Podcast: Three American Classics

Raymond Bisha introduces a new release of three American orchestral triumphs in stunning performances by the youthful ranks of the National Orchestral Institute Philharmonic under GRAMMY Award-winning conductor David Alan Miller. Carl Ruggles’ Sun-treader, Steven Stucky’s Concerto for Orchestra No. 2 and John Harbison’s Symphony No. 4 constitute the programme’s towering trio of symphonic masterpieces. Read More …

Podcast: Castelnuovo-Tedesco’s Cello Concerto. A radiant rediscovery.

The composer Mario Castelnuovo-Tedesco moved from Italy to the US during the turmoil of the Second World War. That he should have been immediately befriended by such musical giants as violinist Jascha Heifetz and cellist Gregor Piatigorsky speaks reams about the respect the Italian engendered. His Cello Concerto was commissioned by Piatigorsky, who premiered the Read More …

Podcast: ‘Rach 3’. The Mount Everest of piano concertos.

Raymond Bisha helps turn the pages of Rachmaninov’s Third Piano Concerto, following the release of Boris Giltburg’s fine performance of the work with the Royal Scottish National Orchestra and conductor Carlos Miguel Prieto. Noted for its length and technical difficulty, ‘Rach 3’ (its popular moniker) is reckoned to have more notes than all of Mozart’s Read More …

Podcast: Robert Schumann’s works for cello

Although storm clouds were starting to gather over Robert Schumann’s mental health in the years 1849–50, it proved a remarkably fertile period for his musical output, not least as reflected in works featuring the cello. The majority of the pieces on this new release were composed during that period, some with the instrumentation as originally Read More …

Podcast: Airs of authority. Concertos for guitar duo.

The combined gifts of the extraordinary Brasil Guitar Duo and two eminent Latin American composers produce a depth of experience and rare musical beauty in two concertos for guitar duo. Cuban composer Leo Brouwer has written ten concertos for guitar, but The Book of Signs is his first for guitar duo. Paulo Bellinati’s Concerto Caboclo Read More …

Podcast: A final flourish.

The new Naxos edition of Saint-Saëns’ works for piano and orchestra reaches its final volume with a recording of the composer’s Piano Concertos Nos. 4 and 5, works described by soloist Romain Descharmes as “brilliant music that opens doors to a new world”. The Fourth Concerto showcases virtuosic music written by one of history’s most Read More …

Podcast: Every step of the play. Prokofiev’s score for the ballet Romeo and Juliet.

As was often the case, bringing performances of classical music to fruition in Russia’s Soviet era was more challenging than the actual composition. Responding to a commission from the Bolshoi Ballet in 1935, Prokofiev quickly completed the task of writing a score for Romeo and Juliet, but the first performance had to be postponed owing Read More …

Podcast: 3 new concertos. 1 original composer. Michael Daugherty.

Michael Daugherty is one of today’s leading American composers. Previous Naxos recordings of his works have received no fewer than seven GRAMMY® awards. His latest release features three recently completed concertos, respectively for flute, tuba and percussion. The programme boasts a rare line-up of female soloists and a release date that coincides with Women’s History Read More …

Podcast: Burgess meets Bach

Anthony Burgess wrote The Bad-Tempered Electronic Keyboard in 1985 to mark the 300th anniversary of the birth of J. S. Bach. It was also the year he took receipt of a new electronic synthesiser that offered Piano, Organ, Frog and Funny among its pre-set sounds. The musical homage that resulted sports an intriguing mix of Read More …

Podcast: All in the family. 3 concertos. 1 orchestra.

Principal players from the Nashville Symphony Orchestra step up to the solo spotlight in world premiere recordings of 3 wind concertos. Frank Ticheli’s Clarinet Concerto pays homage to a different American composer in each of its three movements; Brad Warnaar’s Horn Concerto attests to the composer’s own professional mastery of the instrument; while Behzad Ranjbaran’s Read More …