Kristin Berglund

Here comes another splendid album by Paavo Berglund, devoted to Russian music that was so dear to his heart. This recording includes two suites excerpted from major operas: Rimsky-Korsakov’s The Golden Cockerel, a cruel tale about the devastating effects of ambition and power quest, and Prokofiev’s frivolous Betrothal at the Monastery, the suite of which he entitles Summer Night.

Warner Classics brings you the for the first time for streaming, a remastered recording of Paavo Berglund with the Bournemouth Symphony Orchestra and composer & pianist John Ogden. Ogden was a fierce promoter of the works of Richard Yardumian (1917-1985) who was an Armenian-American composer, and whose post-Romantic music was popularized by his close partnership with Eugene Ormandy and the Philadelphia Orchestra. Ogden had a particularly close connection with the Passacaglia, Recitative and Fugue featured in this album, this piece is still very rarely put on record, it's rich yet easily accessible. This recording also features Glazunov's Piano Concerto No. 1.

Má vlast, also known as My Fatherland, is a set of six symphonic poems composed between 1874 and 1879 by the Czech composer Bedřich Smetana. The six pieces, conceived as individual works, are often presented and recorded as a single work in six movements. They premiered separately between 1875 and 1880. The complete set premiered on 5 November 1882 in Žofín Palace, Prague, under Adolf Čech.

Emmy & Tony award-winner Kristin Chenoweth’s new album, For The Girls, is a heartfelt tribute to the great female singers throughout history, particularly some of Kristin’s heroes and friends. Guest artists include Ariana Grande, Dolly Parton, Jennifer Hudson and Reba McEntire. Produced by GRAMMY award-winner Steve Tyrell, the album includes Chenoweth’s personally charged interpretations of classic songs identified with such iconic artists as Barbra Streisand, Lesley Gore, Linda Ronstadt, Dinah Washington, Dolly Parton and many more.

The sound of the horn epitomized stormy emotions for composers of Romantic music. Robert Schumann is said to have spoken of the horn as being the orchestra's soul. For poets, the horn's sound was a symbol of the soul's longing. For horn players, however, what was at stake for much of the Romantic period was the soul of the horn itself, for it was an instrument that faced experiment and change occasioned by new technology, notably the invention of the valve. This recording explores and illustrates this important era in the evolution of the horn.