Decca Music New Releases - Classical Music New Releases.

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LISTEN & WATCH
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>> The Screening Room http://www.deccaclassics.com/screeningroom
This month we're launching a new video Screening Room, where we've collected
together some of the best videos from all our stars. As a launch 'special',
we have a brand new video documentary all about Shostakovich's 9th Symphony.
It features rare archive footage of Prokofiev describing the genesis of this
powerful work, and also Valery Gergiev talking about his recording (to be
released next month). To see it, open the screening room link below and
search under "Valery Gergiev" [nb, you will need to have Real One player
installed for this feature]
http://www.deccaclassics.com/screeningroom

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CLASSICAL NEWS
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>> In the Studio
Cecilia Bartoli is currently in the studio in London recording her Salieri
disc for release later this year. Vladimir Ashkenazy is the studio in
Suffolk, UK later this month to begin recording Shostakovich solo piano
works.

>> Matthias Goerne award success
Matthias Goerne has been awarded the Sir Georg Solti prize for his Schone
Mullerin recording by the Academie du Disque Lyrique in France. Decca
scooped the Reichenbach prize for The Golden Ring on DVD (the making of
Solti's Ring Cycle). Both prizes will be awarded on the 8th April at the
Opera Bastille in Paris. Read more about this release here -
http://www.deccaclassics.com/newsandnewreleases/september2002/470025.html

>> Juan Diego Fl�rez - "Una furtiva lagrima" released this month
Juan Diego's new album is released internationally this month. We've pasted
specific release dates where we have them at
http://www.deccaclassics.com/juandiegoflorez . The album is also available
in SACD format, which we've all listened to in the office and is frankly
breathtaking! In the meantime, here is an excerpt from a specially
commissioned article about this simply stunning new album that has the
critics in raptures.

"After his success at Pesaro, Fl�rez had the world at his feet, and he
hasn't looked back. Ferrari of course took him to the Wexford Festival
(Meyerbeer's L'etoile du nord). Then he did Rossini's Armide in Milan; a
concert performance of Donizetti's lost opera Elisabetta for the Royal Opera
at the Royal Festival Hall, London; Otello; Cenerentola in a new production
and La sonnambula earlier in 2002 in a new Covent Garden staging, as well as
making appearances at the leading international opera venues in between:
Semiramide in Vienna, Barbiere in Berlin. Fl�rez is convinced that he is a
natural for comedy and for roles that are not intended to strain the voice.
And the rest of the world seems to agree. The lost Donizetti opera,
Elisabetta, discovered in a cupboard in Covent Garden's cellars, again
demonstrated his ability to get on top of a difficult role incredibly
quickly - as he was standing in for Giuseppe Sabbatini. Those who have
worked with him on stage say that he has a formidable memory about not just
his part of the production, but about what everybody else is doing too. He
is certainly no seven-day wonder. He is a natural for all those marvellous
young bel canto romantic roles in Bellini and Donizetti - such as Arturo and
Nemorino (to be given in Las Palmas, 2004 and 2005), Elvino, Ernesto and
Tonio (all in his current repertoire) - where his youth and the directness
with which he projects his melodies and his words are like God's gift.

Rossini, Bellini and Donizetti are known as "bel canto" composers. They
wrote operas in which what mattered most was the beauty and lyricism of the
songs characters sang to and about each other. Italian and French are both
very singable languages, and all three composers provided for both markets.
Writing in the decades after the battle of Waterloo, Bellini and Donizetti
were the first really successful opera composers to focus on the tenor voice
as one of the biggest assets of the opera business. For the previous 150
years the great opera stars were either women or castrati. So what marked
out many of the tenor roles in Bellini and Donizetti's successful new operas
was the revelation of natural feeling, and the sheer sexual authenticity of
a tenor's passions. The music on Florez's new "bel canto" CD of Bellini and
Donizetti goes very high, demanding attention, and the melodies are very
sweet and filled with sentiment. They also sometimes demand great virtuosity
and sustaining power in the lungs, as well as a really intimate kind of
musical expressiveness. These tenor roles are usually not powerful
characters, but young hopefuls caught in a love knot that is difficult to
untie." Read the rest of this article at
http://www.deccaclassics.com/juandiegoflorez

>> Riccardo Chailly at 50 - new recording of Mahler's "Des Knaben
Wunderhorn"
Riccardo Chailly's 50th birthday celebrations this year are heralded with
the arrival of not one, but two new releases along with five Double Decca
reissues! Rossini's "Stabat Mater" is the first brand new recording, and the
first time Chailly has recorded Rossini's masterpiece. Mahler's "Des Knaben
Wunderhorn" is an unusual version, presenting the work with four soloists
(most previous recordings feature just two) and including the formidable
vocal talents of Matthias Goerne and Barbara Bonney. In a unique article
published recently in International Record Mirror, our colleague from
Universal Classics Australia Cyrus Meher- Homji describes his experiences at
the recording sessions:

"A chance meeting with Decca's producer Andrew Cornall in one of the
Concertgebouw's green rooms, following a Bartoli / Thibaudet recital,
results in an invitation to attend the recording sessions of Des Knaben
Wunderhorn. Chailly and the Royal Concertgebouw have just toured with it. On
holiday in Amsterdam, I decide it's too good an opportunity to pass up - and
indeed, it would have been!

Fascinatingly, many of the symphonies requiring 'fillers' are imaginatively
coupled: No. 1 with the Dutch composer Theo Verbey's orchestration of Berg's
Piano Sonata, Op. 1; No. 6 with Zemlinsky's Maeterlinck-Lieder; No. 7 with
Diepenbrock's Im grossen schweigen. So, predictably, this recording of
Knaben Wunderhorn is going to be no two-soloist-and-orchestra affair.

Four voice types are chosen - soprano (Barbara Bonney), mezzo (Sarah
Fulgoni, who so impressed Chailly as one of the team of soloists for his
Mahler 8 recording), heldentenor (G�sta Windbergh) and baritone (Matthias
Goerne). 'The four voices version is the result of research made in making
the new
edition which looked at who Mahler worked with when performing the songs'
says Cornall. 'The results of this research gave a different picture than
the modern two-voice version and showed that Mahler had very specific voice
types in mind. Chailly's version distils this information into a workable
solution based on research by Donald Mitchell.' Revelge, for instance seems
always to have been sung by a dramatic tenor. Fulgoni sings Urlicht
(together with Himmliche Leben, the only song grafted onto the cycle from a
symphony). And the remainder of the songs are shared between Bonney and
Goerne.

Chailly's method of recording is very systematic. First, a complete take of
the song. Then, soloist, conductor, concertmaster and some of the orchestral
members come into the control room to listen. Notes are taken, points are
discussed and another take (if not full, then at least extensive) of the
song in question is made. This is followed by a very few sectional takes.

Of the four soloists, Goerne is the most intense, always questing, always
questioning. His big eyes burning, he paces up and down the studio like some
caged, hungry lion. And his performances have not only all the terror
(internalised or otherwise) but also a wonderful sense of repose. Bonney and
Goerne are scheduled for the first day's sessions. Goerne's creation of
horror on stage is balanced by Bonney's relaxed sublimity. She's busy with
her crochet in the studio ('wonderful, pre-recording therapy' she describes
it as) and then goes up and delivers the most sublime Himmlische Leben. Of
course, she and Chailly have lived and breathed that song through their many
performances and recent recording of Mahler 4. But it's different - quicker
in some spots and, as with any great artists, created anew. Two takes and it
's done.

Amsterdam meanwhile bakes. One of the hottest summers on record. It doesn't
stop patriotic Dutchmen and women from taking to the streets in bright
orange for yet another marathon is taking place - world cup soccer. So Day 2
of the sessions sans air conditioning makes the Concertgebouw a virtual
sauna. Cornall explains that it is one of the most 'living, breathing'
acoustic he's worked in. It can change - alarmingly sometimes - from one
moment to the next; even during the course of a session. So the musicians
must tune more often, but their intensity and warmth changes not a jot.

Never through the sessions do you hear an angry word from Chailly. It's
music making with friends. No despot he. And the results show. Yes, Chailly'
s Mahler can terrorise, but it also has a lucidity and clarity which, dare I
say, is unmatched on record. Comparisons are odious. Mahler-Chailly /
Chailly-Mahler: it occupies its own artistic space.

Constantly, Chailly exhorts the musicians to do two things: 1. 'Everything
that Mahler says'; 2. To pay enormous attention to the articulation. It's
what, it seems, gives his Mahler a quasi-Mendelssohnian clarity. But they
have lots of fun too, in the process. Mendelssohn's midsummer Bottom is
matched by Mahler's raucous Cuckoo in Lob des hohen Verstandes. The (big)
orchestra seems to be making chamber music with Barbara Bonney who after
reaching for the soprano stratospheres in Himmliche Leben, must now tackle
huge leaps to low notes. will she get paid extra for her low notes, she
cheekily asks!

The final evening sessions include Urlicht. Amsterdam's hot spell has
resulted in the city submerged in cloud cover. Chailly goes for the unusual
option of a breath between 'r�schen' and 'rot'. Cornall isn't altogether
convinced. So Fulgoni, the young and eager Italian-born, UK-based mezzo,
sings it both ways. Regardless, primeval light shines through Amsterdam's
clouds.

Bonney, having enticed us with stories of her topless Pamina for what, she
says, will be one of her last operatic performances (Flute in 2001), has
done all she has to. Goerne arrives for some final 'touch-up' takes of
things he's not 150% satisfied with. such a perfectionist. All is completed
with 8 minutes to go. Goerne and Chailly talk about their forthcoming
concerts to include the Fahrenden Gesellen Lieder and Chailly exhorts the
singer to seek out Mengelberg's recordings of these.

>> Valery Gergiev & Vadim Repin recording wins Caecilia award
The emotionally charged recording of "Tchaikovsky and Myaskovsky Violin
Concertos" with Vadim Repim and Valery Gergiev has just won Belgium's
coveted Caecilia Award. Both Maestro Gergiev and Repin were delighted with
the award as they explain below:

"I was delighted to learn that my recent recording of the Tchaikovsky and
Myaskovsky Violin Concertos with Vadim Repim has been awarded a prestigious
Caecilia Award. This recording was a very special dream for me as I always
wanted to record this repertoire with Repim - someone who has made many of
his professional debut's under my baton (France, Germany, Holland, Japan and
UK amongst others). We have made music together for many years and it is
therefore very special for me that this recording has been recognised in
such a way. With many thanks to the classical music journalists in Belgium
and many congratulations to Repim!! " - Valery Gergiev

"Valery Gergiev and I have been making music together for over 17 years, but
this is the first time our collaboration has been put on record, so to
speak. The Tchaikovsky Violin Concerto, a great and glorious challenge in
the violinist's repertoire, seems to take on an extra special quality when
it is shaped by Valery Gergiev and his orchestra. We have performed it
together many times, and over the years it has grown and developed in such a
way that we felt it was high time we finally committed it to disc. I am
delighted that we were able to couple it with Myaskovsky's concerto - a
neglected and yet major work, which I hope through this recording will have
the place it deserves in our musical literature. As a proud holder of
Belgian citizenship, I am delighted to have been honoured in my country with
a Caecilia Award. " - Vadim Repin

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CROSSOVER & SOUNDTRACK NEWS
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>> Bond and Robbie Williams in the "Johnny English" soundtrack
Guaranteed to raise a smile! Rowan Atkinson's bumbling Bond spoof character
Johnny English, makes his debut on the big screen this month. We've seen the
film. and now have the fabulous soundtrack released this month. It features
a brand-new, exclusive (and really, rather good) track from Robbie Williams,
as well as the theme song from Bond, and tracks from Abba and Moloko. You
can read all the details about the film at our new soundtrack feature here.
http://www.deccaclassics.com/music/soundtracks/johnnyenglish.html

Lemper: Every album I make is made because of the previous one. But One
Day was inspired by Punishing Kiss, where Elvis Costello, Nick Cave, Tom
Waits and the Divine Comedy wrote songs for me. It was the first time I
could get away from Weill, but I wanted to keep everything I ever sang in my
coat pocket and take them with me into the next century. First, I wanted to
write the whole album myself - I had 25 or 35 songs. But my label said, "We
need some repertoire also, because your fans want to see you sing Weill,
Piazzolla, and Jacques Brel."

Lemper: I never recorded Brel and I've been singing him for a few years
now. I just recently discovered Piazzolla's music, but I couldn't cut the
songs in Spanish. You have to speak the Spanish of this very specific
neighborhood in Buenos Aires, which I don't know. I didn't meet the
appropriate person to teach me so far!

>> Ashley MacIaasac releases Decca debut album in US & Canada
Acclaimed virtuosic fiddler Ashley MacIsaac releases his debut self-titled
Decca album in the USA and Canada, and will be released internationally
later this year. The album is a panoramic musical journey that features
Ashley's strongest playing to date, and also sees the famed instrumentalist
singing on six tracks.

When Ashley MacIsaac burst on the worldwide scene with 1995's "Hi, How Are
You Today?" (A&M) he scored the kind of coup instrumental artists often
dream of. Going triple-platinum in Canada and breaking down radio barriers
with the Gaelic single "Sleepy Maggie," Ashley became an immediate pop icon,
rebellious and exuberant, resplendent in kilts, army boots and combat pants.
Copping from rockers' sensibilities, Ashley made an aesthetic of it onstage,
effortlessly blending his Celtic heritage with contemporary elements such as
punk, electronica, hip-hop and grunge. Audiences who may have felt alienated
by Ashley's disregard of convention were instantly won over by his dazzling
displays of grit, passion and authority. Recalls Ashley at the time, "My
father once told me, 'If you want to play the fiddle, get mad at it or don't
play it at all.'"

Following a departure from A&M in 1999, Ashley experienced a personal and
professional rebirth. With a renewed desire to pursue his own inimitable
brand of music making, he signed a new recording contract with Decca and
began conceiving his next album. Through Decca, Ashley was introduced to
producer Roger Greenwalt, who has also worked with No Doubt and Nils Lofgren
among others. The music collectively assembled for the record included
original pop tracks and traditional melodies/covers, resulting in a tapestry
of eclectic styles. Tracks like Nick Drake's "Cello Song," and "Save Me
From Tomorrow," "Grapes," and "Captain America" were already in the can when
co-producer/mixer Kevin Killen (U2, Peter Gabriel, Elvis Costello), came on
board. Suggesting the addition of real drums and bass as well as some
atmospheric guitar and keyboards, Killen's contributions rounded out the
overall sound of the album.

When the subject of vocals came up, all Greenwalt and Killen needed was one
listen to Ashley's voice and they were sold. "It's a cool voice," Greenwalt
enthuses. "It's really there in 'Captain America,' and in 'Lay Me Down,'
where he's like a real blues belter." "Lay Me Down" and "I Don't Need This"
are perhaps Ashley's most mainstream, pop efforts to date, contrasting
catchy melodies and vocals against his trademark fiddle playing. Also
featured on the album is Wings' 1977 smash, "Mull of Kintyre," with guest
vocalist Dallas Smith from the popular rock band Default.

A complex, energetic and exuberant artist, Ashley MacIsaac has worked
with -- and earned the praise of -- such luminaries as Paul Simon, Phillip
Glass, Melissa Etheridge and The Cheiftans to name a few. His scorching live
performances have also won over critics, with The Washington Post having
exclaimed, "he defies pigeonholing and expectations." With the release of
his new CD, audiences will again thrill to the rough and tumble,
boot-stomping music of Ashley MacIsaac.