Naxos

If you love Alfven you are sure to enjoy his Dalecarlian Rhapsody. If you love his Swedish Rahpsodies you'll prize this one as you do the others. You may even find it the best of all the Rhapsodies. There are only two other conductors listed with a CD of the Dalecarlian: Jaervi and Sakari. The Dalarapsodi (Dalecarlian Rhaposdy) of 1931 belongs to the composer's later years. Like so many other compostiions from this period it is nostalgic and rather sad. There is a muted feeling in this description of "the dark nature and the melancholy temperament of the Swedes." Like Mahler, here is the strong magnetism of nature. Alfven in this Rhapsody depicts the lonely woods and majestic mountains north of Lake Siljan. The melodies are mostly from that part of Dalecarlia. The Royal Scots are familiar with Alfven. They have a CD of his Second Rhaspsody. Here, they give a performance full of the grace and sweeping paroramic beauty this music deserves.

About a year ago I heard a concert by Cleveland's early music group, Apollo's Fire. They played a piece by Telemann I had never heard before, for instruments I had never heard in combination: flute and recorder. It was the Concerto in e for Recorder, Flute and Strings. The notes to this CD say that this work is ". . .one of Telemann's most celebrated compositions." I guess I was living under a rock! The work is a celebration of both the old (recorder) and new (flute). Maybe it's the last great piece using the recorder until Hindemith? The combination works so well. The instruments remind me of the vocal voices (alto and soprano) in Bach's Cantata Jesu, Der du Meine Seele and the duet, "We hasten to Thee with eager, yet feeble footsteps. Pardon my German! The last movement is a tour de force. A faster tempo I have never heard in music. ". . .bold unison passages, drone bass and exuberant rhythm testify to the composer's sophisticated but irresistible interpretation of Polish folk music." -Nicholas Anderson (liner notes).

Chandos 0661

Turn of the century Czech music was dominated by Dvorak, Smetana, Janacek and Martinu. Novak and his life-long friend Josef Suk (both were students under Dvorak) haven't received the recognition due them quite yet. They belonged to the European Romanticism of Richard Strauss, the romantic side of Debussy with his modern folk-like simplicity, and they leaned toward the German romantic poetry of Mahler or the high-strung expressive style of Schoenberg,

Vitezslav Novak (1870-1949) Lady Godiva, Op. 41 (Overture to the play by Jaroslav Vrchlicky) Toman and the Wood Nymph, Op. 40 (Symphonic Poem after a Bohemian legend for large orchestra) De profundis, Op. 67 (Symphonic Poem for large orchestra and organ) BBC Philharmonic Libor Pesek Chandos

Canta la Maddalena 17th Century Italian Laments Agneletti: Gloria Rossi: Pender non prima vide sopra vil tronco fr Pianto della Madonna Frescolbaldi: Dove, dovesparir; Toccata per l'arpa/Canzon; A pie dellagran Croce Rossi: Toccata Settima per clavicembalo Gratiani: Dominus ove tu Signor; Lagrime Amare; Homai le luci erranti Kapsberger: Toccata per liuto Bernabel: Heu me miseram et infelicem Ferrari: Queste pungenti spine

These works for soprano and ensemble represent the theme of deploration, one of the keystones of Italian baroque innovation during the first half of the 17th century. These lamenti (lamentations) constituted the ideal framework for putting into practice the latest discoveries in expressive solo singing. In this respect sacred music was not far behind the secular concert music of the time. Plaints of Mary Magdalene at the foot of the Cross soon became abundant in Rome where religious music had always occupied a more important position than elsewhere in Italy.

Maria Cristina Kiehr, s; Concerto Soave/Jean-Marc Aymes Harmonia Mundi

Anna Gourari

This is the soundtrack for the film "Invincible." Anna Gourari both acts and performes in the film. It is now available on video.