Naxos Classical Spotlight

Heitor Villa-Lobos is probably the best known of all South American composers. His contribution to Brazilian music—in education, in community projects, in the concert hall—was all-pervasive. Raymond Bisha drops in on Naxos’ ongoing project to record all his symphonies in a new edition that was launched in 2011 by the São Paulo Symphony Orchestra’s publishing branch (Criadores do Brasil) under the general guidance of conductor Isaac Karabtchevsky. Volume 5 features Symphonies Nos. 8, 9 and 11 that are typically rich in engaging details, arresting colours and dramatic gestures.

Published in 1638, Monteverdi’s Eighth Book of Madrigals reflects a genius at the height of his powers and parades an incredible emotional range, from bold proclamations to a beauty and sensuousness that’s almost painful in its intensity. Raymond Bisha introduces the latest recording from the Italian instrumental and vocal ensemble Delitiæ Musicæ, under their founding music director Marco Longhini. Charged with recording for Naxos the complete madrigals of both Claudio Monteverdi and Carlo Gesualdo, the artists’ expert, theatrical response to Monteverdi’s extraordinary word-painting on this latest release confirms their leading status as interpreters of this music.

This year marks the 100th anniversary of the birth of the American composer Lou Harrison, who distinguished himself through his pioneering works in writing for percussion and integrating Western and Eastern idioms. “Everything in the world should be considered a legitimate influence,” he said. In his music, however, the sounds of the largely percussive Javanese gamelan matured from an influence into a complete fusion. Raymond Bisha introduces a new disc of his works, performed by violinist Tim Fain, pianist Michael Boriskin, the PostClassical Ensemble and conductor Angel Gil-Ordóñez, who provides additional commentary.

Reminiscent of the music of Smetana and Dvořák, Vitĕzslav Novák’s works are surprisingly little known outside his native Bohemia. Peter Hall talks with JoAnn Falletta, music director of the Buffalo Philharmonic, about the latest release in her long list of recordings for Naxos that both surprise and delight with their engaging discoveries. Here they unwrap the three works on this new disc’s programme: In the Tatra Mountains, Eternal Longing and Lady Godiva Overture.

Antar was the subtitle of Rimsky-Korsakov’s Second Symphony (1867–68), so when Ravel was asked in 1910 to write incidental music for a play about the 6th-century Arabic warrior-poet, he turned to the Russian maestro’s piece for inspiration. Ravel’s incidental music, however, needed a narrative cloak to make it suitable for the concert platform. This was duly supplied in 2014 by the French-Lebanese writer Amin Maalouf. Raymond Bisha guides us through this historic development of the tale of Antar and his beloved Abla, the Romeo and Juliet of the Arab world.

Giacomo Antonio Domenico Michele Secondo Maria Puccini’s long list of given names was matched by his extensive output of operas, thirteen in all. These masterpieces for the stage have understandably occluded his remarkable set of songs for soprano and piano (and religious songs with organ accompaniment). All of these are now gathered together for the first time on one disc, performed by the radiant voice of Bulgarian soprano Krassimira Stoyanova with adroit accompaniment on piano and organ by Maria Prinz.

Camille Saint-Saëns was arguably the greatest child prodigy ever. His Piano Concerto No. 1, considered the first by a major French composer, was written in 1858. The second, one of his most frequently performed works, followed ten years later. Both concertos are showcased in this latest podcast hosted by Raymond Bisha. The recording is the first of a 3-volume edition in the new Naxos cycle of all five piano concertos, the first to appear in at least a decade and made all the more attractive by the inclusion of numerous additional works for piano and orchestra. The release features sparkling performances from soloist Romain Descharmes under the authoritative baton of French-music expert Marc Soustrot.

The Elora Singers lend their meticulous, magical sound to the captivating music of Patrick Hawes, one of England’s most popular and inspirational choral composers. Raymond Bisha introduces the works on their programme, most of them in world première recordings. The dramatic imagery of Revelation finds a spiritual counterpart in the reflective Beatitudes, the two major works on this new release. Five shorter items complete the programme, with the hauntingly ethereal Quanta Qualia, for choir and saxophone, bringing the disc to a sublime close. Truly, music to refresh the soul.

Stanisław Moniuszko (1819–1872) may not be a household name today, but in 19th-century Poland his reputation as one of the country’s most significant composers was in no doubt. Statues were erected in his honour, competitions were named after him, and his portrait was included on postage stamps and banknotes. His life and prolific output ran parallel to the Polish romantic movement; the political upheaval of the times generated a need to express national identity through art; and Moniuszko found a particularly important niche as the Father of Polish National Opera. Unsurprisingly, Polish dances found their way into both his stage and concert works. Raymond Bisha introduces us to Moniuszko’s fertile orchestral foray into this world of Polish ballet.

The Buffalo Philharmonic’s latest release showcases two suites of music by Richard Strauss: the first, Le Bourgeois Gentilhomme, one of the composer’s favourite scores and an absolute jewel of incidental music; the second, a new symphonic orchestral suite of his opulent opera, Ariadne auf Naxos. Conductor JoAnn Falletta discusses both the music and the context of the recording with Peter Hall.