Antoni

This collection of short choral pieces by Johannes Brahms is an unusual one in present times, partly because many of the choral parts are quite demanding. For a choral club in the 19th century, however, it wouldn't have been so novel, and there are great beauties on offer here. After the fetching Ave Maria, Op. 12, the rest of the program is dense, metaphysical, and, with the partial exception of the Alto Rhapsody, Op. 53, concerned with death. There are two funeral songs, and two more about fate, and this is not the warm, humanistic Brahms of the German Requiem, Op. 45. The performances are profound and dignified, and the overall effect uncanny. The Warsaw Philharmonic Choir under choirmaster Henryk Wojnarowski has a gorgeous rich tone that is undiminished by the long lines of the music, and the Alto Rhapsody achieves real grandeur in the hands of contralto Ewa Wolak. But the real credit goes to the Warsaw Philharmonic and conductor Antoni Wit, who keep a consistent level of tension and momentum in difficult, dark material like the somber Nänie, Op. 82 (Funeral Song), a rarely performed late Brahms masterwork.

The first of Verdi's two late Shakespearian operas stands as one of the great masterpieces of grand opera. José Cura, ranked among the world's leading interpreters of Verdi's music, takes the title role in Willy Decker's profound and intense production, recorded live at the Liceu, Barcelona in 2006 in true surround sound and filmed with high definition cameras.

Penderecki’s Symphony No. 6 ‘Chinese Songs’ is an intimate, chamber-scale work for bass-baritone and orchestra. It sets eight Chinese poems in German adaptations linked with interludes for the two-stringed erhu. It proved to be Penderecki’s last completed symphony and is imbued with great pathos as well as melodic beauty. The Trumpet Concertino is taut, spirited and full of dextrous interplay between the soloist and orchestra. His single-movement Concerto doppio for violin, cello and orchestra, is a work of keen unpredictability.

Brahms’ string concertos are indissolubly linked with the musicians for whom the works were written. He wrote his Violin Concerto for Joseph Joachim, and in it he combined what a contemporary critic termed ‘the great and serious’ with songful lyricism, melodic beauty, and a fiery Hungarian finale. To mend a breach with the violinist, Brahms later composed a concerto with the unusual combination of violin and cello, the latter played at the premiere by Joachim’s colleague Robert Hausmann. Neither instrument predominates in a work of reconciliation that embodies both drama and reflection.

Cançó d'amor i de guerra (en español «Canción de amor y de guerra») es una zarzuela en catalán escrita en dos actos, que se estrenó el 16 de abril de 1926 en el Teatre Nou de Barcelona. Se convirtió en el primer gran éxito del compositor valenciano Rafael Martínez Valls, con texto de Lluís Capdevila y Víctor Mora.