Diese CD bietet eine breite Palette russischer Komponisten, die in der Tradition orthodoxer Kirchenmusik komponierten. Sie reicht von Michail Glinka, Peter Tschaikowsky, Sergej Tanejew und Sergej Rachmaninoff bis zu Alfred Schnittke und Sofia Gubaidulina, von romantisch-expressiven Vertonungen bis zu den expressiven Klängen der beiden neueren Komponisten.

The years have seen Pierre Boulez record for CBS, Erato, EMI, and Philips, among other labels, but his most consistent and critically praised work has appeared on Deutsche Grammophon, where he has conducted the Chicago Symphony Orchestra, the Cleveland Orchestra, the Berlin Philharmonic, and his own Ensemble InterContemporain in many successful performances. These ensembles are heard on this trimline, six-CD box set of Igor Stravinsky's major works, which brings together Boulez's recordings of L'oiseau de feu, Petrushka, Le Sacre du printemps, L'histoire du Soldat, the symphonies, concertos, and other works, recorded between 1980 and 1996. As one of the leading champions of modernism, first as a composer and essayist, then as a prominent conductor, Boulez is regarded as an authority on Stravinsky's oeuvre, and it is difficult to imagine many conductors who have a better understanding of the technical and stylistic issues that affect performances. Boulez is also famous for his precision and meticulousness, which make the details stand out clearly in the rhythmically complex and texturally dense orchestral scores of the ballets, and yet seem so delicate and exact in the concertos and pieces for smaller ensembles.

Collecting five CDs for about the price of three, this set of Boulez recordings is without parallel among the conductor's new-music releases. Imagine getting Boulez's celebrated single CD of Luciano Berio's Sinfonia and Eindrücke and his equally impressive single CD of Arnold Schoenberg's Pelleas und Melisande and Variations for Orchestra, bundled with four pivotal Elliott Carter works, Sir Harrison Birtwistle's electrifying …AGM…, Gérard Grisey's Modulations, Iannis Xenakis's Jalons, Hugues Dufourt's Antiphysis, and Brian Ferneyhough's Funerailles, and you have an idea how far this set stretches.

This is the debut album of Benjamin Bernheim, signed to the Deutsche Grammophon after several sensational appearances with major opera companies. Like many other debuts, it mixes French and Italian arias, with an odd Tchaikovsky item thrown in, but pay attention, and it will be apparent that Bernheim is a cut above. Raised in Switzerland, he has perhaps a natural way with both French and Italian music. You get the feeling, though, that Bernheim could sing almost anything and make it convincing. His voice is not big, but it has many shades, and he falls easily into the grooves of Massenet and Verdi without seeming to shift gears in any way.

Prince Igor is an opera in four acts with a prologue, written and composed by Alexander Borodin. The composer adapted the libretto from the early Russian epic The Lay of Igor's Host, which recounts the campaign of the 12th-century prince Igor Svyatoslavich against the invading Cuman ("Polovtsian") tribes in 1185. He also incorporated material drawn from two medieval Kievan chronicles. The opera was left unfinished upon the composer's death in 1887 and was edited and completed by Nikolai Rimsky-Korsakov and Alexander Glazunov. It was first performed in St. Petersburg, Russia, in 1890.

The Russian State Symphonic Cappella under the energetic direction of Polyansky continue their traversal of Bortnyansky’s monumental production of sacred concertos with an entire disc devoted to those for double choir. As always‚ Bortnyansky delights in the contrasting of textures and dynamics in a spontaneous way that very frequently recalls a composer such as Handel. The joyous antiphonal writing to be found in many of the works on this recording reinforce this impression‚ and the style is meat and drink to Polyansky’s singers. The feeling of cohesion in the Seventh‚ for example (Glory to God in the highest)‚ is achieved‚ in spite of the colourful contrasts that characterise the work‚ completely naturally and convincingly.

Five centuries, seven languages, and six singers with 35 years of remarkable experience inform this rare collection of choral music. In the world-renowned King's Singers resplendent voices, ancient and modern choral music comes to life with all the blazing immediacy and timeliness of the gospel of the nativity. With 25 pieces of music–ranging from familiar works such as "Coventry Carol" to the obscure Tchaikovsky piece "The Crown of Roses"–the King's Singers move through this hallowed and festive set with the vocal mastery that only three-and-a-half decades of accomplished work together is capable of creating. A number of contemporary carols written in the last century by composers such as John McCabe, Philip Lawson, John Rutter, and others are balanced by pieces by Bach and a host of traditional works. Lawson's "You Are the New Day," performed with a string quartet, stands out as one of the more notable performances. Like most of their music throughout Christmas, it reminds listeners that the art of music often interprets divine aspects gladly realized here on Earth.

Alexander Melnikov returns to Rachmaninoff with an exploration of the poetic world of the Variations on a Theme by Chopin. He travelled to Lake Lucerne to record this album on the master’s own piano at Villa Senar, Rachmaninoff’s last summer home. To accompany this eminently lyrical music, he joins forces with the luminous soprano of Julia Lezhneva and invites us to discover some of the Russian composer’s most beautiful songs from this period of intense creative ferment.

«…I tried to fit into the situation created by Vassiliev in the most organic way, so that the music would become an inseparable part of this situation. Nonetheless, I believe that the music to The Iliad is capable of an independent existence. This is greatly enhanced by the remarkable performance skills of the chorus of The Iliad, obtained in collaboration work with Andrei Kotov, Svetlana Anistratova and Tatiana Grindenko – the latter should be especially credited for the majority of innovations in terms of acoustics and articulation, which have become a hallmark of the present recording…» Vladimir Martynov

Ashkenazy and Previn are broadly agreed on choice of tempos throughout the work. At the very opening, after the magical silvery flutes, Ashkenazy is a shade more volatile and he certainly echoes the words "sparkle and dash" in the evocation of the "sledges dashing in a row, their bells jingling". Here his tenor soloist, Ryszard Karczykowski, brings an added degree of temperament to the singing. In the slow movement too, Natalia Troitskaya's contribution has all the freshness of Armstrong, yet there is a natural slavonic feeling too—the singing opens up that bit more, yet without a hint of crudeness.

Matthias Goerne, the Orchestre Philharmonique de Radio France and Mikko Franck continue their series of recordings of Shostakovich's symphonic works with baritone with the Suite on Verses of Michelangelo Buonarroti (1974), and the symphonic poem October (1967). These are two very different works: the first is one of Shostakovich’s most deeply personal creations and has no connection to the ideological issues of Soviet power. The second was commissioned by the Soviet authorities to glorify the 1917 Revolution and is filled with irony. Goerne is the perfect interpreter for Shostakovich’s great cycle of settings of verses by Michelangelo, in which intimate moments where the voice is almost a cappella alternate with powerfully dramatic passages with full orchestra.

This 2009 ECM disc containing the world premiere of Alfred Schnittke's Ninth Symphony, the composer's final work, will be mandatory listening for fans of post-modernist Russian music, or contemporary music in general. Begun after the premiere of Schnittke's Eighth Symphony in 1994 and unfinished at the composer's death in 1998, the Ninth existed only as three movements of manuscript (and indecipherable manuscript at that: a stroke had paralyzed Schnittke's right side, forcing him to write with his left hand) until composer Alexandr Raskatov deciphered the manuscript and conductor Dennis Russell Davies presented its premiere. As presented in this January 2008 recording, Schnittke's Ninth continues and extends the austere sound world of the Eighth into ever more severe zones. There's no denying this is the authentic voice of Schnittke: the etiolated textures, abrupt gestures, timeless tempos, and haunting themes have clear roots in the composer's preceding works. Davies and the excellent Dresdner Philharmonie appear acutely conscious that the Ninth was the composer's last work, but the tone of leave-taking is inherent in Schnittke's inward music.

SOMM Recordings is delighted to announce Hush!, the second release by the extraordinary voices (BBC Radio 3) of female quintet Papagena following their internationally acclaimed, Amazon classical chart-topping debut, The Darkest Midnight (SOMMCD 0189). Hush! unearths a treasure trove of songs largely neglected on disc to deliver a stunning follow-up to The Darkest Midnight. Where it hymned the cold, harsh glamour of sun-starved winter, Hush! playful, poignant, poetic and primed with the expectation of joy celebrates the warmth and light of love.