Overture

"Vienna" was a kind of Japanese super-group because of inclusion of 4 musicians who used to play in popular prog-rock bands: Yukihiro Fujimura ("Gerard"), Shusei Tsukamoto ("Outer Limits"), Toshimi Nagai ("Afflatus" & later also "Gerard") and Ryuichi Nishida ("Novela" & "Mugen")…

This release comprises both a symphony and rarely recorded opera overtures by Dvořák. The chief conductor of the orchestra, Finnish maestro Pietari Inkinen, continues the Dvořák Cycle begun under the baton of Karel Mark Chichon. The Second Symphony, composed when Dvořák was 24, was certainly no masterpiece, neither was its revised version. Nevertheless, it is an extraordinary testament to Dvořák’s talent since it clearly bears his stamp, even though it shows the influence of others. “This man has more ideas than all of us put together”, Brahms said in appreciation of Dvořák’s output. This is certainly borne out when listening to the Second Symphony.

Chandos Chaconne's J.C. Bach: Overture "Adriano in Siria" features the Academy of Ancient Music under Simon Standage in four symphonies (one is an overture; for Bach there was no difference between the structure and function of these two forms) and the Sinfonia Concertante in C major, T. 289/4. The last-named work is the best music here; a loving realization featuring soloists Rachel Brown (flute), Frank de Bruine (oboe), and conductor Standage (violin) combining in pleasing harmony while managing to shine individually. This is exactly what Bach had in mind when he wrote the music, and this performance is to be preferred over the only other recording of the work on Capriccio.

The sparkling overture to Leonard Bernstein's 1956 musical Candide immediately found a prominent place in concert programmes all over the world and is now one of his most frequently performed pieces. Many of Bernstein's best-loved works drew inspiration from the city of New York, and this is true both of the three sailors pursuing female conquest in the ballet Fancy Free, and of the rip-roaring swing rhythm and big tunes from the musical Wonderful Town. Bernstein celebrated his friends and family with his Anniversaries - piano vignettes heard here for the first time in colourfully expanded orchestrations. Marin Alsop's long association with Bernstein gives her unique insights into his music.

The work group formed by Telemanns overture suites is regarded as exemplary and even today offers a wealth of discoveries and the three works presented here in album recording premieres certainly answer this description. It is difficult to determine the chronological order of Telemanns extant overture suites because the composer incorporated very different influences into them, not only from French music since the invention of the form by Jean-Baptiste Lully but also from the Lullists active in Germany such as Johann Sigismund Kusser, Philipp Heinrich Erlebach, and Johann Fischer.

"Vienna" was a kind of Japanese super-group because of inclusion of 4 musicians who used to play in popular prog-rock bands: Yukihiro Fujimura ("Gerard"), Shusei Tsukamoto ("Outer Limits"), Toshimi Nagai ("Afflatus" & later also "Gerard") and Ryuichi Nishida ("Novela" & "Mugen"). What could go wrong with such splendid line-up…

Italian group Overture began as Sons of the Rascals back in January 2010, but it's taken a name change, a tweaking of the original line-up and several years for the group to be ready to offer their confident self-titled debut in 2018, but the wait has been very much worth it!
The album is inspired by the progressive masterpieces of the 70s, but also incorporates influences of neo-prog and many other genres, due to the varied and heterogeneous background of the musicians involved.
On the record, five stories are told based on imagination and fantasy, which musically describe five fantastic worlds in which to transport the listener.

Strong but delicate, deliberate but subtle, driven but supple, Masaaki Suzuki's 2005 recording of Bach's Italian Concerto and French Overture for harpsichord are quite convincing in their own distinctive way. In Suzuki's hands, the opening crash of the Italian Concerto is as instantly arresting as the powerful opening prelude and fugue from the French Overture is immediately appealing.