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Singapore Symphony Orchestra, Ziyu He, Søren Rastogi, Hans Graf – Paul von Klenau: Concertos · Symphony No. 8 (2023)
FLAC (tracks) 24 bit/48 kHz | Time – 01:18:41 minutes | 761 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Dacapo Records
This album presents a glimpse of Paul von Klenau’s vast collection of music created during the Second World War when he produced works, almost obsessively, until his passing in 1946. The album includes world premiere recordings of Klenau’s Violin Concerto, Piano Concerto and Symphony No. 8, showcasing his mastery of both tonal and atonal sonorities, his distinctive introspective style, and his exceptional talent for venturing into uncharted musical realms.
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Singapore Symphony Orchestra, Singapore Symphony Chorus and Youth Choir & Hans Graf – Józef Kozłowski: Requiem (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 49:15 minutes | 933 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © PENTATONE
The Singapore Symphony and its music director Hans Graf present a recording of Józef Kozłowski’s Requiem, together with the Singapore Symphony Chorus & Youth Choir, as well as a quartet of outstanding soloists: Olga Peretyatko (soprano), Olesya Petrova (mezzo-soprano), Boris Stepanov (tenor) and Christoph Seidl (bass). The Requiem (1798) was commissioned to Kozłowski by the abdicated King Stanisław of Poland, and can be perceived as a requiem not just for the monarch, but for the entire Polish nation, absorbed by the Russian state during the 1780s. Interestingly, the work was also heard during the funeral of Tsar Alexander I of Russia, in a different version with heavier orchestration and choruses for more drama. The current recording uses a new edition created by conductor Graf himself, realizing the intimate character of the original 1798 version. Composed just 7 years after Mozart’s famous Requiem, the work is rooted in Viennese Classicism, yet also adumbrates nineteenth-century developments, with a subtle Slavonic tinge. This revival is a gem to anyone interested in music from the early Romantic era.
The Singapore Symphony returns to Pentatone after their acclaimed recording of Vivaldi’s Four Seasons and Locatelli’s Labirinto armonico starring violinist Chloe Chua (2023). Hans Graf, the Singapore Symphony Chorus & Youth Choir and the vocal quartet all make their Pentatone debut.
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Paul Merkelo, Jae-hyuck Cho, Russian National Orchestra & Hans Graf – Arutiunian, Weinberg & Shostakovich: Trumpet Concertos (2022)
FLAC (tracks) 24 bit/192 kHz | Time – 01:01:38 minutes | 2,08 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Naxos
The trumpet has had many concertos written for it by composers from the Soviet era and beyond. Appealing in its unabashed melodies and colourfully nostalgic feel, Arutiunian’s Trumpet Concerto became popular in the West, while Weinberg’s emotive Trumpet Concerto in B flat major was summed up by Shostakovich as a ‘symphony for trumpet and orchestra’. Shostakovich’s own playful Concerto No. 1, Op. 35 is recorded here with Timofei Dokschizer’s extended trumpet part, bringing it closer to the Baroque ‘double concerto’ model that the composer may initially have intended. The three works featured on this recording each has a connection with virtuoso trumpeter Timofei Dokshizer, who commissioned and premiered a succession of such pieces. A major attraction for this release is Paul Merkelo playing Shostakovich’s extremely popular Piano Concerto No. 1 (which also features acclaimed pianist Jae-Hyuck Cho) in a version with archival cadenzas and ornamentation by Timofei Dokschizer.
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London Philharmonic Choir & Orchestra, Hans Graf – Orff: Carmina Burana (2014)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:00:42 minutes | 552 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © London Philharmonic Orchestra
Carl Orff’s Carmina Burana is an infectious and brilliantly orchestrated work, combining gloriously bawdy vulgarity and moments of touching beauty. The inspiration for the work struck Orff in 1935 when he encountered a vivid set of medieval poems charting the outlandish pursuits of hedonistic students and monks. Written purely for entertainment in vernacular Latin, medieval French and German, the satirical texts poked fun at what they saw as a hypocritical church, before indulging in erotic fantasy and pondering ideas of fate and fortune.
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