“My Faith Stands Firm – Cristoph Graupner Cantanas for bass voice” – Michael Hix, baritone

Very often discussions regarding the composer Christoph Graupner (1683-1760) places him in comparison with J.S. Bach. If one has heard of Graupner, it is usually the bit of trivia that he was offered the Leipzig Thomaskirche cantor position before Bach. Of particular interest, however, is the vastness of extant material Graupner composed. There are scores for over 1,400 of Graupner’s church cantatas. Forty-seven of these are for solo bass voice with a variety of instrumental pairings. One can assume that the majority of these works were written for the bass (and composer) Gottfried Grünewald (1665-1739), whom Graupner knew in Leipzig and with whom he worked at the opera in Hamburg. Grünewald served as the vice-capellmeister in Darmstadt under Graupner from 1713 until his death. In addition to the forty-seven solo bass cantatas, Graupner also wrote seventeen duet cantatas for soprano and bass. Alongside the staggering number of cantatas, Graupner composed a wealth of instrumental music including keyboard works, more than 100 sinfonias, and a canon with 5,626 inversions. The sheer volume of this relatively unexplored repertoire is thrilling but also overwhelming, making categorization of Graupner’s overall musical style problematic. This recording, featuring cantatas and instrumental works composed between 1720 and 1745, offers the listener an introduction to Gaupner and an important, if small, piece in the larger puzzle that is Graupner’s life and work. It premieres Graupner to a wider music world largely ignorant of this talented and nearly unknown Baroque composer by baritone Michael Hix, Chair of the Department of Music at the University of New Mexico, praised by critics for his “expressive voice” and “commanding stage presence”, and whose research has brought Christoph Graupner to light through this album.

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“We Praise Our God” – Music from the Chapel of St. Mary the Virgin

 “We Praise Our God” captures the daily and uniquely beautiful rhythm of chapel worship at Nashotah House Theological Seminary, an Anglican seminary in Nashotah, Wisconsin, founded in 1842. Each day of the academic year begins with Morning Prayer and Holy Eucharist. The day ends with Evensong, the music taken from The Hymnal 1982 and the Nashotah House Plainsong Psalter or the New Nashotah House Anglican Chant Psalter. Once a week, on Thursdays, the day begins with sung Matins in the morning, followed by a community music rehearsal when new music and a brief singing lesson are offered. Thursday’s Solemn High Eucharist in the evening is usually attended by the wider community of student and faculty families. This album attempts to recreate the experience of the “Alleluia, Sing” LP recording of the early 1970s, from the opening track of Nashotah’s beloved bell, Michael, to new settings of the Mass Ordinary used in the chapel, along with compositions by Nashotah faculty. The album was primarily recorded from live services during the celebration of the Feast of the Annunciation of our Lord Jesus Christ to the Blessed Virgin Mary on March 24 and 25, 2022.

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Vierne – The Complete Organ Symphonies

Louis Vierne inhabits a unique place in the development of the Organ Symphony. Following in the footsteps of his teacher, Charles-Marie Widor, Vierne brought the organ symphony to its pinnacle with his six symphonies, written between 1895 and 1930. Symphonic in style, structure, and form, rather than forces, these solo organ works are exquisite composition examples of the last great late French Romantic organ composer. As the thirty-one movements of these symphonies offer a staggering variety of character, from majestic to whimsical, and from deep despair to unbridled joy; the venues offer an equally broad variety of organs and acoustics. Concert Organist Eric Plutz performs the Complete Organ Symphonies of Louis Vierne superbly and spectacularly on six separate organs around the United States from New York to Texas. This album is the culmination of “The Vierne Project,” a series of performances of the complete Vierne organ symphonies in celebration of the composer’s 150th birthday in 2020. The University Organist at Princeton University, Eric Plutz is one of only a handful of organists to embark on such a venture. As an organ concert soloist, he has performed on distinguished and historic instruments across the United States and abroad including in Germany, Austria, and France.

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The Genius of Ysaÿe

“THE GENIUS OF YSAŸE” presents several masterpieces by the legendary Belgian violinist and composer Eugène Ysaÿe (1858-1931), including three world premiere recordings – the first recording of his recently discovered Introduction for Solo Viola, as well as the world premiere recordings of Ysaÿe’s final versions of his Two String Trios for violin, viola and cello (Op. 33 and Op. 34). Ysaÿe’s marvelous Sonata for Solo Cello, Op. 28 is also among the gems on this album, in addition to his most wellknown masterpiece – the “Ballade” (Sonata No. 3) from his Six Sonatas for Solo Violin Op. 27. The performers of this splendid album – violinist Elmira Darvarova, violist Ronald Carbone and cellist Samuel Magill – have been involved for years with Ysaÿe’s String Trio No. 1, Op. 33, also known as “Le Chimay” (a work, hailed in the press as one of the greatest chamber music compositions of the 20th Century), and they presented its New York premiere in 2008. After thoroughly studying and researching manuscripts and various editions of Ysaÿe’s Trios, the artists came across the recently published editions of Ysaÿe’s final versions of his Two String Trios for violin, viola and cello, Op 33 and Op. 34 – as revised and finalized by the composer. These magnificent works reflect the undiminished power of the immortal legacy of Eugène Ysaÿe as a genius musician whose extraordinary achievements as a superstar performer, teacher, ensemble leader, orchestra conductor and composer spread beyond his time. This album brings superb interpretations of stunningly beautiful compositions, as a glorious tribute to one of the most brightly shining stars that ever graced the world of virtuoso artists – the incomparable Eugène Ysaÿe.

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We For Love – (Justice 4 Every Child–An initiative of Kailash Satyarthi Children’s Foundation)

JUSTICE FOR EVERY CHILD–AN INITIATIVE OF KAILASH SATYARTHI CHILDREN’S FOUNDATION

“We for Love” is a project curated, produced and presented by young sarod virtuosos, Amaan Ali Bangash and Ayaan Ali Bangash, to raise awareness for Justice For Every Child campaign launched by Kailash Satyarthi Children’s Foundation (KSCF). This campaign provides legal and mental health support to child victims of rape and sexual abuse. Through this campaign, KSCF aims to intervene in nearly 5000 strategic cases across 100 districts in India.

In their “We For Love” project, Amaan Ali Bangash and Ayaan Ali Bangash have been joined by some of the most reputed names from the music world and entertainment industry including Karan Johar, Karsh Kale, Malini Awasthi, Mahesh Kale, Shubha Mudgal and the iconic Sarod Grand Master Amjad Ali Khan. The cover art has been created by the prolific Paresh Maiti. The proceeds of this project go directly to KSCF.

Children are our future. Their protection is an issue which should concern all of us. There are many such subjects which require immediate attention. However, we need to place children above everything else as their development is critical to their future. Donate to the campaign to ensure that child victims of rape and sexual abuse receive the much-needed support in their quest for justice. Together we can and we must ensure justice for every child.

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Chamber Music by José Serebrier

 The most frequently-recorded conductor of our time, who has collaborated with some of the world’s greatest soloists and orchestras, and is among the most sought-after guest conductors, constantly touring with major orchestras around the world, and the recipient of music’s most coveted honors, including 8 GRAMMY^® awards, 2 Guggenheim Fellowships, the Deutsche Schallplatten Award for Best Orchestral Recording, and the Audiophile Magazine’s Award for Best Orchestral Recording (to name just a few) JOSÉ SEREBRIER (b.1938) established himself as a significant composer as far back as the 1950s, with over 100 published works. Serebrier composed music and conducted orchestras since early childhood, conceiving his Opus 1 – Sonata for solo violin at the age of 9, and making his conducting debut at age 11. A composition student of Vittorio Giannini at Curtis, Serebrier also studied with Aaron Copland at Tanglewood, and developed his conducting skills under the auspices of Pierre Monteux and Antal Dorati, as well as through his 5-year association with Leopold Stokowski and the American Symphony Orchestra. Serebrier’s Symphony No.1 (written in just 2 weeks at age 17), was world-premiered by Stokowski, who later also conducted two other works by Serebrier. For 2 consecutive years (the 1968-69 and 69-70 seasons), George Szell named José Serebrier Composer-in-Residence of the Cleveland Orchestra, where Serebrier composed important experimental works (such as his avant-garde concerto Nueve, written for double bassist Gary Karr). Starting with his first-ever work, his Sonata for Solo Violin, Op. 1, José Serebrier has been a major composer of historical importance, whose oeuvre is complex, multi-layered, sophisticated and endlessly inspiring. This album presents seven chamber works by José Serebrier, five of which as world premiere recordings. Serebrier’s luminous lyricism, resplendent melodic language and fascinating harmonies are already evident even in his Op.1 violin sonata, a veritable masterpiece. In addition to Serebrier’s Violin Sonata and the Fantasy for Solo Flute at dusk, in shadows… this album also presents the world premiere recording of Serebrier’s Sonata for Solo Viola, as well as the world premiere recording of his Suite for Solo Cello in 5 movements. Three other world premiere recordings of works by Serebrier are also included: If I Can Stop One Heart From Breaking for Horn, Violin and Narrator (after Emily Dickinson’s poem), M.M.P. for Flute and Cello (a delightful short duet) and Nostalgia (transcribed for Solo Violin by Elmira Darvarova). The exhilarating interpretations of the renowned artists – violinist Elmira Darvarova (former Concertmaster of the Metropolitan Opera), violist Ronald Carbone (Principal Violist, American Ballet Theatre), cellist Samuel Magill (former Associate Principal Cellist, Metropolitan Opera), flutist Lucian Rinando (Elysian Ensemble) and hornist Howard Wall (New York Philharmonic), as well as the inclusion of five world premiere recordings, make this outstanding disc a desirable acquisition. 

High Res Audio

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