004, they re-worked stories from The Odyssey for The Opera Group’s Birds.Barks.Bones which won 

the Best Stagework Award at the British Composer Awards. 

� This disc was recorded live at the highly acclaimed performances at the Linbury Theatre of the Royal Opera House, 

London in September 2007 in co-production with BBC Radio 3. 

� Scored for an unusual ensemble of ten instruments, five of them clarinets. 

Edward Rushton’s new opera, The Shops is described as ‘part satire on rampant consumerism, part psychological thriller’. 

Its central character, Christoph Schmalhans, is an obsessive stamp collector. He manages to steal prize examples from 

museums with the aid of his girlfriend Francesca, who distracts attention by causing scenes. His activities eventually attract 

the interest of the police and psychologists. In between, there is a running commentary on the phenomenon of shopaholics, 

along with a song-and-dance number from members of a mutual support group. 

© Alastair Muir 

Review quotes from the performances: 

‘Darren Abrahams as the driven Christoph and Anna Dennis as his grasping girlfriend 

are outstanding, and so too are Phyllis Cannan, Richard Burkhard, Louise Mott and 

Paul Reeves in a gallery of cameo roles’ THE GUARDIAN 

‘It makes a welcome change for a contemporary opera to aim to push our comic rather 

than tragic buttons. There’s a winsome charm to Rushton’s colourful score (it helps that he 

has five different sorts of clarinet at his disposal) and Gioulami’s snappy and very singable 

libretto is expertly delivered by a dextrous cast. A lemon sorbet of an opera’ THE TIMES 

‘Edward Rushton’s latest opera: a breezy, fluent chamber work in 30 snappy scenes’ 

THE GUARDIAN 

TEL: +44 (0)20 7403 9445 FAX: +44 (0)20 7403 9446 EMAIL: eleanor@nmcrec.co.uk

NEWS SEPTEMBER 2007/1 

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1SACD · PG: XSA1 

OC 710 

1 CD · PG: NE1 

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4 2 6 0 0 3 4 8 6 7 1 0 9 

Anton Bruckner 

Symphony No. 3 (first version 1873) 

Philharmoniker Hamburg 

Simone Young, conductor 

Ich bin eher eine Freundin von Live-Erlebnissen und glaube nicht so recht an 

Studioaufnahmen“ sagt Simone Young im Interview mit der Zeitschrift Park 

Avenue. „Unsere CDs werden deshalb Mitschnitte von Konzerten sein. Mit den 

Hamburger Philharmonikern hat sich gezeigt: Das ist ein Orchester, mit dem 

ich etwas zu sagen habe.“ 

Die Presse reagierte mit enthusiastischen Besprechungen auf den CD-Erstling 

aus Hamburg (Bruckners 2. Sinfonie, Urfassung 1872): „Analytischer als ihr 

Vorbild Daniel Barenboim, aber auch impulsiver als der unvergessene Günter 

Wand, erweckt Simone Young den frühen Bruckner zu orchestralem Leben.” 

(KulturSPIEGEL) 

Nach dem fulminanten Erfolg des Erstlings folgt nun Vol. 2 mit der dritten 

Sinfonie, ebenfalls in ihrer Urfassung (1873), ebenfalls als Live-Einspielung in 

der unverwechselbaren Akustik der Hamburger Musikhalle. 

Iam more a friend of live performances and don’t believe that much in studio 

recordings,” commented Simone Young in an interview with Park Avenue 

magazine. “Our CDs are therefore recordings of live concerts. This was demonstrated 

with the Hamburg Philharmonic: that is an orchestra with which I can 

make a statement.” 

The press reacted with enthusiastic reviews of the first CD out of Hamburg 

(Bruckner’s Second Symphony, Original Version of 1872): “More analytical than 

her role-model Daniel Barenboim, but more impulsive than the unforgettable 

Günter Wand, Simone Young awakes the works of Bruckner’s early years to 

orchestral life.” (KulturSPIEGEL) 

Now, following the fulminate success of the first CD comes Volume 2 with 

the Third Symphony as a live recording, also in its original version (1873), with 

the unmistakable acoustics of the Hamburger Musikhalle. 

Johann Adolph Hasse 

Opera for Lute · Baroque Opera Arias transcribed for Lute 

from Ezio, Leucippo, Solimano, Ciro riconosciuto, Artemisia and Eroe cinese 

Suonata III in Fa maggiore 

Axel Wolf, lute 

Im Booklet der CD schreibt Sir Peter Jonas, bis 2006 Intendant der Bayerischen 

Staatsoper und Spiritus Rektor der Barock-Ära am Münchner Nationaltheater: 

„Auf dieser einmaligen CD hat Axel Wolf Opernarien von Johann Adolf Hasse 

aufgenommen, der nach der Wiederentdeckung von Händel, Monteverdi und 

Cavalli endlich die Bewunderung erfährt, die ihm gebührt“. 

Der in Bergedorf bei Hamburg geborene Hasse war nach Engagements in 

Braunschweig und Neapel über 30 Jahre am kursächsischen Hof in Dresden 

angestellt. Aus dieser Zeit datiert ein Manuskript unbekannter Hand, das 

Arien damals populärer Hasse-Opern auf die Laute transponiert. Damit folgt 

der Arrangeur der Mode der Zeit, die „Hits“ der zeitgenössischen Oper in 

kammermusikalischem oder privatem Rahmen zum Erklingen zu bringen. Axel 

Wolf ist regelmäßiger Gast an der Bayerischen Staatsoper und konzertiert als 

Solist wie auch mit Ensembles wie der Musica Fiata (Köln), dem Freiburger 

Barockorchester, dem Orchestra of the Age of Enlightenment und dem Gabrieli 

Consort & Players London. 

In the booklet for this CD, Sir Peter Jonas – Director of the Bayerische 

Staatsoper and inspirational headmaster of the Baroque era at the Münchner 

Nationaltheater: “In this unique CD, Axel Wolf records opera arias from Johann 

Adolf Hasse who, following the rediscovery of Handel, Monteverdi and Cavalli, 

is finally receiving the recognition he deserves.” 

Hasse, born in Bergedorf near Hamburg, was employed at the court of the 

Electoral Saxonian in Dresden for over thirty years following engagements in 

Braunschweig and Naples. A manuscript from an unknown hand dated to that 

era transposed the arias of Hasse’s operas, which were popular at the time, for 

the lute. Thereby the arranger kept with the fashion of the time by arranging the 

piece for chamber music and private performances. Axel Wolf is a regular guest 

at the Bayerische Staatsoper and performs as a soloist in concert as well as with 

ensembles such as the Musica Fiata (Cologne), the Freiburger Barockorchester, 

the Orchestra of the Age of Enlightenment and the Gabrieli Consort & Players

NEWS SEPTEMBER 2007/2 

OC 704 


OC 807 

2 CDs · PG: XB2 

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4 2 6 0 0 3 4 8 6 8 0 7 6 

Messiaen · Beethoven: Works for Piano Duo 

Olivier Messiaen: Visions de l’Amen for two pianos (1934) 

Ludwig van Beethoven: Große Fuge (Great Fugue) for piano two hands op. 134 

Duo d’Accord: Lucia Huang · Sebastian Euler 

Auf seiner neuen CD präsentiert das Duo d’Accord aufs Neue musikalische 

Raritäten: neben Messiaens spirituell motivierte Visions de l’Amen stellt es 

Beethovens rätselhaftes kontrapunktisches Meisterwerk, die Große Fuge, in 

Beethovens eigener Bearbeitung für Klavier zu vier Händen. Das Manuskript 

der Großen Fuge in der Fassung für Klavier vierhändig wurde erst im Jahr 2005 

entdeckt. Beethovens Verleger hatte es 1827 unter der Opuszahl 134 veröffentlicht. 

Ursprünglich war das Werk als Schlusssatz für das Streichquartett B-Dur 

op. 130 komponiert, und es wurde auch in dieser Form vom Schuppanzigh- 

Quartett uraufgeführt, doch der Verleger Mathias Artaria schlug Beethoven vor, 

das Werk auszukoppeln (veröffentlicht als op. 133) und anstelle dessen einen 

neuen Finalsatz zu komponieren. Beethoven ging hierauf ein, ebenso auf den 

Vorschlag, eine Klavier-vierhändig-Fassung herzustellen. 

In its new CD, the Duo d’Accord once again presents musical rarities: 

Messiaen’s spiritually motivated Visions de l’Amen appear next to Beethoven’s 

mysterious counterpoint masterpiece, the Great Fugue, in Beethoven’s own 

piano version for four hands. The manuscript of the Great Fugue in the fourhanded 

piano version was rediscovered in 2005. Beethoven’s publisher released 

it in 1827 as Nr. 134 of his opus. Originally, the work was composed as the closing 

movement of his String Quartet in B flat major op. 130, and was premiered in this 

form by the Schuppanzigh Quartet; but the publisher Mathias Artaria suggested 

to lift it as a single from the piece (published as op. 133) and to compose another 

closing movement. Beethoven followed this suggestion, as well as the recommendation 

to arrange a four-handed version for the piano. 

Engelbert Humperdinck 

Sämtliche Lieder für Singstimme und Klavier 

(Weihnachtslieder, Frühe und späte Lieder, Kinderlieder, etc.) 

Complete Songs for Voice and Piano 

(Christmas Songs, Early and Late Songs, Childrens’ Songs, and others) 

Sibylla Rubens, soprano · Christine Müller, mezzosoprano 

Thomas Bauer, baritone · Andreas Weller, Tenor 

Chia Chou, piano · Uta Hielscher, piano 

Engelbert Humperdincks Märchenoper Hänsel und Gretel gehört zu den 

Hits der Opernspielpläne, die Oper Königskinder ist wenigstens hin und 

wieder zu hören. Das übrige Vokalwerk Humperdincks fristet dagegen 

ein Nischendasein. Diese Doppel-CD umfasst das gesamte Œuvre für 

Singstimme und Klavier. Dazu zählen Weihnachtslieder genauso wie Lieder auf 

bekannte Kinderreime sowie Lieder nach lyrischen Texten von Dichtern aus 

Humperdincks Umfeld. Gerade die frühen Lieder bis ca. 1890 zeigen die große 

Wagner-Verehrung des Komponisten, der in Köln bei Hiller und in München bei 

Lachner und Rheinberger studiert hatte. Die Annäherung an die Stilistik des 

Volksliedes mit seiner schlichten Diktion erklärt die große Popularität vieler 

Lieder auch in zeitgenössischen Bearbeitungen für Männerchor, Orchester und 

Kammerensembles. 

Die vorliegende Einspielung basiert auf einer wissenschaftlichen Neuausgabe, 

die von der Musikwerkstatt Engelbert Humperdinck Siegburg erarbeitet 

wurde. 

Engelbert Humperdinck’s fairy-tale opera Hansel and Gretel is one of the hits 

of the operatic repertoire, the opera The King’s Children can at least be heard 

now and again. The rest of Humperdinck’s vocal works however enjoy a 

niche market. This double-CD set includes the complete oeuvre for a singing 

voice and the piano. This includes numerous Christmas songs, songs based on 

children’s rhymes and songs based on lyrical texts from poets in Humperdinck’s 

vicinity. It is the early songs, until ca. 1890, that demonstrate the great admiration 

of the composer for Richard Wagner, who studied under Hiller in Cologne 

and under Lachner and Rheinberger in Munich. The convergence with the style 

of the folk song and its unostentatious diction explains the great popularity of 

many of the songs, which also appear as adaptations for choirs, orchestras and 

chamber ensembles. 

The present recording is based on a new musicological edition that was

NEWS NOVEMBER 2007/1 

OC 706 

1CD · PG: NE1 

OC 914 

1 CD · PG: XB1 

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4 2 6 0 0 3 4 8 6 9 1 4 1 

Johann Sebastian Bach 

Piano Transcriptions 

by Ferruccio Busoni, Sergei Rachmaninov, Myra Hess and Wilhelm Kempf 

Bernd Glemser, piano 

Klavierbearbeitungen von Werken Bachs haben sich seit dem 19. Jahrhundert 

fast schon zu einem eigenen Genre entwickelt. Meist sind es Persönlichkeiten 

mit musikalischer Doppelbegabung, Pianisten, die auch ein beachtliches 

kompositorisches Werk vorweisen, oder, wie im Falle Sergej Rachmaninovs, 

Klaviervirtuosen, die der Nachwelt vor allem als Komponisten im 

Gedächtnis sind. Immer aber verraten die Transkriptionen auch etwas über den 

persönlichen Zugang des Autors zu J.S. Bach. Auf seiner neuen CD stellt Bernd 

Glemser nicht nur einige der berühmten Bearbeitungen von Ferruccio Busoni 

vor (das Programm beginnt mit der d-Moll-Chaconne, die als Standardwerk im 

virtuosen Klavierrepertoire bezeichnet werden kann), sondern auch selten zu 

hörende Stücke von Sergej Rachmaninov, Myra Hess und Wilhelm Kempff. 

Since the 19 th century, piano arrangements of Bach’s works have almost 

become an independent genre. Primarily responsible for this have been 

musical personalities with many talents: pianists with a considerable oeuvre 

of compositions or – in the case of Sergei Rachmaninoff – piano virtuosos 

who have primarily been perceived by later generations as composers. But 

transcriptions always reveal something about their author’s personal relationship 

to J.S. Bach. On his new CD, Bernd Glemser presents not only some of the most 

famous Bach arrangements by Ferruccio Busoni (the recording begins with the 

Chaconne in D Minor, which can practically be called a standard work of the 

virtuoso piano repertoire), but also seldom heard pieces by Sergei Rachmaninoff, 

Myra Hess and Wilhelm Kempff. 

Johann Sebastian Bach 

Der Streit zwischen Phoebus und Pan 

The Contest between Phoebus and Pan 

Dramma per Musica (Cantata BWV 201) 

Münchener Bach-Chor · Bach-Collegium München 

Hansjörg Albrecht, conductor 

Wenn Bach eine Oper geschrieben hätte… Bachs weltliche Kantaten leben 

unmittelbar aus dem musikdramatischen Talent des Meisters der barocken 

Polyphonie. Ein Talent, das ja u.a. auch in seinen Oratorien prägend ist 

und unter Zeitgenossen, die das Spiel mit dramatischen Zuspitzungen im 

sakralen Raum nicht erwarteten, für Verwirrung sorgte. Seine weltlichen Kantaten 

betitelte er oftmals - wie im Falle der Kantate BWV 201 – sogar als „Dramma 

per musica“. Wenn Bach eine Oper geschrieben hätte… Dieser Gedanke inspirierte 

Hansjörg Albrecht dazu, die Kantate BWV 201 „Der Wettstreit zwischen 

Phoebus und Pan“ zu einer kleinen Oper auszubauen, indem er Ouvertüre, 

Eingangs- und Schlusschor aus anderen Werken Bachs integrierte und so einen 

musikdramatischen Ablauf herstellte, der einem barocken höfischen Opernabend 

angemessen sein könnte. 

Der Münchener Bach-Chor, 1954 von Karl Richter gegründet, steht seit der 

Saison 2005/2006 unter der Leitung von Hansjörg Albrecht, der dem Chor in 

kurzer Zeit ein neues künstlerisches Profil verliehen hat. 

If Bach had written an opera… Bach’s secular cantatas live and breathe due 

to the musical-dramatic talent of the baroque master’s polyphony. A talent that 

also distinguishes his oratorios and that confused not a few of his contemporaries, 

who did not expect such intense dramatic action in the context of sacred 

spaces. He often titled his secular cantatas – as in the case of BWV 201 – “Dramma 

per musica”. If Bach had written an opera… This thought inspired Hansjörg 

Albrecht to develop Cantata BWV 201, “Der Wettstreit zwischen Phoebus und 

Pan”, into a mini-opera. He added an overture as well as beginning and final 

choruses from other Bach works to create a musical-dramatic work that would 

have been appropriate for an evening’s entertainment at any baroque court. 

Founded in 1954 by Karl Richter, the Münchener Bach-Chor has been directed 

since the 2005/2006 season by Hansjörg Albrecht, who has given the choir a new 

artistic profile within a very short time.

NEWS MARCH 2008/2 

�erbert �chuch 

The new CD that follows his sensational debut 

OC 593 


Franz Schubert 

Piano Sonatas D 537 · D 894 

4 2 6 0 0 3 4 8 6 5 9 3 8 

Helmut Lachenmann 

Five Variations on a Theme by Franz Schubert · Guero 

Herbert Schuch, piano 

or the second CD ardently desired by listeners after his 

brilliant 2006 debut, pianist Herbert Schuch thought up 

something which couldn’t be more original: Franz Schubert’s 

Piano Sonatas D 894 and 537 meet two works of 

important contemporary composer Helmut Lachenmann, 

who celebrated his 70th �or 

bri 

birthday two years ago. After all, 

Lachenmann’s Five Variations on a Theme by Franz Schubert 

(composed in 1956 and based on the German Dance in 

C-Sharp Minor D 643/1 from 1819) did nothing less than 

manifest the great significance of Schubert for contemporary 

music. As Lachenmann explains, this early work was 

primarily influenced by Arnold Schoenberg and the late 

works of Igor Stravinsky, although the dance-like character 

of Schubert’s original remains intact – “even if continually 

rephrased”. In contrast, the piano in Lachenmann’s Guero 

from 1970 becomes a percussion and plucked string instrument 

which even integrates the keys and tuning pegs. All of 

these effects are used in a highly artistic manner, however; as 

with Schubert, none are simply there for their own sake. 

Bereits erschienen · Also available 

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2 6 0 0 3 4 8 6 5 9 6 9 

Maurice Ravel: Miroirs 

Robert Schumann: Kreisleriana 

Herbert Schuch, piano 

1 CD · OC 541 

“Verve and brilliance from a young prize-winner in a magnificent 

debut.” The Gramophone, Editor’s Choice 

„Schuch seems a natural-born Schumann player and joins Horowitz, 

Lupu, Perahia, Pommier, Uchida, and a few others. Yes, he‘s that good. 

The engineers have supplied a sumptuous feast of sound for a pianist 

making his glorious recorded debut. My daughter was smitten with his 

handsome looks, I with his fantastic playing.“ 

American Record Guide 

„A stunning recital debut devoted to Schumann‘s Kreisleriana and 

Ravel‘s Miroirs. Schuch‘s interpretations easily match - and often surpass 

- the catalog‘s finest versions... An awe-inspiring release, not to be 

missed.“ classicstoday.com – 10/10 rating 

Alexander Zemlinsky: Serenade 

Franz Schubert: Fantasie D 934 

Johannes Brahms: Sonata op. 108 

Mirijam Contzen, violin · Herbert Schuch, piano 

1 CD · OC 596 

© Jürgen Olczyk

NEWS JANUARY 2008/1 

�ichael �orstick 

OC 617 


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Ludwig van Beethoven 

Piano Sonatas Vol. 4: 

Sonatas Nos. 5–7, op. 10/1–3 · Sonata No. 8 op. 13 “Pathétique“ 

Michael Korstick, piano 

�o longer an insider’s tip, Michael Korstick’s Beethoven 

cycle received euphoric reviews right from the start. 

Korstick’s approach, which combines uncompromising 

faithfulness to the printed text with temperament 

and pianistic brilliance, inspires, polarizes and sets 

standards. 

On Volume �, Michael Korstick performs the 

three sonatas from opus ��, which represent the classical 

sonata at its highest level, as well as the Sonata 

opus ��, the “Grande Sonate Pathétique”, which 

marked a breakthrough in Beethoven’s philosophy 

and a change of direction toward the romantic era. 

Michael Korstick has received the following Awards 

�� 

Deutscher Schallplattenpreis · Empfehlung Bayern 4 Klassik · Pizzicato Exellentia 

�� 

Deutscher Schallplattenpreis · Stern des Monats, Fono Forum · Empfehlung Bayern 4 Klassik 


4 2 6 0 0 3 4 8 6 5 3 2 7 

4 2 6 0 0 3 4 8 6 6 1 5 7 

4 2 6 0 0 3 4 8 6 6 1 6 4 


Piano Sonatas Vol. 1: Diabelli Variations op. 120 

Haydn Variations Hob XVII,6 

1 CD · OC 532 


Piano Sonatas Vol. 2: Sonatas op. 2 Nos. 1–3 

1 SACD · OC 615 


Piano Sonatas Vol. 3: Sonatas op. 7, op. 14/1, 

op. 14/2, op. 26 

1 SACD · OC 616 

“One of the most interesting Beethoven interpreters of our time.” 

Welt am Sonntag 

“Exciting, wonderfully internalized and surprising elucidations…” 

DIE ZEIT 

“No question: one of the most interesting Beethoven cycles in 

years is coming along here!” Wirtschaftswoche

NEWS FEBRUARY 2008/1 

�ascal �ogé 

continues his sensational Gershwin-Ravel cycle 

OC 623 

1 SACD · PG: XSA1 

George Gershwin 

An American in Paris · Rhapsody in Blue 

Maurice Ravel 

Concerto pour la main gauche 

RSO Wien · Bertrand de Billy, conductor 

Pascal Rogé, piano 

4 2 6 0 0 3 4 8 6 6 2 3 2 

�he press gave the highest possible accolade to the 

recording of Gershwin’s Concerto in F and Ravel’s 

G major Piano Concerto (OC 601). Pascal Rogé now 

continues his pairing of Gershwin and Ravel. A 

French sense of sound and an authentic feeling for 

the jazz rhythms of this music predestine Pascal Rogé 

for this repertoire. 

Pascal Rogé’s recordings of French piano repertoire 

have been awarded the Gramophone Award, the 

Grand Prix du Disque and the Edison Award. Besides 

the classic-romantic repertoire of the Viennese and 

German School, he also focusses on French music 

from the �� th century. 


4 2 6 0 0 3 4 8 6 6 0 1 0 

George Gershwin: Concerto in F 

Maurice Ravel: Concerto in G major 

RSO Wien · Betrand de Billy 

Pascal Rogé, piano 

1 CD · OC 601 

“Few new discs that have come my way this year have been 

totally irresistible but Pascal Rogé’s pairing of the Gershwin 

and Ravel G major concertos has the wow factor.” 

Jeremy Nicolas in “The Gramophone” 

Critic’s Choice – Disc of the Year �� 

“Here’s a disc whose breathtaking sonic detail and attractive, 

roomy ambience make a cogent case for investing in SACD 

surround-sound hardware. (…) Regarding the performance, 

pianist Pascal Rogé here surpasses his early-��s Ravel 

Concerto recording under Charles Dutoit.” 

www.classicstoday.com 

“Nobody does it better” – Performance: ***** Sound: ***** 

BBC Music Magazine 

© Mary Robert


�eborah �olaski 

OC 626 


4 2 6 0 0 3 4 8 6 6 2 6 3 

Richard Wagner 

Tristan und Isolde: The Duet Scenes 

Deborah Polaski, soprano · Johan Botha, tenor 

Vienna Radio Symphony Orchestra · Betrand de Billy, conductor 

�his SACD includes all duets from Tristan und Isolde. It 

complements the solo recording with highlights from 

the opera with Deborah Polaski as Isolde (OC ��). 

Both SACDs together contain almost the entire 

Isolde-role. Polaski has sung this role in opera houses 

such as Dresden, Berlin, Salzburg, Vienna, Hamburg 

and Barcelona, and is accompanied here by conductor 

Bertrand de Billy. Johan Botha’s artistic home is in 

Vienna, where he has sung all important roles in his 

repertoire. In ��, he was awarded the title Austrian 

Singer of Merit. Botha appears regularly at the New 

York MET, the Berlin State Opera, Covent Garden 

London and at the Salzburg Festival. Bertrand de 

Billy was principle conductor at the rebuilt Teatro del 

Liceu in Barcelona from 1999 to 2004. His triumphs 

here included a Mozart cycle as well as a new production 

of Wagner’s Ring des Nibelungen (Harry Kupfer) 

and Tristan und Isolde. 


4 2 6 0 0 3 4 8 6 6 0 2 7 

Richard Wagner 

Tristan und Isolde – Highlights 

Deborah Polaski, soprano · Heidi Brunner, soprano 

RSO Wien, Bertrand de Billy, conductor 

1 SACD · OC 602 

“The soloists on this recording convince with their always beautiful 

and round timbre as well as the highly sensitive soft passages. 

Anyone who has experienced Deborah Polaski singing Isolde live 

knows her extraordinary stage presence.” 

www.klassik-heute.com 

“Bertrand de Billy demonstrates that in the end, consistent 

and precise structuring of the score can result in an ecstatic 

musical experience that has a fascinating depth and intensity.” 

RONDO


�hristoph �oppen 

fi rst principle conductor of the Deutsche Radio Philharmonie 

OC 709 

3 CDs · PG: NE3 

4 2 6 0 0 3 4 8 6 7 0 9 3 

Felix Mendelssohn Bartholdy 

Symphonies Nos. 1–5 

Deutsche Radio Philharmonie Saarbrücken Kaiserslautern 

Christoph Poppen, conductor 

Chor des Bayerischen Rundfunks 

Sybilla Rubens 

Claudia Mahnke 

Christoph Prégardien 

�n 2007, the first CD of the Deutsche Radio Philharmonie 

under conductor Stanislaw Skrowaczewski was 

released. Now, the eagerly awaited first CD under 

the ensemble’s new principle conductor Christoph 

Poppen follows (the young orchestra unites the RSO 

Saarbrücken and the SWR RSO Kaiserslautern). 

Three CDs present the five symphonies of the composer 

once named by Schumann as “the Mozart of 

the 19 th century”: Felix Mendelssohn Bartholdy. 

While Symphony No. 1, which Mendelssohn com- 

posed in 1824 at the age of fifteen, is still firmly in 

the Viennese Classic style, Symphony No. 2 (“Hymn of 

Praise”) begins where Beethoven’s Ninth left off: texts 

from Luther’s translation of the Old Testament are set 

to music in a cantata-like manner. In the final movement 

of Symphony No. 5 (“Reformation Symphony”), 

the Luther chorale A mighty fortress is our God is 

heard. The famous Symphonies No. 3 (“Scottish”) and 4 

(“Italian”) are full of impressions of foreign lands. 

© Klaus Rudolph

NEWS APRIL 2008/3 

�lemens �erg 

Piano debut with an extraordinary programme 

OC 721 


OehmsClassics – Debüt 

Fréderic Chopin: Ballade F-minor op. 52, 

Deux Nocturnes op. 48 

Alban Berg: Sonate B-minor op. 1 

Anton Webern: Variations op. 27 

Manfred Trojahn: No. 5 “Rêverie” & 

No. 6 “Tel un souper dans le vent” from 

“Douze Préludes pour Piano” 

Alberto Ginastera: Piano Sonata No. 2 op. 53 

Clemens Berg, piano 

4 2 6 0 0 3 4 8 6 7 2 1 5 

Kulturkreis der 

deutschen Wirtschaft 

im BDI e.V. 

AVAILABLE APRIL 10 

�everal musicians whom we have presented in the 

series “OehmsClassics Debut” as an insider tip have, 

in the meantime, established themselves at the top of 

their disciplines, e.g. the piano duet Duo d’Accord or 

the pianist Herbert Schuch. 

Here now another new name which should be 

noted: Clemens Berg, born in �� in Rostock. 

He can already look back on remarkable concert 

activity, in, amongst other places, the Konzerthaus 

Berlin at the “Masters of the Classics – Mozart and 

Beethoven”, at the musical festivals of Mecklenburg 

West-Pomeranian and the Usedom Music festival. In 

��, he won the piano competition of the Cultural 

Circle of German Commerce in the BDI.

� ans 


v. Bülow, Clemens Krauss and Bruno Walter er as composers: 

Petra Lang and Michael Volle perform songs by great conductors. 

OC 808 


4 2 6 0 0 3 4 8 6 8 0 8 3 

Songs by Great Conductors 

Songs by Hans von Bülow, Bruno Walter & Clemens Krauss 

Michael Volle, baritone · Petra Lang, soprano 

Adrian Baianu, piano 

ongs by great conductors – Gustav Mahler is probably 

the first name that springs to mind. However, an 

array of other conductors whose compositions have 

on the whole remained unknown also wrote works 

for voice and piano which are well worth listening to, 

including Mahler’s contemporary Hans von Bülow 

as well as representatives of the following generation 

such as Clemens Krauss and Bruno Walter. This CD 

is dedicated to them, and the value of this recording 

is all the greater as this programme of rarities is 

interpreted by first-class singers, i.e. by Petra Lang 

(mezzo-soprano) and Michael Volle (baritone). 

The song settings reflect not only a time of musical 

change, but also a transformation of literary style. 

Thus Hans von Bülow chose texts by Goethe, Grimm 

etc., Bruno Walter wrote song cycles on works by 

Heine and Eichendorff, and finally Clemens Krauss 

composed his Eight Songs on texts by Rilke. 

© Anne Kir Kirchbach © Ann Weitz


orpheus chor münchen 

OC 809 


4 2 6 0 0 3 4 8 6 8 0 9 0 

Franz Lachner 

Geistliche Chorwerke · Sacred Choral Works 

orpheus chor münchen · Gerd Guglhör, conductor 

Priska Eser · Lisa Rothländer · Iris Julien 

Andrea Görgner · Felix Rienth · Benedikt Göbel 

�he orpheus chor münchen, under the direction of its 

conductor Gerd Guglhör, already earned laurels with 

its recording of the complete choral works of Heinrich 

Kaminski. On its new CD, the choir presents works 

of a further composer whose life is closely bound with 

the Bavarian capital: from ��, Franz Lachner led the 

royal court chapel, and thus, the Munich opera and 

court concerts. In ��, he was made an honorary 

citizen of that city. Before the era of Richard Wagner, 

Lachner brought the court orchestra to a level that 

had never been reached before, and after Wagner left 

Munich, he returned again to lead the orchestra for 

over a year, with great success. 


4 2 6 0 0 3 4 8 6 3 5 8 3 

4 2 6 0 0 3 4 8 6 6 0 8 9 

Johann Caspar Kerll: Missa Nigra 

Agostino Steffani: Laudate Pueri 


Neue Hofkapelle München 

Gerd Guglhör, conductor 

1 CD · OC 358 

“The inclusion of all the Latin texts with German translations 

rounds out the effect of this high-carat CD … perfect solo ensemble 

of beautiful voices …” 

www.klassik-heute.com 

Heinrich Kaminski 

Das geistliche A-Cappella-Werk 


Gerd Guglhör, conductor 

1 SACD · OC 608 

“The recording is a dream. The choir and soloists fill the words 

with meaning…” 

Rheinischer Merkur


�oman �rekel 

A great performer of Lieder sings Schubert’s late master piece 

OC 810 


Franz Schubert 

Winterreise D 911 op. 89 

Roman Trekel, baritone 

Oliver Pohl, piano 

4 2 6 0 0 3 4 8 6 8 1 0 6 

�oman Trekel has long been counted amongst the 

great German performers of Lieder. His last CD 

(Schumann: Dichterlieber ��) was highly recommended 

in the press: 

��: three times ten points 

“Trekel’s flexible baritone voice is excellently suited to 

combine the finest singing and expression even in the 

extreme registers…” �� 


4 2 6 0 0 3 4 8 6 5 1 1 2 

4 2 6 0 0 3 4 8 6 5 7 1 6 

Hugo Wolf: Mörike-Lieder 



1 CD · OC 305 

Johannes Brahms: Die schöne Magelone 


Bruno Ganz, speaker 


2 CD-Set · OC 331 

Franz Schubert: Die schöne Müllerin 



1 CD · OC 511 


Robert Schumann: Dichterliebe op. 48 

Liederkreis op. 24 · Fünf Lieder nach Heinrich Heine 



1 CD · OC 571 

© Monika Rittershaus


�inger �ur 

Manifold dialogues between old and new 

OC 812 


4 2 6 0 0 3 4 8 6 8 1 2 0 

Memento 

George de La Hèle: Missa „Quare tristis es“ 

Wolfgang Rihm: Caligaverunt oculi mei · Recessit pastor 

noster · Aestimatus sum · Arvo Pärt: Memento 

Orlando di Lasso: Quare tristis es 

Singer Pur 

�umer umerous contemporary composers have been strongly 

influenced influe by medieval and renaissance music. Singer 

Pur, the prize-winning vocal ensemble, traces such 

manifold manif 

relationships in its fifth CD. This results 

in fascinating new sound-universes and entirely new 

impressions. Three motets composed in 2005/06 by 

Wolfgang Rihm, as well as Arvo Pärt’s Memento, enter 

into a shimmering dialog with works by Orlando di 

Lasso and George de La Hèle, a Flemish composer 

who died in 1586 at the age of 39. The connection 

between Lasso and de La Hèle is shown as well. De 

La Hèle used various elements and motives from the 

eponymous Lasso motet in his mass “Quare tristis 

es” – a common technique not only in that age. De 

La Hele’s homage shows just how much fame Lasso’s 

works enjoyed. Both works are found on this recording. 


4 2 6 0 0 3 4 8 6 3 5 4 5 

4 2 6 0 0 3 4 8 6 5 1 6 7 

4 2 6 0 0 3 4 8 6 5 6 0 0 

4 2 6 0 0 3 4 8 6 8 0 3 8 

Wolfgang Rihm · Salvatore Sciarrino 

Ivan Moody · Joanne Metcalf 

Vokalwerke 

Singer Pur 

1 CD · OC 354 

Herztöne: Love Songs 

by Brahms, Schumann, Mendelssohn, Ravenscroft, 

Gershwin, Chick Corea, Billy Joel, and others 

Singer Pur 

1 CD · OC 516 

Save Our Songs! 

Deutsche Volklsieder neu arrangiert 

German folksongs newly arranged 

Singer Pur 

1 CD · OC 560 

Das Hohelied der Liebe – Vertonungen durch die Jahrhunderte 

The Song of Songs – Settings from different centuries 

Singer Pur 

1 CD · OC 803 

“Singer Pur gives its programs dramatic form with astonishing selfconfidence. 

This level of vocal consort music is not an aesthetic question 

of faith, but a pure revelation.” Frankfurter Allgemeine Zeitung


�riane et �arbe-�leue 

Fairy-tale magnifi cence of sound by the creator of “The Sorcerer’s Apprentice” 

OC 915 

2 CDs · PG: XB2 

Paul Dukas 

Ariane et Barbe-Bleue (Opera in three Acts) 

Vienna Radio Symphony Orchestra 

Slovak Philharmonic Choir 

Bertrand de Billy, conductor 

Deborah Polaski · Jane Henschel 

Kwangchoul Youn · Ruxandra Donose 

Stella Grigorian · Ileana Tonca 

Nina Bernsteiner · Ante Jerkunica 

Erik Arman · Markus Raab 

4 2 6 0 0 3 4 8 6 9 1 5 8 

�n opera rarity with a top cast! One of the great men 

of letters of symbolism – Maurice Maeterlinck – 

wrote the libretto for Ariane et Barbe-Bleue. Paul 

Dukas made a three-act opera out of it which was to 

become his main work (first performance in Paris, 

May ��). 

Under the idiomatic direction of the conductor, 

Bertrand de Billy, who was born and trained in Paris, 

a group of singers can be heard on the recording of 

this opera which should have no competition for this 

work. 

Deborah Polaski 


Bertrand de Billy 

© Monika Rittershaus


��Rarity: The „Così fan tutte Mass“ 

OC 916 


4 2 6 0 0 3 4 8 6 9 1 6 5 

Wolfgang Amadeus Mozart 

“Così fan tutte” Mass C major KV 235e 

Symphony C major KV 551 “Jupiter” 

German Mozart Orchestra · Franz Raml 

Siri Thornhill · Ursula Eittinger · Hubert Nettinger · Stefan Geyer 

he C major Mass after Così fan tutte is the result of a 

“parody practice” customary at that time, in which 

secular musical works were given sacred texts. In this 

case, an unknown editor took various numbers from 

Così and made them into a cantata mass in around 

��. This mass stands out from a whole series of 

similar surviving works because of its exceptional 

stylistic fidelity and clever editing. The work can 

be found in the archive of the abbey Rot a.d. Rot 

(today the Swabian State Music Archive, University 

of Tübingen). It was passed down from the hands of 

the last abbot Nikolaus Betscher. 

The German Mozart Orchestra was founded by 

Franz Raml in ��. It has specialized in the interpretation 

of works from Viennese Classicism on period 

instruments.

Handel inserted his organ concertos in 

between the acts of his oratorios, thus 

providing a way to present extra novelties to 

the audience.In the present recording all the 

stops mentioned by Handel are used, and 

unlike in the so many performances and/or 

recordings that use instruments that are too 

small, the instrument used here provides the 

necessary sound foundation. La Divina 

armonia has the funtion of the oratorio 

orchestra with full strings, oboes,bassoons and 

flutes. 

Lorenzo Ghielmi is one of the leading 

organists in the field of early Music. Co-founder 

of the famous group il Giardino Armonico, he 

decided to create a new dynamic group, la 

Divina Armonia. The opus IV n 6 is performed 

by the excellent lute player Luca Pianca and 

harpist Margret Köll. 

New Release 

Passacaille 

Catalogue number PAS 944 

Recorded in Valle di Colorina (SO), Italia, Santuario 

del Divin 

Prigioniero on 23 to 25 May 2007. 

Georg Frederic Handel (1685 -1759) 

Organ Concert in g minor op. IV n. 1 

Organ Concert in B flat major op. IV n. 2 

Organ Concert in g minor op. IV n. 3 

Organ Concert in F major op. IV n. 4 

Organ Concert in F major op. IV n. 5 

Concert per il Liuto e l'Harpa" in B flat major 

op. IV n. 6 

Total time 

71:40 

Digipack, booklet in E,F, D, It. 

la Divina Armonia 

Organ and Direction: Lorenzo Ghielmi 

Harp: Margret Köll 

Archlute: Luca Pianca

PAN CLASSICS 

Oboe Concertos 

Virtuoso Oboe Concerti from the Mannheim School 

Ludwig August Lebrun (1752-1790): Concerto No. 7 in F major 

Ignaz Holzbauer (1711-1783) Concerto in D minor 

Peter von Winter (1754-1825): Concerto No. 2 in F major 

Ernst Eichner (1740-1777): Concerto in C major 

Kurt Meier, oboe 

Northern Sinfonia 

Howard Griffiths, conductor 

PC 10088 

CD 

(digipak) 

PC: 01Q 

7 619990 100886 

Mannheim was once for a few years an artistic eldorado. As Christian Daniel Friedrich Schubart 

wrote in his “Thoughts on the Esthetic of Music”: “No orchestra in the world can surpass that of 

Mannheim. Its forte is like thunder, its crescendo like a waterfall, its diminuendo – a crystal river 

murmuring in the distance, its piano a breath of spring.” Charles Burney praised not only its “good 

discipline”, but remarked also that this admirable ensemble was a unique collection of highly 

qualified individuals: “There are truly more solo performers and good composers in this orchestra 

than in perhaps any other orchestra in Europe. It is an army of generals, as capable of designing a 

plan for a battle as of fighting it.” 

The four representatives of Mannheim School to be heard on this CD were all musical “generals”, 

solo performers and composers. What they have in common is not only the perfect mastery of that 

exemplary musical style, but also the typically Mannheim preference for solo woodwind 

instruments. Besides the flute above all the oboe was a particular favourite in Mannheim. 

According to Schubart it was in Mannheim that the Oboe became a valuable solo instrument.

PAN CLASSICS 

Azzolino Bernardino della Ciaja (1671-1755) 

Six sonatas for harpsichord op. 4 

Attilio Cremonesi, harpsichord 

PC 10114 

CD 

(digipak) 

PC: 01Q 

7 619990 101142 

Among the less-known works for harpsichord solo, sometimes we find masterpieces. It is the case 

of the six sonatas by Azzolino Bernardino della Ciaja, Italian composer born in Siena in 1671 

and passed away in Pisa in 1755. The structure of his sonatas is rather constant – each of them 

starts with a toccata, followed by a canzone – but the thematic richness is surprising and the 

modernity of these sonatas overcomes even the works by Domenico Scarlatti. This is a CD that 

every harpsichord lover will appreciate. 

Attilio Cremonesi studied at the Conservatorio Nicolini in Piacenza and at the Schola Cantorum in 

Basel. Winner of several international competitions, he worked for many years as musical assistant 

of René Jacobs in opera and oratorio productions, and accompanied him in recitals. In addition to 

his activity as harpsichordist and fortepiano soloist, he dedicated himself to the discovery and 

performance of rare baroque and classical operas. He founded the Ensemble Arcadia, with whom 

he has appeared in the most important concert halls and festivals of Europe and South America. 

Some of Attilio Cremonesi’s numerous recordings were awarded the Deutscher Schallplattenpreis 

der Kritik, Choc de la Musique, Diapason d'Or, Caecilianprjis and Repertoire prizes.

PAN CLASSICS 

Henrico Albicastro (1661-1730) 

12 concerti a quattro op. 7 

Collegium Marianum – Collegium 1704 

Riccardo Masahide Minasi, principal violin 

Vaclav Luks, harpsichord & direction 

PC 10124 

2CD 

(digipak) 

PC: 02N 

7 619990 101241 

The name Henrico Albicastro (1661-1730) is an italianized form of the composer's actual German 

name: Johann Heinrich von Weissenburg. Albicastro came from Bieswangen in central Bavaria, 

near Pappenheim, not far from the village of Weissenburg ("White Castle", thus "Albicastro"). 

Weissenburg spent many years in the Spanish Netherlands. In 1708 he was promoted to the rank 

of cavalry captain in the State army. He fought in the last years of the War of the Spanish 

Succession (1701-1713). He remained active in this position until 1730, the last that is heard of 

him. 

Weissenburg was a fairly productive composer. The most publications of his music were issued the 

time immediately preceding his service in the Dutch army. The pieces issued between 1701-1706 

under the pseudonym Albicastro by the Amsterdam music publisher Estienne Roger are a rather 

compact series of nine opuses. They comprise collections of violin sonatas (opp.2, 3, 5, 6 and 9), 

trio sonatas (opp.1, 4 and 8), and string concertos (op.7) in a decidedly Italianate idiom (i.e. that of 

Corelli), but slightly more angular and with occasionally more unexpected turns. The succession of 

movements almost always follows the 'church sonata' sequence, with four movements arranged in 

the order slow, fast, slow, fast. First movements seem at times somewhat capricious given their 

succession of short fragments in contrasting tempos and characters.

PAN CLASSICS 

Gilles Vonsattel – piano 

Ludwig van Beethoven: Piano Concerto No.1 Op.15 

Franz Liszt: From «Années de pèlerinage – Deuxième année: 

Italie» 

Gilles Vonsattel, piano 

L’Orchestre de Chambre de Genève 

Juraj Valčuha, conductor 

PC 10197 

CD 

(digipak) 

PC: 01Q 

7 619990 101975 

Founded in 1939 by Friedrich Liebstoeckl and Henri Gagnebin, the Geneva Competition is one of 

the world’s oldest and most prestigious music competitions. One of its distinguishing features is its 

openness: the variety of categories it covers – almost all the instruments of classical music – is 

rare among international music contests. 

The principles of excellence that were laid down at the beginning still hold true today: international 

juries of quality and prestige, procedures that are stringent and impartial, care in the reception of 

candidates, artistic partners of repute, preference for musical quality rather than virtuosity. 

At the 61 st Geneva International Music Competition in 2006, Gilles Vonsattel conquered the 

audience with a memorable interpretation of Beethoven’s Emperor concerto. The outstanding 

performance of the prizewinner at the 2006 Geneva International Music Competition is represented 

on this CD together with two pieces from Liszt’s «Années de pèlerinage».

MADAME D'AMOURS 

MUSIC FOR RENAISSANCE FLUTE CONSORT 

THE ATTAIGNANT CONSORT – KATE CLARK 

Release October 2007 

RAM 0706 

(1 CD) 

� �� 

_________________________________________________________________ 

The Attaignant Consort: as guests: 

Kate Clark direction, flute Mathieu Langlois flute 

Frédérique Chauvet flute Marta Graziolino harp 

Marion Moonen flute Nigel North lute 

Marcello Gatti flute 

_________________________________________________________________ 

The elegant, keyless, cylindrical flute of the sixteenth century had a reedy, penetrating sound, closer to the cornetto than to 

any other wind instrument of the day. It had an impressive range of two and a half octaves and an evenness of tone quality 

that would not be matched again until the nineteenth century. Its dynamic flexibility and responsiveness to subtleties of 

articulation endowed it with a vocal quality. And, for all its outward simplicity, it was capable of a startling virtuosity. 

Together with its bass and descant variants, it played a full part in that distinctive sixteenth-century musical phenomenon: 

the instrumental consort. The very idea of such a consort swept across Europe like a scented breeze intimating the coming of 

spring. It brought the promise of new possibilities of expression and participation in music making. It is hard not to see in 

the consort principle, with all its various implications for communal music-making, both a product and an instrument of 

humanist influence. In the eyes of humanists, human endeavour attained a new, enhanced status. In music, secular forms 

moved into a new relationship with sacred ones to which they had formally been considered subordinate. A basic education 

in music and private music making for devotional or recreational purposes were considered to be good for individual 

morality. 

This recording is focussed on repertoire for the renaissance flute consort, almost all of which was originally vocal music. 

Among the most-favoured secular genres in the sixteenth century, the chanson occupies a distinguished place by virtue of its 

enormous and international popularity, and its profuse representation in manuscript and early printed collections of 

instrumental music. The most plausible explanation (though it has not been an uncontested one) for the wide-spread 

transmission of secular polyphony in textless versions, from the second half of the fifteenth century onwards, is that it was 

increasingly often played and enjoyed in instrumental versions. For in this repertoire, the renaissance flute seems to 

encounter no obstacles whatever in expressing everything the music calls for: the ranges of the parts, the tonalities in which 

chansons were most commonly written, the sentiments expressed in their poetry, and even the French language itself, seem 

perfectly suited to this instrument’s natural capacities. 

_________________________________________________________________

SUPRAPHON New Release May 2008 

REISSUE 

SU 3921-2 

Box 4 CDs 

Price MD 

In stock April 25, 2008 

UPC Code: 

Recorded at the Domovina studio, Prague, on May 

23–24, 1996 (CD 1/4–7), June 5–6, 1996 

(CD 1/1–3), March 2–4, 1992 (CD 2/1–5), May 27– 

28, 1992 (CD 2/6–9), February 15–16, 1993 (CD 

3/1–3), October 30–31, 1993 (CD 3/4–7) and at 

the Dvořák Hall, Rudolfinum, Prague, on June 6– 

13, 1982 (CD 4) 

Total time 270:20 

Dvořák: String quintets, string sextet, piano quartets and quintets 

Panocha Quartet: Jiří Panocha – 1st violin, Pavel Zejfart – 2nd violin, Miroslav Sehnoutka – 

viola, Jaroslav Kulhan - violoncello 

Josef Suk – violin, Josef Koďousek – viola, Josef Chuchro – violoncello, Josef Hála – piano 

Josef Klusoň – viola, Michal Kaňka – violoncello, Pavel Nejtek – double-bass, Jan Panenka – piano 

Following the extremely successful Dvořák string quartets set (SU 3815-2), the internationally renowned Panocha 

Quartet – celebrating this year its incredible 40th anniversary of performing in the original line-up – plays the main 

role in this set too. The four CDs comprise piano quartets and quintets, string quintets and a string sextet. In terms 

of Dvořák’s oeuvre, this selection virtually spans his entire creative lifetime, from the composition the author 

designated with the opus number 1 (String Quintet in A minor, B 7) to pieces from the composer’s late period. On 

these recordings, which we can safely say are truly timeless, the Panocha Quartet is supported by artists of the 

calibre of Josef Suk, Jan Panenka, Josef Hála and Josef Chuchro. This is chamber Dvořák as he is well known at 

home, in America and Japan. 

CD 1 

String Quintet No 1 in A minor 

for two violins, two violas and cello, Op. 1 (B 7, 1861, rev. 1887?) 26:18 

1 I. Adagio. Allegro, ma non troppo 9:41 

2 II. ento 7:13 

3 III. Allegro scherzando 9:17 

String Quintet No 3 in E flat major 

for two violins, two violas and cello, Op. 97 (B 180, 1893) 32:02 

4 I. Allegro non tanto 8:37 

5 II. Allegro vivo 5:44 

6 III. arghetto 9:59 

7 IV. Finale. Allegro giusto 7:31 

SUPRAPHON MUSIC a.s., Palackého 1, 112 99 Praha 1, Czech Republic www.supraphon.com 

Tel: +420-221 966 609 Fax: +420-221 966 631 E-mail: info@supraphon.cz

Josef Klusoň – viola 

Panocha Quartet 

CD 2 

String Quintet No 2 in G major 

for two violins, viola, cello and double-bass, Op. 77 (B 49, 1875, rev. 1888) 33:29 

1 I. Allegro con fuoco 10:52 

2 II. Scherzo. Allegro vivace 7:55 

3 III. Poco andante 7:45 

4 IV. Finale. Allegro assai 6:46 

5 Intermezzo (Nocturne) 

for two violins, viola, cello and double-bass (Andante religioso) 4:22 

Sextet in A major 

for two violins, two violas and two cellos, Op. 48 (B 80, 1878) 32:46 

6 I. Allegro moderato 13:47 

7 II. Dumka. Poco allegretto 6:11 

8 III. Furiant. Presto 4:13 

9 IV. Finale. Tema con variazioni. Allegretto grazioso, quasi andantino 8:24 

Pavel Nejtek – double-bass (1-5), Josef Klusoň – viola (6-9), 

Michal Kaňka – cello (6-9) 


CD 3 

Quintet No 1 in A major 

for piano, two violins, viola and cello, Op. 5 (B 28, 1872, rev. 1887) 28:40 

1 I. Allegro ma non troppo 8:39 

2 II. Andante sostenuto 10:05 

3 III. Finale. Allegro con brio 9:49 

Quintet No 2 in A major 

for piano, two violins, viola and cello, Op. 81 (B 155, 1887) 41:22 

4 I. Allegro ma non tanto 15:05 

5 II. Dumka. Andante con moto 13:46 

6 III. Scherzo (Furiant). Molto vivace 4:40 

7 IV. Finale. Allegro 7:40 

Jan Panenka – piano 


CD 4 

Quartet No 1 in D major 

for piano, violin, viola and cello, Op. 23 (B 53, 1875) 34:24 

1 I. Allegro moderato 16:09 

2 II. Andantino, con variazioni 10:55 

3 III. Finale. Allegretto scherzando 7:10 

Quartet No 2 in E flat major 

for piano, violin, viola and cello, Op. 87 (B 162, 1889) 36:22 

4 I. Allegro con fuoco 8:16 

5 II. ento 10:31 

6 III. Allegro moderato, grazioso 7:35 

7 IV. Finale. Allegro, ma non troppo 9:49 

Josef Koďousek – viola 

Suk Trio 

2


Jiří Panocha – 1st violin, Pavel Zejfart – 2nd violin, 

Miroslav Sehnoutka – viola, Jaroslav Kulhan – cello 

Suk Trio 

Josef Hála – piano, Josef Suk – violin 

Josef Chuchro – cello 

3

SUPRAPHON New Release February 2008 

Bohuslav Martinů – Jeux (Miniatures for Piano) 

SU 3937-2 

1 CD 

Price FL 

In stock February 1, 2008 

UPC Code: 

Recorded in Kroměříž, 

August 15-18, 2006 


NEW RECORDING 

Includes World Première Recordings 

Jeux I & II (H 205, 206), Four Movements (H 170), Film en miniature (H 148), Spring (H 127), The Haunted Train (H 

258), The Fifth Day of the Fifth Moon (H 318), The Kitchen Revue (Prologue, Tango, Charleston, Finale) H 161b, 

Adagio – Memories (H 362) 

Karel Košárek – piano 

Martinů’s piano oeuvre comprises more than 200 compositions (some of which were dedicated to the outstanding pianists 

R. Firkušný and R. Serkin) and has duly been paid great attention to. However, a number of fascinating miniatures have remained 

overlooked by performers, with some of them being presented for the very first time on this CD. The minor pieces, often arranged 

into tiny cycles, are most notable for their playful atmosphere and rhythmic inventiveness. The first cycle (Jeux I) from the 

composer’s mature Paris period reflects the huge popularity of jazz at the time, while in another cycle (Film en miniature) the 

author’s erstwhile enchantment with Impressionism is still evident. Martinů’s piano version of the jazz ballet The Kitchen Revue, 

which immediately after its premiere (1927) met with unprecedented acclaim, has been completely overlooked and hitherto 

unreleased. This composition too can be heard on our CD in premiere. The leading Czech pianist Karel Košárek, who undertook 

the implementation of the mentioned miniatures, has vast experience as a soloist, chamber player and accompanier (among other 

things, he is one of the “court” accompaniers of the mezzo-soprano Magdalena Kožená). 

Bohuslav Martinů (1890 –1959) 

1–4 Jeux I H. 205 (1931) 4:42 

World première recording 

5–10 Jeux II Six morceaux faciles pour piano H. 206 (1931) 11:34 

11–14 Quatre mouvements H. 170 (1929) 8:41 

15–20 Film en miniature H. 148 (1925) 13:37 

21 Spring H. 127 (1921) 3:44 

World première recording 

22 Le Train hanté H. 258 (1937) 3:03 

23 The Fifth Day of the Fifth Moon H. 318 (1948) 4:01 

24–27 La Revue de cuisine H. 161 (1927) 14:34 

World première recording of the piano version 

28 Adagio. Memories H. 362 (1957) 3:18 



SUPRAPHON New Release March 2008 

SU 3940-2 

3 CDs 

Bohuslav Martinů: Symphonies Nos 1–6 (complete) 

Prague Radio Symphony Orchestra, conductor Vladimír Válek 

Price MD 


UPC Code: 

Recorded at the Czech Radio Studio A, 

Prague, November 2006 


NEW RECORDING 

The sextuplet of Martinů symphonies originated within a very short time frame (Symphonies Nos. 1-5 within a mere five years – 

from 1942 to 1946 in the USA; Symphony No. 6, designated Fantaisies symphoniques, was completed in 1953) at a time when the 

composer enjoyed general acclaim and was bursting with creative energy. It was as if only on a new continent, where he was 

driven by war and was warmly welcomed, could Martinů muster up the courage to plunge into this classical form and seek to 

catch up on what he had “missed out on” until then. Following in the footsteps of a number of leading Czech conductors, the 

demanding task was this time undertaken by the seasoned Vladimír Válek with the Czech Radio Symphony Orchestra. The 

complete recording was made in 2006-2007 at Czech Radio and reflects the high artistic level of this internationally renowned 

ensemble. Following the well-received Dvořák and Tchaikovsky symphonies, it is the third symphony set of the Czech Radio 

Symphony Orchestra released by Supraphon. 

BOHUSLAV MARTINŮ (1890-1959) 

Symphonies Nos 1-6 

CD 1 

1-4 Symphony No. 1 H. 289 (1942) 38:47 

5-8 Symphony No. 2 H. 295 (1932) 

CD 2 

24:15 

1-3 Symphony No. 3 H. 299 (1944) 28:34 

4-7 Symphony No. 4 H. 305 (1945) 

CD 3 

37:13 

1-3 Symphony No. 5 H. 310 (1946) 33:37 

4-6 Symphony No. 6 (Fantaisies Symphoniques) H. 343 (1951–1953) 28:42 




Tomáš Netopil / Suk Dvořák 

Suk: Symphony in E major, Op. 14 

Dvořák: Overtures In Nature´s Realm (B168), Op. 91, Carnival (B169), Op. 92 

Prague Symphony Orchestra, conductor Tomáš Netopil 

SU 3941-2 

1 CD 

Price FL 


UPC Code: 

Recorded (live) in the Smetana Hall 

in the Municipal House, Prague, 

October 23–24, 2007 


NEW RECORDING 

Dvořák’s overtures In Nature’s Realm and Carnival, completed in 1892, need no introduction. The case, however, is different with 

Symphony in E major, which Suk began composing a mere five years later, as Dvořák’s pupil. The symphony is – notwithstanding 

the composer’s tender age, 23 – a manifestation of absolute artistic maturity and independence. In 1899 the work was premiered 

by the Czech Philharmonic Orchestra conducted by Oskar Nedbal. Following the older recording by Václav Neumann with the 

Czech Philharmonic Orchestra, this unjustly overlooked work is brought to listeners by the Prague Symphony Orchestra under the 

baton of the promising young Czech conductor Tomáš Netopil. A pupil of Jiří Bělohlávek and holder of a number of awards (victory 

in the Georg Solti Conductors’ Competition in Frankfurt, the main prize of the American Academy of Conducting in Aspen in 2003), 

Netopil already has a wealth of international experience behind him (Cleveland Symphony Orchestra, London Philharmonic 

Orchestra, NHK Symphony Orchestra Tokyo, Volksoper Wien, Teatro Regio Torino, etc.). The youthful Netopil has a firm grasp of 

Suk’s juvenility, however, he strips away the silt of the commonplace even from notoriously famous Dvořák works, affording them 

a fresh and novel sound. 

JOSEF SUK (1874–1935) 

Symphony in E major / Op. 14 (1874–1935) 45:48 

1 I. Allegro, ma non troppo 13:24 

2 II. Adagio 12:08 

3 III. Allegro vivace 6:23 

4 IV. Allegro 13:53 

ANTONÍN DVOŘÁK (1841–1904) 

Concert overtures 

5 In Nature’s Realm – concert overture / Op. 91, B 168 (1891) 13:43 

6 Carnival – concert overture / Op. 92, B 169 (1891) 9:55 




SU 3942-2 

2 CDs 

Price MD 

In stock March 26, 2008 

UPC Code: 

Recorded in Prague, 

June 2 -28, 2006 (concertos 3-6); 

November 5-6, 2006 (concertos 1-2) 


NEW RECORDING 

Johann Sebastian Bach: Brandenburg Concertos Nos 1-6 (complete) 

BWV 1046-1051 

Musica Florea / conductor Marek Štryncl 

The first Bach recording made by Musica Florea was Magdaléna Kožená and became the landmark international debut of the 

mezzo-soprano, whom the ensemble accompanied. A number of breakthrough and often highly praised recordings of Czech 

Baroque music (for example, Cannes Classical Award 2003 for Zelenka’s Sub olea pacis) ensued. Now Musica Florea return to 

Bach with a recording of the Brandenburg Concertos. A work that has been recorded on innumerable occasions by renowned 

orchestras here sounds novel, frequently with surprising tempos. It is precisely owing to the selection of tempos that many parts 

make a gain on musical logic and attractiveness for the listener, began dancing. On this recording, blood flows through the veins 

of Bach, elsewhere coldly decent, carved in stone. The instrumentalists’ outstanding technique and stylistic purity go without 

saying, and with this recording, Musica Florea have confirmed their position among the best Czech and European orchestras 

dealing with knowledgeable interpretation of Baroque music. The most notable aspect of the recording, however, is their exuding 

of the sheer joy of Bach’s music. 

SEBASTIAN BACH / 1685–1 50 / 

Musica Florea / on authentic instruments / 

Conductor / dirigent Marek Štryncl 

CD 1 40:06 

1-4 CONCERTO NO. 1 IN F MAJOR BWV 1046 1 :52 

5- CONCERTO NO. 2 IN F MAJOR BWV 104 12:01 

8-9 CONCERTO NO. 3 IN G MAJOR BWV 1048 9:56 

CD 2 49:49 

1-3 CONCERTO NO. 4 G MAJOR BWV 1049 14:31 

4-6 CONCERTO NO. 5 MAJOR BWV 1050 20:08 

-9 CONCERTO NO. 6 IN B F AT MAJOR BWV 1051 14:50 



SUPRAPHON New Release April 2008 

FIRST TIME ON CD 

SU 3943-2 

2 CDs 

Price MD 


UPC Code: 

Recorded in Prague, 

October 31 – November 15, 1955 

Total time CD1 – 41:53, CD2 – 68:12 

Antonín Dvořák: Kate and the Devil 

Opera in 3 acts, Op. 112. Libretto by Adolf Wenig based on Czech folk-tale and the Balad of the 

Poor Devil by Ladislav Quís 

Prague National Theatre Chorus / chorus master Jan Ouředník 

Prague National Theatre Orchestra / conductor Zdeněk Chalabala 

The success of the symphonic poems Water Sprite, Midday Witch, Golden Spinning-wheel and Pigeon, drawing on 

themes from folk ballads, encouraged Dvořák to seek inspiration for another opera in Czech popular fairy-tales. After 

historic themes and comical plots (Dimitri, The Jacobin, The Stubborn Lovers, etc.) the libretto deals with a Chod 

fairy-tale with all its salient features: the muddleheaded devil, the saucy Kate, who even gives Lucifer himself a piece 

of her mind, the shrewd shepherd Jirka, as well as justice that in the end is accorded to ordinary people – precisely 

thanks to the shepherd’s adroitness and the gruesome authority of Hell. Following its successful premiere (1899), the 

opera’s warm folksy tone contributed to its rapid domestication not only at the National Theatre. The opera as 

conducted by Zdeněk Chalabala and performed by excellent soloists, the orchestra and chorus of the first Czech 

opera stage in 1955 is now being released on a CD by Supraphon for the first time. 

CD 1 

Total time - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 41:53 

ACT ONE 

1 Overture - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 7:16 

2 “Why so early, shepherd” (Chorus, Shepherd) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 8:25 

3 “O me, little shepherd poor” (Shepherd) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 2:13 

4 Dance - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 1:39 

5 “Isn’t it enraging?” (Kate, Mother, Chorus) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 1:41 

6 “Good evening” (Devil, Chorus, Musician) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 4:42 

7 “May I offer you a drink, please?” (Devil, Kate, Chorus) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 6:12 

8 “Hurray! Jirka is here again!” (Chorus, Shepherd) - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - 0:51 

9 “I’ve been kicked out!” (Shepherd, Chorus, Devil, Kate) - - - - - - - - - - - - - - - - - - - - - - - - -- - - - 2:50 

10 “It is somewhat out-of-the-way” (Devil, Kate, Chorus, Mother, Shepherd) - - - - - - - - -- - - - - - - - 5:56 



CD 2 

Total time - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 68:12 

ACT TWO 

1 Overture - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -3:55 

2 “Glory to the might of gold”(Chorus) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - 1:36 

3 “Shall I forever listen to your larm? (Lucifer, Chorus, Gate-keeper) - - - - - - - - - - - - - - - - - - - - - 3:56 

4 “Who is it you, brother, carry what does it all mean?” 

(Devil, Kate, Chorus, Lucifer, Gate-keeper) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 2:44 

5 “What seek you? What do you want here?” (Lucifer, Shepherd, Kate, Devil) - - - - - - - - - - - - - - - 3:56 

6 “Everywhere I heard but laments” (Devil, Lucifer) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - -3:39 

7 “He might, perhaps, carry her home!” (Devil, Shepherd) - - - - - - - - - - - - - - - - - - - - - - - - - - - - 4:22 

8 “Kate, get ready now!” (Devil, Kate) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - 1:31 

9 Devilish Dance - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 4:33 

10 “How do you like it here in hell?” - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 2:33 

ACT THREE 

11 Overture - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 4:30 

12 “Now sad the castle” (Princess) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - 5:03 

13 “What can I do, my gracious princess?” (Chambermaid, Princess) - - - - - - - - - - - - - - - -- - - - - 4:09 

14 “He is here, the shepherd, Your Grace!” (Marshall, Princess, Shepherd, Chorus) - - - - - - - - - - - - 8:16 

15 “Here I am, what is it, Jirka?” (Kate, Shepherd) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 2:46 

16 “Take a seat here, my dear princess” (Shepherd, Princess) - - - - - - - - - - - - - - - - - - - - - - - - - -2:24 

17 “Steady, princess, you go with me!” (Devil, Shepherd, Princess) - - - - - - - - - - - - - - - - - - - - - - 2:33 

18 “I am grateful!” (Princess, Shepherd, Kate) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -2:42 

19 “For your gracious kindness to us” (Chorus, Princess, Shepherd) - - - - - - - - - - - - - - - - - - -- - - -2:50 

Jirka the Shepherd (tenor) - - - - - - - - - - - - - - - - - - - - - - - Lubomír Havlák 

Kate (mezzo-soprano) - - - - - - - - - - - - - - - - - - - - - - - - - - Ludmila Komancová 

Her Mother (mezzo-soprano) - - - - - - - - - - - - - - - - - - - - Věra Krilová 

Devil Marbuel (bass) - - - - - - - - - - - - - - - - - - - - - - - - - - - Přemysl Kočí 

Lucifer (bass) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Rudolf Asmus 

Devil the Gate-keeper (bass) - - - - - - - - - - - - - - - - - - - - - Karel Berman 

Princess (soprano) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Marie Steinerová 

Chambermaid (soprano) - - - - - - - - - - - - - - - - - - - - - - - - Jaroslava Vymazalová 

Marshall (bass)- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Jaroslav Horáček 

Musician (tenor) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Rudolf Vonásek 

Village people, youths and girls, musicians, devils, courtiers 

Prague National Theatre Chorus 

Chorus master Jan Ouředník 

Prague National Theatre Orchestra 

Conductor Zdeněk Chalabala 

2


An�erl Gold Edition – vol. 43 

SU 3944-2 

4 CDs 

Price MD 

In stock March 26, 2008 

UPC Code: 

Recorded in the Rudolfinum, Prague 

CD 1*: Britten: The Young Person´s Guide to the Orchestra – Variations and Fugue on a Theme by Purcell, Op. 34 (1946) with 

English text read by Eric Shilling; Hurník: The Four Seasons (1954); Ondráš. Music for ballet (1956) 

CD 2*: Dobiáš: Build Up Your Country To Reinforce the Peace. Cantata based on the text by F. Halas (1950); Kapr: In the Soviet 

Country. Cantata (1951); Kalaš: The Nightingale and the Rose. Symphonic poem based on the fairy tale by O. Wild (1956) 

CD 3*: Kalabis: Violin Concerto (1962); Seidel: Oboe Concerto (1956); Jirko: Piano Concerto No. 3 (1961) 

CD 4: Eben: Piano Concerto (1963); Bo�kovec: Symphony No. 2 (1957) 

On the occasion of the centenary of the birth of the conductor Karel An�erl the “final word” remains to be said within the An�erl 

Gold Edition. The four CDs sum up the work of An�erl’s contemporaries, with the exception of Britten’s “The Young Person’s 

Guide to the Orchestra”, that of Czech composers. The set bears unprecedented witness to the 1950s and 1960s, the period 

when the Communist powers decided on taste and composition trends, and when the criterion for acceptance or rejection of a 

work was its “mass appeal” and the degree of consonance with the “Socialist Realism” style. The excellent Czech Philharmonic 

Orchestra with its internationally sought-after conductor is here involuntarily in the services of propagandist kitsch (Dobiáš’s 

cantata “Build Up Your Country to Reinforce the Peace”, Kapr’s panegyric cantata “In the Soviet Country”). However, 

concurrently originating were also a number of recordings of remarkable works by composers who were able to withstand 

ideological pressures. Alongside folklore inspiration (evident, for example, in the ballet “Ondráš” by Ilja Hurník and Seidl’s oboe 

concerto), neoclassical influences and “genetic” linkages to the work of Janá�ek, Dvo�ák, Suk and Novák were still palpable, while 

also present was the seeking of a singular and contemporary musical language (Eben, Bo�kovec, Kalabis). Paradoxically, 

today’s young composers could envy their counterparts of half a century ago – many a time their compositions experienced 

paramount concert performance and recording within a short time from the last note drying out in the score. 

The 4 CD set mapping the post-February 1948 Czech compositional scene rounds off the An�erl Gold Edition – a testimony of an 

epoch of our modern musical history. 

CD 1 

Benjamin Britten (1913–1976) 

1 The Young Person’s Guide to the Orchestra 

Variations and Fugue on a Theme of Purcell, Op. 34 (1946). Text Eric Crozier 17:48 

Ilja Hurník (1922) 

2-19 Four Seasons. Chamber Suite (1952) 30:53 

20-25 Ondráš. Ballet Music (1951) 23:59 



Vlach Quartet (2–19) 

Czech Philharmonic Orchestra 

Conductor Karel An�erl 

CD 2 

Václav Dobiáš (1909–1978) 

1 Build Up Your Country to Reinforce the Peace 

Cantata to František Halas’s poetry (1947) 22:58 

Jan Kapr (1914–1988) 

2 In the Soviet Country. Cantata for baritone, chorus and orchestra 

to Vít�zslav Nezval’s poetry (1950) 20:40 

Julius Kalaš (1902–1967) 

3 The Nightingale and the Rose. A symphonic fairy tale based on Oscar Wilde’s story, 

Op. 81(1956) 16:12 

Prague Philharmonic Choir, Kühn Children’s Choir, Chorus Master Jan Kühn (1) 

Prague Radio Choir, Chorus Master Ji�í Pinkas (2) 

Czech Philharmonic Orchestra / �eská filharmonie 

Conductor / Dirigent Karel An�erl 

CD 3 

Viktor Kalabis (1923–2006) 

1-3 Concerto for Violin and Orchestra No. 1, Op. 17 (1958–59) 21:55 

Jan Seidel (1908–1998) 

4-6 Concerto for Oboe and Orchestra No. 2 (1955) 23:48 

Ivan Jirko (1926–1978) 

7-9 Concerto for Piano and Orchestra No. 3 in G major (1958) 22:52 

Václav Snítil – violin, Josef Shejbal – oboe, Viktorie Švihlíková – piano 



CD 4 

Petr Eben (1929–2007) 

1-3 Concerto for Piano and Orchestra (1961) 25:28 

Pavel Bo�kovec (1894–1972) 

4-7 Symphony for Large Orchestra No. 2 (1955) 31:44 

František Rauch – piano 



2


SU 3946-2 

1 CD 

Price FL 


UPC Code: 

NEW RECORDING, *includes world premiere recordings 

Recorded in the historical building of the 

Piarist College in Slaný 

September 8-11, 2006 


LAUDATE PUERI DOMINUM 

Music of the Piarists in Baroque Bohemia 

Remigius Maschat, J.C.F. Fischer, Vojtěch Pelikán, Johann Richter, Wolfgang Richter, Wolfgang 

Ordner 

Soloists (Hana Blažíková, Petra Noskaiová, Hasan El unia, Vojtěch Šafařík), Pueri Gaudentes 

boys’ choir, Capella Regia (on authentic instruments), conductor: Robert Hugo 

Choosing the psalm verse Laudate Pueri ominum as the title for this album did not come about by chance. These 

words (Praise the Lord, ye boys) very aptly characterise the activity and mission of the Piarist Order, which in the 

17th and 18th centuries took care of boys from humble backgrounds in the Czech lands. The Piarists meticulously 

attended to liturgical music and the boys had participation in music included in their “job description”. By inviting the 

Pueri Gaudentes boys’ choir to make the recording, we aim to familiarise today’s listener with the sound and timbre 

characteristic of the music produced by the Piarists in this period. Robert Hugo, a specialist in Baroque Music, 

prepared for the album a repertoire which, according to the preserved inventory, was performed in the 17th century 

at the chapel of the Piarist Gymnasium in Slaný, where – some 350 years after the College was founded (1658) – 

this unique recording also originated. Capella Regia and outstanding young soloists present to us the majority of the 

pieces in a modern-day premiere. It seems that we owe a great deal to Czech Baroque composers (case in point 

being J. C. F. Fischer and J. F. Richter). Let this energy-charged album be one of our repayments. 

Johann Caspar Ferdinand Fischer (1656–1746) 

1 Litaniae Beatae e Mariae Virginis ………………………………….6:4 

Antonín Maschat (1692–1747) 

Jubilate apparenti Domino ……………………………………………….12:39 

2 Jubilate apparenti omino ………………………………………………….3:02 

3 Tu clara lux ……………………………………………………………………….5:01 

4 Salvator mundi I ……………………………………………………………….1:57 

5 Salvator mundi II ………………………………………………………………2:36 



Johann Caspar Ferdinand Fischer 

6 Praeludium in C (Ariadne musica) ………………………………….0:4 

Vojtěch Pelikán (1643?–1700) 

Missa Sancti Adalberti*…………………………………………………….. 23: 2 

7 Kyrie ………………………………………………………………………………… 5:26 

8 Gloria ………………………………………………………………………………..5:34 

9 Credo ………………………………………………………………………………..6:55 

10 Sanctus ……………………………………………………………………………2:19 

11 Agnus ei ………………………………………………………………………..3:27 

Jan Offner (1720–1759) 

12 Alma redemptoris mater ……………………………………………….2:12 

Johann Ferdinand Richter (1687–1737) 

13 Antiphona Cum esset Rex (gregorian chant) ……………………..0:30 

14 Psalmus 109 Dixit Dominus ……………………………………………..7:48 

15 Antiphona Leva eius (gregorian chant) ……………………………….0:22 

16 Psalmus 112 Laudate pueri Dominum ………………………........6:18 

Magnificat ……………………………………………………………..12:18 

17 Antiphona Beata ei genitrix (gregorian chant) …………………….0:43 

18 Magnificat …………………………………………………………………………1:07 

19 Quia respexit …………………………………………………………………….1:49 

20 Quia fecit mihi magna ………………………………………………………..1:02 

21 Fecit potentiam ………………………………………………………………….3:09 

22 eposuit ……………………………………………………………………………1:40 

23 Esurientes ………………………………………………………………………….2:09 

24 Gloria Patri …………………………………………………………………………0:36 

Johann Caspar Ferdinand Fischer 

25 Salve Regina ………………………………………………………. :29 

2

SUPRAPHON New Release June 2008 

NEW RECORDING 

Martinů: Sonata No. 3 (H. 340), Variations on a Slovak Folk Song (H. 378) 

Eben: Suita balladica 

Sluka: Sonata 

Tomáš Jamník – violoncello, Ivo Kahánek – piano 

SU 3947-2 

1 CD 

Price FL 

In stock June 2, 2008 

UPC Code: 

Recorded in Prague on March 25 and 28 

and April 1, 2008 


Tomáš Jamník and Ivo Kahánek’s first album (Martinů – Janáček – Kabeláč) was hailed by Harmonie magazine as the debut of the 

decade, while the Classics Today server gave it a rating of 10/10 and designated it as one of the best cello recitals of recent years. 

For their second album, the young artists have chosen compositions that originated within a short period of time, between 1952 

and 1959. Martinů’s Sonata and Variations resound with yearning for the homeland he is never to return to, the composer 

employing a simple and cordial language. Suita balladica by the twenty-six-year-old Petr Eben is characterised by a similar 

inosculation of joyful, dance music with an almost ghostlike grief connected with the author’s personal wartime experiences. 

Sluka’s most frequently performed piece, the musically simple and lucid Sonata for violoncello and piano, serves to soothe the 

heightened emotions evoked by the previous compositions and ends the CD on a note of reconciliation. The two musicians play 

with an ebullience and engagement commensurate to their tender years, yet at the same time manifest a remarkable maturity and 

understanding of the weighty themes of the compositions. An intimate, communicative album. 

Bohuslav Martinů 

Sonata for Cello and Piano No. 3…………………………………………….19:34 

1 Poco andante – Moderato………………………………………7:36 

2 Andante………………………………………………………....6:21 

3 Allegro (ma non presto) – Poco vivo…………………………...5:29 

Petr Eben 

Suita balladica for Cello and Piano……………………………..23:57 

4 Introduzione e Danza…………………………………………..6:48 

5 Quasi Mazurka………………………………………….……...4:50 

6 Elegia…………………………………………………………...8:03 

7 Toccata…………………………………………………………4:06 

Luboš Sluka 

Sonata for Cello and Piano…………………………………… 14:44 

8 Andante sostenuto Poco più mosso…………………………….4:13 

9 Allegro energico……………………………………………….10:30 

Bohuslav Martinů 

10 Variations on a Slovak Folk Song …………………………...10:24 




REISSUE 

SU 3948-2 

1 CD 

Price MD 

In stock June 2, 2008 

UPC Code: 

Recorded at the Rudolfinum Studio, Prague, 

April 15–17, 1987 (1–3), 

and at the Domovina Studio, Prague, July 1, 

1991 (4–9) 


ANTON & CARL STAMITZ / Concertos for Wind Instruments 

Carl Stamitz: Concerto for Clarinet and Orchestra in E flat major; Concerto for French Horn and Orchestra 

in E flat major 

Anton Stamitz: Concerto for Two Flutes and Orchestra in G major 

Bohuslav Zahradník – clarinet, Zden�k Tylšar – French horn, Ji�í Válek and Radomír Pivoda – flutes, 

Prague Chamber Orchestra / František Vajnar 

The names of the brothers Anton and Carl Stamitz, just like that of their father, Jan Václav Stamic, are primarily 

synonymous with Mannheim and the local orchestra, which as early as from the middle of the 18th century set new 

trends in instrumental music. Both of them arose from this milieu, yet their masterly violin playing was later on 

admired by listeners in Paris and other European music centres (in Germany England, The Netherlands…). At the 

end of the 1980s and the beginning of the 1990s, their concertos for wind instruments were performed by musicians 

no less famous and travelled. The horn-player Zden�k Tylšar and the clarinettist Bohuslav Zahradník especially are 

still referred to by specialists with the greatest respect and reverence. In their time, both of them disseminated 

worldwide the splendid reputation of the Czech “wind school”, also as soloists of the Czech Philharmonic Orchestra. 

The Stamitz brothers’ concertos afford soloists prodigious scope for virtuosity and musicality. And on this album the 

soloists in question make use of it to the full, thereby providing us with the opportunity to enjoy an hour’s worth of 

music in the style of one of the most significant music centres of the second half of the 18th century. 

carl stamitz / 1745–1801 

Concerto for Clarinet and Orchestra 

in E flat major ………………………………….....24:47 

1 I. Allegro …………………………………………………………………………... 10:51 

2 II. Siciliano. Con espressione ………………………………………………… 6:46 

3 III. Rondo. Allegro ………………………………………………………………..7:02 



Concerto for French Horn and Orchestra 

in E flat major ……………………………………….17:29 

4 I. Allegro moderato ………………………………………………………………7:30 

5 II. Adagio …………………………………………………………………………….4:45 

6 III. Rondo ………………………………………………………………………….. 5:10 

anton stamitz / 1750–? 

Sinfonia concertante for Two Flutes and Orchestra 

in G major …………………………………………… 17:26 

7 I. Allegro ……………………………………………………………………………..7:46 

8 II. Adagio …………………………………………………………………………….3:47 

9 III. Rondo ………………………………………………………………………….. 5:49 

2


ARCHIVE 

SUK TRIO / BEETHOVEN, SCHUBERT 

SU 3959-2 

2 CDs 

Price MD 

In stock May 25, 2008 

UPC Code: 

Recorded at the Domovina Studio, Prague, 

April 8–12, 1963 (CD1/1–7), and in the 

Rudolfinum, Prague, 

August 29 – September 1, 1961 (CD2/1–4) and 

September 7–9, 1964 (CD2/5–8) 


Beethoven: Piano Trio No. 3 in C minor, Op. 1/3; Piano Trio No. 5 in D major (“Geistertrio”), Op. 70/1; Piano Trio 

No. 7 in B flat major (“Archduke Trio”), Op. 97; Schubert: Piano Trio No. 1 in B flat major, Op. 99 

Jan Panenka – piano, Josef Suk – violin, Josef Chuchro – cello 

Over the more than 40 years of its activity, the Suk Trio underwent several personnel changes. Yet it was the “classic” Suk – 

Panenka – Chuchro line-up (the configuration from 1960 onwards) that wrote the most colourful chapter in its illustrious history. 

The ensemble was a rare example of perfect coordination between opposites: a noble virtuoso pianist with a crystal-clear touch 

(Jan Panenka), an earthy and energetic cellist (Josef Chuchro) and a lyrical and melodious violinist (Josef Suk). These 

outstanding individuals managed to uniquely meld together their disparate temperaments, creating a legendary chamber 

grouping that was enthusiastically received by listeners worldwide. 

Beethoven and Schubert’s piano trios were one of the pillars of their repertoire and at the same time represent the first great 

apex of this genre. The 25-year-old Beethoven published Piano Trio No. 3 in C major together with another two trios under the 

opus number “1” in 1795, shortly after his arrival in Vienna. The extensive Trio No. 7, the “Archduke Trio”, was written in 1810- 

11 and is the work of a mature composer. Schubert completed his Trio No. 1 in B flat major during the last year of his life (1827) 

alongside serious and melancholic pieces. The work’s optimistic vein therefore comes as something of a surprise. 

LUDWIG VAN BEETHOVEN (1770–1827) 

Piano Trio No. 3 in C minor, Op. 1/3 (1794–95) - - - - - - - - - - - - - - - - - - - - - - - - 25:07 

1 I. Allegro con brio - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -7:31 

2 II. Andante cantabile con variazioni - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 7:45 

3 III. Menuetto. Quasi allegro - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -3:49 

4 IV. Finale. Prestissimo - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 5:46 

Piano Trio No. 5 in D major, Op. 70/1 “Geistertrio”(1808) - - - - - - - - - - - - - - - - - 25:01 

5 I. Allegro vivace e con brio - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 6:35 

6 II. Largo assai ed espressivo - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -12:14 

7 III. Presto - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 5:59 

CD II - - - - 70:32 

Piano Trio No. 7 in B flat major, Op. 97 “Archduke”(1810–11) - - - - - - - - - - - - - 36:42 

1 I. Allegro moderato - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -12:15 



2 II. Scherzo. Allegro - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -6:00 

3 III. Andante cantabile ma pero con moto. 

Poco piu adagio. Allegro moderato. Presto - - - - - - - - - - - - - - - - - - - - - - - - - - - - 11:43 

4 IV. Allegro moderato. Presto - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -6:34 

FRANZ SCHUBERT (1797–1828) 

Piano Trio No. 1 in B flat major, Op. 99 (1828) - - - - - - - - - - - - - - - - - - - - - - - - 33:38 

5 I. Allegro moderato - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 10:39 

6 II. Andante un poco mosso - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 8:31 

7 III. Scherzo. Allegro - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 5:57 

8 IV. Rondo. Allegro vivace - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 8:20 

2


First time on DVD 

SU 7015-9 

1 DVD 

Price DVD 


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KAREL ANČERL – MY COUNTRY 

Smetana: My Country. Opening concert of Prague Spring 1968 

Beethoven: Concerto in D major for violin and orchestra (recorded in 1966) 

Henryk Szeryng – violin, Czech Philharmonic Orchestra / Karel Ančerl 

Documentary: “Who Is Karel Ančerl?” 

In the year of the centenary of the birth of Karel Ančerl, one of the most distinguished conductors of the 20th 

century, this DVD is an invaluable and authentic document of magnificent artistic achievement and a turbulent life. 

The recording of the opening concert of Prague Spring 1968 captures Ančerl’s performance of Smetana’s My Country 

with the Czech Philharmonic which – over the 18 years he was at the helm – he managed to transform into one of 

the world’s finest symphony orchestras. Ančerl’s “harvest” of the fruit of many years of diligent work was in fact also 

the beginning of his leave-taking from his orchestra, as well as his homeland itself. At the time of the Soviet-led 

invasion of Czechoslovakia in August 1968 the conductor found himself in Toronto. Save for a single guest 

appearance in Prague in 1969, he was never to return to his country. The second filmed concert shows Ančerl in 

action in 1966 with the Czech Philharmonic Orchestra and the outstanding Polish violinist Henryk Szeryng performing 

Beethoven’s violin concerto. The 1968 documentary is a unique encounter with Karel Ančerl. This compact picture of 

his true personality is supplemented by a comprehensive booklet containing a plethora of fascinating and not 

generally known biographical information.

ILLMORE MUSI - Gillmore Music

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