John Rose

Navona Records is proud to present MUSIC FOR STRING QUARTET, the world premiere recording of renowned composer Leonard Bernstein’s long-lost work. Composed by an 18-year-old Bernstein during his studies at Harvard, the piece has been steadfastly shepherded from its re-discovery to this historic release by former Boston Symphony Orchestra Librarian John Perkel, and is performed here by Lucia Lin, Natalie Rose Kress, Danny Kim, and Ronald Feldman. “Movement I” and the newly-discovered “Movement II,” which was found within the U.S Library of Congress, are accompanied here by the seldom-recorded duo piece Elegies for Violin and Viola by composer Aaron Copland, a musical mentor, collaborator, and dear friend of Bernstein’s.

Sinfonia of London and John Wilson present an album that celebrates the golden age of Hollywood. Sinfonia of London rose to fame in the 1950s as the leading recording orchestra of the day, appearing in the musical credits of more than 300 films, including the 1958 soundtrack by Bernard Herrmann for Hitchcock’s Vertigo. Reformed by John Wilson in 2018 as a recording orchestra, and made-up of some of London’s finest orchestral musicians, their first recording of Korngold’s Symphony in F# won the orchestral award from BBC music magazine, and drew critical acclaim worldwide. Korngold’s Overture from the private lives of Elizabeth and Essex which opens the programme is an excellent demonstration of his rich, chromatic sound-world that set a blue-print for the Hollywood sound and so many composers that followed. Although the songs were written by Harold Arlen, it was Herbert Stothart’s score for The Wizard of Oz that won the Oscar, and it is his suite from the movie that features here. There are also suites from Max Steiner’s Now, Voyager and Franz Waxman’s Rebecca (receiving here it’s premiere recording). Shorter pieces from David Raksin, Frederick Loewe, Johnny Mandel and Alfred Newman complete this rewarding programme.

It's telling that Do What You Want Be What You Are, Sony/Legacy's comprehensive, career-spanning Daryl Hall and John Oates box set, takes its title from a moderately successful mid-'70s single from the duo, written and recorded just as the group was hitting their creative stride. The slow Philly groove of "Do What You Want Be Who You Are" may have hearkened back to the duo's soul roots, side-stepping some of the outré pop experiments they had done just two years earlier on War Babies, but Hall & Oates took the title's sentiment to heart, blurring boundaries between rock, pop, and soul in a way that wasn't always easy to appreciate at the peak of their popularity in the '80s…

This is a beautiful selection of arias from Handel’s oratorios composed in the latish 1740s. Each one is a gem and David Daniels again proves himself the leading “operatic” countertenor of our day. He possesses one of the few countertenor voices that might be called “sensual”, not to mention one of the few with any respectable volume. He even puts pressure on it occasionally–as opposed, say, to Drew Minter or Alfred Deller, who aim (aimed) for a diaphonous sound.

–Robert Levine

In order to fully appreciate a John Pizzarelli listening experience, the following accoutrements are recommended: candles, rose petals, and a bit of bubbly. Because a night of romance is what's to be expected when one of the contemporary jazzman's discs is playing in your living room or boudoir. Pizzarelli's music is renowned for capturing all of the little nuances of love in confections that are light, breezy, and finger-snapping smooth. The singer/guitarist is one of the early 21st century's more notable jazz interpreters of the younger generation, and he has thus far devoted his career to presenting the classics in his own compositions on his albums. On his second Telarc release, Let There Be Love, Pizzarelli pulls back his arrow again and shoots out a 15-song tribute to romance – from its endearingly awkward beginnings to steadying middle to the enduring golden years.