This week includes a ricercar from the Ricercar Consort, and a new Arvo Pärt compilation, good news if you are wanting some “Arvo in the arvo” (apologies to Tim Winton).
Prince Rostislav, Symphony No. 1, by Rachmaninov. Performed by the Royal Liverpool Philharmonic Orchestra with Vasily Petrenko.
“The Royal Liverpool Philharmonic Orchestra and their acclaimed young Russian music director conclude their Rachmaninov cycle with a rarely heard symphonic poem on the heroic subject of a prince who sacrifices himself to save his family. The composer himself was sacrifices on the altar of public opinion after the disastrous premiere of his First Symphony, which has won deserved if belated recognition as fully characteristic of his free-flowing, yearning lyrical style.”-Cover.
Violin Concerto, Trio op. 110, by Robert Schumann. Performed by Isabelle Faust, Alexandre Melnikov and Jean-Guihen Queyras, the Freiburger Barockorchester, Pablo Heras-Casado, conductor.
“This first volume in a trilogy comprising the complete concertos and piano trios of Schumann brings together two late and unjustly neglected works. The instigators of the project, Isabelle Faust, Alexandre Melnikov and Jean-Guihen Queyras, champion their cause with a force of conviction and a choice of instruments that restore the delicate transparency and subtlety of their textures.”-Cover.
Tintinnabuli, by Arvo Pärt. Performed by The Tallis Scholars, with Peter Phillips, director.
“It is with great pleasure that we present our tribute to Arvo Pärt in his 80th year. Tintinnabuli (from the Latin for ‘bell’) is the compositional style created by Arvo Pärt which informs every work on this recording. In all my searchings for inspiring contemporary music I have not come across anyone to rival him.”-Peter Phillips, on cover.
Musikalisches Opfer (=Musical Offering), by J. S. Bach. Performed by the Ricercar Consort.
“Sooner or later the Ricercar Consort had to confront the omnipresent spirit of the ricercar explicitly advocated by Bach in his Musical Offering. This work continues to fascinate musicians, musicologists, and music-lovers. Does it transpose a rhetorical scheme into music, or reflect a heavenly design? Or some other purpose, speculative, even sacred or testamentary? In the order chosen by the Ricercar Consort, the Trio Sonata takes up a central position, separating the three-part ricercar from its six-part counterpart, a dense, fluid work, extremely challenging for the performers. Thanks to the ordering adopted in this new recording, this Ricercar a 6 appears in its full grandeur, illuminated by the mosaic of the canons.”-Cover.