Rene Herse

Stephen Paulus was an astonishingly prolific fixture of the American music scene, with some 600 works to his credit. His sudden death in 2014 left classical music—particularly the worlds of opera and choral music—significantly the poorer, so it’s inevitable that we should see his legacy memorialised with new additions to the catalogue. Royal Holloway’s ‘Calm on the Listening Ear of Night’ sets Paulus’s music in dialogue with another Midwestern composer, René Clausen. It’s Clausen whose musical personality emerges most strongly here in these precise performances. His works offer a distinctively American spin on the fashionable Baltic sound world of Ešenvalds and Vasks that is as appealing as it is generous. In pace, which opens the disc, offers eight minutes of lushly filmic excess.

There were lots of theatrical Rousseaus in the 18th century and Jean-Jacques (1712–78) was only the most famous of them. A fair amount of the intellectual impulse of Romanticism can be traced to (or blamed on) him. A poseur and charlatan in the grand format, this music copyist also found time to compose music, and this is his most enduring piece. Indeed, it is his only enduring music.

Two well-known tenor greats go on a special journey of discovery: René Kollo and Jay Alexander sing evening songs by Schubert, Brahms, Mendelssohn and Schumann. The famous songs from the Romantic era have all been rearranged for string orchestra and have been produced in this form in the studio for the first time. The unique album, which will be released on February 11, 2022, combines two well-known voices that complement each other perfectly in their differences. The two singers can be heard as a duet and as a soloist, creating a completely new listening experience for these songs.

René Thomas (1927-1975) was considered the best European jazz guitarist of his generation by fellow musicians and critics, but his career was marred by the pervasive skepticism of jazz fans. Despite trying hard to carve his own space, he never obtained the recognition he deserved for his immense talent, perhaps because of his introverted character and prolonged withdrawals from the scene.

Founded by René Jacobs in 1977 for a series of recordings with harmoniamundi France, Concerto Vocale soon built up a reputation on theEuropean musical scene as a major force in the rediscovery of therepertoire of Baroque chamber music for voices. Alongside René Jacobs,the ensemble secured the services of musicians of the front rank, amongthem William Christie, Sigiswald and Wieland Kuijken, Konrad Junghänel,and Jaap Ter Linden.

Multiple prize-winning conductor René Jacobs and the B’Rock Orchestra complete their Schubert cycle on Pentatone with the composer’s two most famous symphonies, the Unfinished and Great. In his extensive liner notes, Jacobs develops a theory that the B Minor Symphony did not remain “unfinished”, but was deliberately left unfinished, because Schubert shaped its two movements in analogy to Mein Traum (My Dream), an autobiographical narration in two parts, written in 1822, simultaneous to the creation of the symphony. While the first half of Mein Traum tells about his mother’s decease and his problematic relationship to his father, the second part enters a magical, Romantic realm, and eventually brings a reconciliation with his father.