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English Chamber Orchestra & Neil Thomson – Serenata: Brazilian Music for Chamber Orchestra (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:08:13 minutes | 1,21 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Naxos
Brazilian composers in the 19th century often sought state scholarships to enable them to study in Europe where they were to become influenced by the German, Italian and French compositional schools. They also became involved in the vogue for writing suites based on ancient dances, such as Nepomuceno’s delightful Ancient Suite, premiered at Grieg’s home, or Braga’s Madrigal-Pavana which evokes the belle époque ballrooms of Rio de Janeiro. Miguéz’s Suite in the Old Style is polyphonic and lively, while Gomes’ Sonata for Strings is his finest non-operatic work.
Read more![Benjamin Hochman, English Chamber Orchestra - Mozart: Piano Concertos 17 & 24 (2019) [Official Digital Download 24bit/96kHz] Download](https://imghd.xyz/images/2022/08/31/hgbiu2bkpxjya_600.jpg)
Benjamin Hochman, English Chamber Orchestra – Mozart: Piano Concertos 17 & 24 (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 59:18 minutes | 1,09 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Avie Records
These interpretations of Mozart by Benjamin Hochman – a musician born in Jerusalem in 1980 and a graduate of the Curtis Institute of Music and of the Mannes College of Music in New York where he studied with Claude Frank and Richard Goode – could never be accused of dwelling on the past. Here, he has surrounded himself with the English Chamber Orchestra, an ensemble that he himself conducts and which has dedicated itself many times to this essential corpus of the piano concerto, for example with Murray Perahia for CBS in the 1980s, or with Daniel Barenboim for EMI twenty years before. For this session, recorded at St. John Smith Square in London on the 1st and 2nd of April 2019, Hochman has chosen two of the most renowned concertos, the tragic 24th and the more cheerful and lyrically demure 17th. These vigorous interpretations may surprise listeners by the apparent lack of feeling and also by the clear polyphonies, almost as if obsessed with honouring the memory of J.S. Bach. Over the course of the 2019-2020 season, Benjamin Hochman is focussing primarily on Mozart and is performing a complete collection of the Sonatas at the Israel Conservatory in Tel Aviv, as well as several other Mozart recitals on various other stages. He is a pianist that would be interesting to hear in France, also especially playing Schubert, who remains one of his favourite composers.
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Anne Akiko Meyers, English Chamber Orchestra, Steven Mercurio – AIR – The Bach Album (2012)
FLAC (tracks) 24 bit/96 kHz | Time – 57:33 minutes | 1,11 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © eOne Music
This release by California violinist Anne Akiko Meyers looks both backward and forward. Meyers’ playing is a throwback to a style of Bach playing that was common a couple of generations ago but isn’t much heard anymore: flowery, heavy on the vibrato, a bit sentimental, with moments of slight tempo rubato in both the violin and the orchestral accompaniment of the English Chamber Orchestra (which was always the go-to group for this style) under Steven Mercurio. The novelty factor here involves the magic of overdubbing, which has been commonplace in pop since Patti Page’s hits of the 1940s but is still a rarity in classical music: Meyers uses a pair of Stradivarius violins in the Concerto for two violins, strings, and continuo in D minor, BWV 1043, playing both herself. Whether or not you are fully on board with these approaches, you’re likely to agree that Meyers executes them both quite well. Her pitch is precise in the Violin Concerto in A minor, BWV 1041, and she pulls on the heartstrings in the arrangements of the so-called Air on a G string from the Orchestral Suite No. 3 in D major, BWV 1068, and the Bach/Gounod Ave Marie. But the real attraction is the Double Concerto, where Meyers makes the most of her two violins, the “Molitor” of 1697 (the violin I part) and the “Royal Spanish” of 1730. The latter has a slightly rougher tone that Meyers deploys very effectively in its lower register. Though it’s not everyone’s cup of tea, this recording has met with well-deserved commercial success.
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