Jeffrey Likera

This recording, made in 1991, dates from what was perhaps the heyday of the English Chamber Orchestra (although the group's vigorous activities remain undiminished). The ECO, with origins as a conductorless Baroque orchestra, functioned smoothly as an ensemble, with a restrained sound and a high level of mutual sensitivity among the players. In these late Haydn symphonies, that translated into readings that were exceptionally effective in bringing out the humorous details and asides, the extensions of phrases so that they end with a wink or a joke, that are the essence of late Haydn. The orchestra is probably about the size of the one Haydn had at his disposal in London.

Melodic Revolution Records is thrilled to announce the long-awaited solo album by Scarlet Hollow bassist and composer Jeffrey Erik Mack. When you think of Progressive Rock music you might imagine overambitious chord progressions, pompous synthesizer noodling, and long, endless musical phrases that never seem to end. But, think again. Jeffrey Erik Mack’s music is much deeper than that. In fact, it is the epitome of Prog with poetic storytelling through the medium of instrumental music.

The first 14 of the 16 symphonies chosen span the years 1771, when Mozart was 15, through to 1773, when he produced in the G minor No. 26, his first out-and-out masterpiece among the symphonies. In addition to the regularly numbered works Tate includes the so-called Symphonies Nos. 48 (adapted from the overture to Ascanio in Alba) and 50 (adapted from the overture to Il sogno di Scipione). Then, almost as an appendix to the rest, come two more adaptations from opera overtures, dating from 1775-6, No. 51 (from La finta giardiniera) and No. 52 (from Il re pastore, with an adaptation of an aria inserted).

Ex Cathedra and Jeffrey Skidmore unearth more fascinating treasures with this latest anthology of Latin American music from the seventeenth and eighteenth centuries. The first volume—‘New World Symphonies’, released in 2003 on CDA67380—has been hugely popular, getting regular airplay on Classic FM.

Elgar’s Falstaff is a proud, good-humoured, larger-than-life knight, not the amorous figure of fun portrayed by Verdi: Henry IV rather than The Merry Wives of Windsor. This Falstaff needs careful handling, as the composer’s superb 1931 recording makes clear. Jeffrey Tate is remarkably successful in bringing the old fellow to life and, indeed, in putting him to sleep before the Dream Interlude, with its exquisitely nostalgic violin solo. This is a performance full of character and contrast, and it finds the LSO in true virtuoso form: excellent string playing and a suitably gruff bassoon for Falstaff’s protestations.

Fire Burning in Snow, the third volume in Ex Cathedra's series of Baroque music from Latin America, is strong testimony to the vitality of the musical scene in South America in the sixteenth and early seventeenth centuries. The bulk of this album is devoted to the sacred and secular choral music of Juan de Araujo (1648-1712), who was born in Spain, but whose family moved to South America when he was a child. He lived in Peru and Panama, but spent most of his adult life in La Plata, Bolivia, where he was the organist at the cathedral. The music recorded here is notable for its almost Monteverdian range of styles and expressiveness. This selection of Araujo's strongly rhythmic work includes a rigorously polyphonic motet for triple choir; a simple, lovely lullaby for women's voices; and many stylistically diverse choral villancicos.

Antonio Vivaldi (1678-1741) remains best known as a composer of virtuosic instrumental music, particularly in the form of concertos like The Four Seasons. This CD, first released in 1991, demonstrates that Vivaldi’s large-scale sacred choral music is equally stunning.