Classical Music Discoveries

Tadlow Music is proud to announce the release of the classic film music event of the decade – a special collector’s edition of one of the greatest film scores of all time – Ben-Hur composed by Miklós Rózsa. The complete 157-minute score, including previously unreleased music, has been re-recorded in stunning and dynamic 24-Bit 96kHz digital sound, performed by the award-winning City of Prague Philharmonic, conducted by Nic Raine and produced by label founder James Fitzpatrick. Purchase now at: http://www.classicalsavings.com/store/p470/Mikl%C3%B3s_R%C3%B3zsa%3A_Ben-Hur_Complete_Restored_Soundtrack.html

Ein Heldenleben (A Hero's Life), Op. 40 is a tone poem by Richard Strauss. The work was completed in 1898. It was his eighth work in the genre, and exceeded any of its predecessors in its orchestral demands. Generally agreed to be autobiographical in nature, despite contradictory statements on the matter by the composer, the work contains more than thirty quotations from Strauss's earlier works, including Also sprach Zarathustra, Till Eulenspiegel, and Death and Transfiguration. ​ Produced and Conducted by Joana Filipe Martinez CMD Grand Opera Company of Barcelona Spain Purchase now at: http://www.classicalsavings.com/store/p469/R_Strauss%3A_Ein_Heldenleben.html

Ein Heldenleben (A Hero's Life), Op. 40 is a tone poem by Richard Strauss. The work was completed in 1898. It was his eighth work in the genre, and exceeded any of its predecessors in its orchestral demands. Generally agreed to be autobiographical in nature, despite contradictory statements on the matter by the composer, the work contains more than thirty quotations from Strauss's earlier works, including Also sprach Zarathustra, Till Eulenspiegel, and Death and Transfiguration. ​ Produced and Conducted by Joana Filipe Martinez CMD Grand Opera Company of Barcelona Spain Purchase now at: http://www.classicalsavings.com/store/p469/R_Strauss%3A_Ein_Heldenleben.html

Daphnis et Chloé is a ballet in one act with three parts by Maurice Ravel described as a choreographic symphony. The story concerns the love between the goat herd Daphnis and the shepherdess Chloé. ​ Ravel began work on the score in 1909. It was premiered on June 8, 1912. At almost an hour long, Daphnis et Chloé is Ravel's longest work. In spite of the ballet's duration, four discernable leitmotifs give musical unity to the score. The music, some of the composer's most passionate, is widely regarded as some of Ravel's best, with extraordinarily lush harmonies typical of the impressionist movement in music. Even during the composer's lifetime, contemporary commentators described this ballet as his masterpiece for orchestra. When the complete work is performed live, it is more often performed in concerts than in staged productions. Conducted by Joana Filipe Martinez CMD Grand Opera Company of Barcelona Purchase now at: http://www.classicalsavings.com/store/p468/Ravel%3A_Daphnis_et_Chlo%C3%A9.html

Daphnis et Chloé is a ballet in one act with three parts by Maurice Ravel described as a choreographic symphony. The story concerns the love between the goat herd Daphnis and the shepherdess Chloé. ​ Ravel began work on the score in 1909. It was premiered on June 8, 1912. At almost an hour long, Daphnis et Chloé is Ravel's longest work. In spite of the ballet's duration, four discernable leitmotifs give musical unity to the score. The music, some of the composer's most passionate, is widely regarded as some of Ravel's best, with extraordinarily lush harmonies typical of the impressionist movement in music. Even during the composer's lifetime, contemporary commentators described this ballet as his masterpiece for orchestra. When the complete work is performed live, it is more often performed in concerts than in staged productions. Conducted by Joana Filipe Martinez CMD Grand Opera Company of Barcelona Purchase now at: http://www.classicalsavings.com/store/p468/Ravel%3A_Daphnis_et_Chlo%C3%A9.html

Symphony No. 28 in C Major, K. 200 Tantum ergo in D, K. 197 Sparrow Mass in C Major, K. 220 Purchase now at: http://www.classicalsavings.com/store/p467/Mozart_-_Working_at_the_Webers.html

Symphony No. 28 in C Major, K. 200 Tantum ergo in D, K. 197 Sparrow Mass in C Major, K. 220 Purchase now at: http://www.classicalsavings.com/store/p467/Mozart_-_Working_at_the_Webers.html

WARRIOR MONKS is a collection of two clarinet concerti and a trumpet concerto by Carl Vollrath that span topics of war, solace, fascination, and reverence among many others. “And Bugles Sang” drew inspiration from the unique juxtapositions in Benjamin Britten’s “War Requiem” and explores the many ways the trumpet is used as a symbol throughout human history. At times the trumpet is brash and lyrical, expressing ecstasy; in other instances it is strident and rhythmic perhaps reflecting charges into battle; and yet in an instant it reappears low and mellow in what could be heard as a faux-lullaby. The virtuosity in this piece is not to be understated. The next two concerti were inspired by a trip Vollrath took to China and his powerful impression of “a complex culture which contained an old traditional heritage with a new contemporary injection.” He expresses this fusion especially in “Land of Lanterns” in which he uses various layers of melodies to create rich harmonies and active polyphony; the moments in which the solo clarinet returns to a pure pentatonic are especially poignant. “Dragon Land” further explores Vollrath’s time in China, approaching his experience with a heightened sense of drama. Angular clarinet melodies, quick dynamic changes, and flashes of folk melodies present vignettes that reflect a society where ancient practices and modern influences coexist, at times in discord and at times in harmony. Coincidentally, the final movement of this piece was inspired by warrior monks and became the impetus for the album. A warrior monk is a person trained deeply in both spiritual studies and martial arts; they are engrained with a vast knowledge of their culture and entrust that heritage to the pupils they train. At the same time, they are equipped with the skills to defend it at all costs. This duality inspired Vollrath to create this collection of works, dedicated to those who strive to cultivate acceptance and respect for other cultures. Moreover, it is dedicated to the memory of those who have sacrificed their lives to do so. Purchase now at: http://www.classicalsavings.com/store/p466/Warrior_Monks.html

WARRIOR MONKS is a collection of two clarinet concerti and a trumpet concerto by Carl Vollrath that span topics of war, solace, fascination, and reverence among many others. “And Bugles Sang” drew inspiration from the unique juxtapositions in Benjamin Britten’s “War Requiem” and explores the many ways the trumpet is used as a symbol throughout human history. At times the trumpet is brash and lyrical, expressing ecstasy; in other instances it is strident and rhythmic perhaps reflecting charges into battle; and yet in an instant it reappears low and mellow in what could be heard as a faux-lullaby. The virtuosity in this piece is not to be understated. The next two concerti were inspired by a trip Vollrath took to China and his powerful impression of “a complex culture which contained an old traditional heritage with a new contemporary injection.” He expresses this fusion especially in “Land of Lanterns” in which he uses various layers of melodies to create rich harmonies and active polyphony; the moments in which the solo clarinet returns to a pure pentatonic are especially poignant. “Dragon Land” further explores Vollrath’s time in China, approaching his experience with a heightened sense of drama. Angular clarinet melodies, quick dynamic changes, and flashes of folk melodies present vignettes that reflect a society where ancient practices and modern influences coexist, at times in discord and at times in harmony. Coincidentally, the final movement of this piece was inspired by warrior monks and became the impetus for the album. A warrior monk is a person trained deeply in both spiritual studies and martial arts; they are engrained with a vast knowledge of their culture and entrust that heritage to the pupils they train. At the same time, they are equipped with the skills to defend it at all costs. This duality inspired Vollrath to create this collection of works, dedicated to those who strive to cultivate acceptance and respect for other cultures. Moreover, it is dedicated to the memory of those who have sacrificed their lives to do so. Purchase now at: http://www.classicalsavings.com/store/p466/Warrior_Monks.html

“The Pretend Garden-Girl” is an Italian opera and was mentally copied from Mozart’s hearing of the 1774 opera of the same name by Pasquale Anfossi which Mozart heard while at the Weber’s in Munich. This amazing mental feat of hearing an entire opera, only one time, then improving and copying the entire opera to paper as his own opera, shows just how brilliant Mozart’s natural music talent was. Also, amazingly, the opera was written to paper, parts and scores in less than a week and was performed for the first time on January 13, 1775. There is no doubt that the entire Weber family helped Mozart with the copying. The story follows Count Belfiore and the Marchioness Violante Onesti (or the Violent but Honest Marchioness), who were lovers before Belfiore stabbed Violante in a fit of rage. The story begins with the revived Violante and her servant Roberto disguised as "Sandrina" and "Nardo," and quietly working in the mansion of the town Podestà. Violante discovers that Belfiore has become engaged to Arminda, the niece of the Podestà, and when Belfiore confesses his lingering love for Violante, Arminda jealously conspires to abduct the other woman. When Violante is found, she and Belfiore lose their minds and believe themselves to be Greek gods. When they regain their senses Violante forgives the Count and they fly to each other's arms. Arminda returns to Cavalier Ramiro, her spurned suitor, and Roberto finds love with Serpetta, another servant of the Podestà. This performance is by the CMD Grand Opera Company of Venice and is conducted by Dominique Beaulieu. Purchase now at: http://www.classicalsavings.com/store/p465/Mozart%3A_The_Pretend_Garden-Girl.html

“The Pretend Garden-Girl” is an Italian opera and was mentally copied from Mozart’s hearing of the 1774 opera of the same name by Pasquale Anfossi which Mozart heard while at the Weber’s in Munich. This amazing mental feat of hearing an entire opera, only one time, then improving and copying the entire opera to paper as his own opera, shows just how brilliant Mozart’s natural music talent was. Also, amazingly, the opera was written to paper, parts and scores in less than a week and was performed for the first time on January 13, 1775. There is no doubt that the entire Weber family helped Mozart with the copying. The story follows Count Belfiore and the Marchioness Violante Onesti (or the Violent but Honest Marchioness), who were lovers before Belfiore stabbed Violante in a fit of rage. The story begins with the revived Violante and her servant Roberto disguised as "Sandrina" and "Nardo," and quietly working in the mansion of the town Podestà. Violante discovers that Belfiore has become engaged to Arminda, the niece of the Podestà, and when Belfiore confesses his lingering love for Violante, Arminda jealously conspires to abduct the other woman. When Violante is found, she and Belfiore lose their minds and believe themselves to be Greek gods. When they regain their senses Violante forgives the Count and they fly to each other's arms. Arminda returns to Cavalier Ramiro, her spurned suitor, and Roberto finds love with Serpetta, another servant of the Podestà. This performance is by the CMD Grand Opera Company of Venice and is conducted by Dominique Beaulieu. Purchase now at: http://www.classicalsavings.com/store/p465/Mozart%3A_The_Pretend_Garden-Girl.html

The misadventures of the Knight of the Woeful Countenance as only Richard Strauss could illustrate through music. Joana Filipe Martinez, conductor/producer CMD Grand Opera Company of Barcelona Orchestra Purchase this digital download now at: http://www.classicalsavings.com/store/p464/R_Strauss%3A_Don_Quixote%2C_Op._35.html

The misadventures of the Knight of the Woeful Countenance as only Richard Strauss could illustrate through music. Joana Filipe Martinez, conductor/producer CMD Grand Opera Company of Barcelona Orchestra Purchase this digital download now at: http://www.classicalsavings.com/store/p464/R_Strauss%3A_Don_Quixote%2C_Op._35.html

Nabucco is an Italian-language opera in four acts composed in 1841 by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The libretto is based on biblical stories from the Book of Jeremiah and the Book of Daniel and the 1836 play by Auguste Anicet-Bourgeois and Francis Cornue, although Antonio Cortese's ballet adaptation of the play (with its necessary simplifications), given at La Scala in 1836, was a more important source for Solera than the play itself. Under its original name of Nabucodonosor, the opera was first performed at La Scala in Milan on 9 March 1842. Nabucco is the opera which is considered to have permanently established Verdi's reputation as a composer. He commented that "this is the opera with which my artistic career really begins. And though I had many difficulties to fight against, it is certain that Nabucco was born under a lucky star". It follows the plight of the Jews as they are assaulted, conquered and subsequently exiled from their homeland by the Babylonian King Nabucco (in English, Nebuchadnezzar II). The historical events are used as background for a romantic and political plot. The best-known number from the opera is the "Chorus of the Hebrew Slaves", Va, pensiero, sull'ali dorate / "Fly, thought, on golden wings", a chorus which is regularly given an encore in many opera houses when performed today. CMD Grand Opera Company of Venice Recorded by CMD Recordings Purchase now at: http://www.classicalsavings.com/store/p463/Verdi%3A_Nabucco.html

Nabucco is an Italian-language opera in four acts composed in 1841 by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The libretto is based on biblical stories from the Book of Jeremiah and the Book of Daniel and the 1836 play by Auguste Anicet-Bourgeois and Francis Cornue, although Antonio Cortese's ballet adaptation of the play (with its necessary simplifications), given at La Scala in 1836, was a more important source for Solera than the play itself. Under its original name of Nabucodonosor, the opera was first performed at La Scala in Milan on 9 March 1842. Nabucco is the opera which is considered to have permanently established Verdi's reputation as a composer. He commented that "this is the opera with which my artistic career really begins. And though I had many difficulties to fight against, it is certain that Nabucco was born under a lucky star". It follows the plight of the Jews as they are assaulted, conquered and subsequently exiled from their homeland by the Babylonian King Nabucco (in English, Nebuchadnezzar II). The historical events are used as background for a romantic and political plot. The best-known number from the opera is the "Chorus of the Hebrew Slaves", Va, pensiero, sull'ali dorate / "Fly, thought, on golden wings", a chorus which is regularly given an encore in many opera houses when performed today. CMD Grand Opera Company of Venice Recorded by CMD Recordings Purchase now at: http://www.classicalsavings.com/store/p463/Verdi%3A_Nabucco.html