Alain Denou

This recording marks the beginning of the collaboration between the Frankfurt Radio Symphony Orchestra and its new music director, the French conductor Alain Altinoglu, who conducts the leading European and American orchestras and has made a reputation for himself in every repertory – not forgetting opera at Salzburg, Bayreuth, and La Monnaie in Brussels, where he is music director. Their first disc pays tribute to a composer whose bicentenary is celebrated in 2022, César Franck, with the famous Symphony in D minor and two less well-known works, presented in new editions: the symphonic poem Le Chasseur maudit (1882) and the large-scale symphonic interlude from the oratorio Rédemption, composed in 1872 after the Paris Commune, performed here in its first version, long considered lost.

Jean-Jacques Kantorow follows his critically acclaimed recording of music by Édouard Lalo with a second disc featuring two further works that were originally intended for Sarasate, the brief Fantaisie-ballet on themes from Lalo’s ballet Namouna, and the large-scale Concerto russe. The Concerto russe borrows themes from two wedding songs included by Rimsky-Korsakov in his collection 100 Russian Folk Songs.

Known as the ‘First Lady of the organ’, Marie-Claire Alain was a strikingly mature, creative and intuitive artist. Spanning four centuries of music, from Baroque masterpieces by the likes of Couperin and Grigny, through cornerstones of the French organ repertoire by Widor, Vierne and Messiaen, to two discs of works by her brother Jehan, this collection is testament to her vast and impressively wide-ranging recording legacy.

L'histoire d'un dandy fasciné par Marcel Proust, les drogues et le rock. Publication du manuscrit perdu et retrouvé, complété d'une introduction biographique et de documents d'archives personnels d'Alain Kan. …

This compilation in Verve's laudable Jazz in Paris reissue series features two separate soundtracks of original music. The first features a dozen works by French saxophonist Barney Wilen, written for Edouard Molinaro's Un Témoin dans la Ville, with a quintet consisting of Kenny Dorham, Duke Jordan, Kenny Clarke, and bassist Paul Rovere. While many of the pieces were only heard as musical fragments in the film, and several of them are little more than a brief chorus or two in recorded form, the music doesn't need visuals to be effective. Best is Wilen's sole appearance on soprano sax, the mellow duo ballad with Jordan of "Mélodie pour les Radio-Taxis." None of the tunes is particularly memorable, though the music is certainly enjoyable…

The number of Aho recordings has grown substantially since my 2009 MusicWeb survey, The Music of Kalevi Aho. Initially, that focused on BIS releases, as the label’s championed this composer’s work from the start – eClassical lists 35 albums so far – but others are showing interest, too. Which is why we’ve now set up a dedicated, easy-reference index, with links to every single Aho review published by MWI. Our feisty Finn, 70 this year, is a fast worker – I reviewed three of his latest albums just a few months ago – so all credit to BIS for recording his new pieces with commendable speed. Even then, there’s still a lot waiting in the wings.

Heinrich VIII. als Oper? Da erhofft man sich einen großen Historienschinken - und man bekommt einen großen Historienschinken. Einen der feinsten Güte allerdings. Für seine 1883 uraufgeführte Oper hat der anglophilie Saint-Saëns sogar in der Bibliothek des Buckingham Palace recherchiert - von wo er schließlich die choralartige Leitmelodie für seine schillernde Hauptfigur mitbrachte. Spannend an der mit gediegenstem Handwerk ausgeführten Oper ist, dass sich Komponist und Librettist auch darüber hinaus spürbar für die historischen Hintergründe interessierten.

Heinrich VIII. als Oper? Da erhofft man sich einen großen Historienschinken - und man bekommt einen großen Historienschinken. Einen der feinsten Güte allerdings. Für seine 1883 uraufgeführte Oper hat der anglophilie Saint-Saëns sogar in der Bibliothek des Buckingham Palace recherchiert - von wo er schließlich die choralartige Leitmelodie für seine schillernde Hauptfigur mitbrachte. Spannend an der mit gediegenstem Handwerk ausgeführten Oper ist, dass sich Komponist und Librettist auch darüber hinaus spürbar für die historischen Hintergründe interessierten. Anders als etwa in Donizettis so viel berühmterer Henry-Oper Anna Bolena wird hier der Fokus nämlich nicht allein auf fiktive Liebe- und Eifersüchteleien der Protagonisten gelegt. Was Saint-Saëns ebenso eindringlich zeigt, das sind die politisch-religiösen Motivationen der Handelnden.