NEWS FROM THE NAXOS MUSIC GROUP

Jane Austen’s most popular novel, originally published in 1813, some 17 years after it was first written, presents the Bennet family of Longbourn. Against the background of gossipy Mrs Bennet and the detached Mr Bennet, the quest is on for husbands for the five daughters. The spotlight falls on Elizabeth, second eldest, who is courted by Mr Darcy though initially she is more concerned with the fate of her other sisters. This marvellous account of family life in Regency England is read with customary panache by Juliet Stevenson.

The greatest of all the medieval romances about the Holy Grail, Parzival was written in the early 13th century. The narrative describes the quest of the Arthurian knight, Parzival, for the Holy Grail. His journey is filled with incident, from tournaments and sieges to chivalrous deeds and displays of true love. The poem influenced several later works, most notably Richard Wagner’s opera of the same name and Umberto Eco’s Baudolino. The text used in this recording is Cyril Edwards’s modern prose translation.

First published in 1471, the year of the author’s death, The Imitation of Christ is a highly influential Christian text. A celebration of God’s mercy, holiness and love, The Imitation is a devotional guide in which Christians are urged to trust fully in God and submit to the circumstances of the life which we are given by God. Although Thomas à Kempis spent 70 years of his life in the confines of a monastery, this work shows a complete comprehension of human nature. St Thomas More commended the work as one of the three books that everyone ought to own, while John Wesley, the founder of Methodism, called it the best summary of Christian life that he had ever read.

Justine is the first volume in The Alexandria Quartet, four interlinked novels set in the sensuous, hot environment of Alexandria just before the Second World War. Within this polyglot setting of richly idiosyncratic characters is Justine, wild and intense, wife to the wealthy businessman Nessim, a Mari complaisant. Her emotional and sexual wildness fuels a highly charged atmosphere which, caught famously by Durrell’s poetic language, made Justine (1957), and the three novels that complete the Quartet – Balthazar (1958), Mountolive (1958), and Clea (1960) – both a critical and a popular success.

Much of Franz Joseph Haydn’s long career was spent in service as a court musician to the wealthy Esterházy family. It was early in Haydn’s time at the Esterháza palace that Prince Nicolaus took a liking to the hypnotic sound of the baryton – a bowed instrument with an extra set of strings that vibrate sympathetically or are plucked for tonal contrast. The baryton was considered the pinnacle of 18th-century aristocratic instruments, and the outstanding beauty of Haydn’s trios represent its final renaissance, placing this remarkable antique firmly into the poised and tasteful Classical style of the day.

‘The Valencia Baryton Project was born out of an informal play-through rehearsal where we discovered how rich the musical heritage of the instrument is. This first meeting ignited a passion in all three of the members to delve further into works that were rarely heard but were the crucible of much of Haydn’s composition development. What was supposed to have been a single, informal, evening reading session developed quickly into what is today known the Valencia Baryton Project – an ensemble that has dedicated itself through concerts and recording to promoting this wonderful music throughout the world.’ – The Valencia Baryton Project

Drawing parallels with another famous composer of symphonic jazz, Kapustin is occasionally considered a ‘Russian in Gershwin’s clothing’. Most of his compositions are influenced by jazz and expertly combine jazz elements with those of the traditions running from Bach to Prokofiev and Stravinsky. The aesthetic diversity with which the classical roots and the stylistic devices of jazz are amalgamated in Kapustin’s output hallmark all three compositions on this recording. Only late – perhaps too late for Kapustin – did his catalogue of works reach greater international recognition. People who knew him describe him as a man who never desired the limelight. Apparently, he was happiest when he was able to compose work after work in his apartment, far away from the public eye.

Opus Klassik award winner pianist Frank Dupree performs Kapustin’s Piano Concerto No. 4 and Double Concerto with violinist Rosanne Philippens, accompanied by the Württembergisches Kammerorchester under Case Scaglione. Dupree is also featured as conductor in this recording and directs the ensemble in Kapustin’s Chamber Symphony.