Composed between 1899 and 1933, the symphonies of Franz Schmidt chart a steady development within the Austro-German tradition. Here we’ve assembled a set of previously released recordings of the works, alongside other orchestral pieces by Schmidt, all performed by Vassily Sinaisky and the Malmö Symphony Orchestra, that were collectively hailed by BBC Music Magazine as a ‘revelatory cycle’. Sinaisky enjoys a distinguished reputation, having been most recently chief conductor and music director of Moscow’s Bolshoi Theatre, while last year he commenced his fourth season as music director of the Janáček Philharmonic Ostrava. Fanfare declared Vol. 1 ‘a disc for all lovers of iridescent, gorgeous, Romantic orchestral music’; Vol. 2 was an American Record Guide Critic’s Choice and on Fanfare’s Want List; Gramophone noted of Vol. 3 that ‘the orchestral delivery is a delight’; and following the release of Vol. 4, Fanfare concluded: ‘[W]hat a distinguished cycle it has been.’ If you missed these wonderful releases the first time round, I strongly recommend you acquire this consolidated edition which marks the 150th anniversary of Schmidt’s birth.

This release continues conductor Adam Fischer’s recordings of Haydn’s last and greatest symphonies. They come in the wake of his acclaimed series of the complete symphonies of Beethoven (8.505251, ‘utterly fascinating.’ Gramophone) and Brahms (8.574465-67, ‘a revelation.’ Stretto), both of which also featured the Danish Chamber Orchestra. Conductor and players have worked closely together for more than twenty years now, which has generated a singular musical purpose that is palpable in anything they record. This programme comprises Haydn’s grandest, final three symphonies, written during his second, triumphant visit to London. They display increased artistic weight and mark a transition from Viennese Classicism to Romanticism. Released in 2023, Vol. 1 (8.574516) in the series had Crescendo remarking: ‘We can’t wait for the rest.’ Well, with this release representing the halfway point in the series, people won’t have to wait much longer.

Virtuoso, hand-stopped horn playing in the 18th century was of a different order to that which arose after the introduction of rotary valves on the instrument in the first half of the 19th century. Eighteenth-century virtuoso horn players commissioned concertos throughout Europe, but the hand-stopped instrument’s notably high tessitura and daunting technical demands meant that many such concertos have not resurfaced until recently. This recording brilliantly demonstrates that there is much more to the early horn than hunting calls, with previously neglected repertoire now providing fertile ground for musicians and audiences alike. This programme of concertos for two horns includes the world premiere recording of Hoffmeister’s Concerto No. 3 in E flat. The superb soloists are Jacek Muzyk and Daniel Kerdelewicz, respectively principal horn and associate principal horn of the Buffalo Philharmonic, which is conducted by their music director and major Naxos artist JoAnn Falletta.

Here’s the audio version of an audiovisual production released earlier this year on the Dynamic label. The work is Donizetti’s opera Chiara e Serafina, which was first performed at La Scala in 1822; this recording, made at the Donizetti Opera Festival in 2022, marked the 200th anniversary of its premiere. Gramophone remarked on the Dynamic release that ‘once again, we have a DVD to thank for a splendid revival of a forgotten work, in this case some wonderful early Donizetti.’ The reviewer also appreciated the musical direction of the highly experienced Sesto Quatrini, ‘[who] conducts Donizetti’s winningly orchestrated score with flair and pinpoint precision’; the orchestra plays on period instruments. A strong cast features soprano Greta Doveri, described by Gramophone as a ‘star-in-the-making ... who sings Chiara, a lovely role which Donizetti rounds off with a grandstand finale alla Rossini which Doveri delivers with rare aplomb.’

Giovanni Paisiello enjoyed a considerable international reputation during much of his career, with his 80-plus operas presenting a challenge to those of Mozart in Vienna. His La finta amante was a hit in its day, from its first performance in 1780 at the Russian court of Catherine II, who showered the composer with gifts, to the ensuing successful performances in the most important theatres in Europe. The score remained unpublished, however, and changing fashions saw the work fall into oblivion until its rediscovery and first performance in modern times, in 2009 under conductor and harpsichordist Stefano Parisse. His enthusiasm for a revival in Russia was realised in 2017, and this fascinating recording is the end result, buoyed by Parisse’s confident hope that ‘this small musical masterpiece… can delight, promote laughter and someday regularly return to the theatre repertory.’ With just three characters captured forcefully by Paisiello’s innate sense of theatre, the comedy revolves around Camilletta who, alongside her boyfriend Gelino, deceives the older but wealthy Don Girone in games that inevitably lead to dangerous consequences.

This album of Bartók’s three piano concertos is notable for the artistic teamwork of soloist and conductor that was established some 35 years ago, and has already made its collective mark in previous recordings on the Capriccio label. Pianist Tzimon Barto’s performances of the two Brahms concertos (C5210) under conductor Christoph Eschenbach were noted for being ‘fluid and expressive, overflowing with vibrant colour’ (MusicWeb International), while their performance of Tchaikovsky’s First Piano Concerto (C5065) produced a ‘vital, colorful, warm-hearted interpretation without a hint of routine or ennui about it.’ (American Record Guide) Bartók’s Piano Concertos Nos. 1 and 2, which are rarely performed in concert, benefit here from Barto’s persuasive insight into how to manage the percussive nature of the works: ‘Even Bartók needs a supple touch. If you bang away at it, without rhythmical buoyancy, of course it will become tedious.’ These splendid recordings well reflect how his musical perception does justice to this approach.

I’m pleased to remind people of Capriccio’s ongoing series of recordings of Alfred Schnittke’s film scores that encapsulate practically every characteristic of the Russian composer’s compositional style. A self-described polystylist, he began writing for film in the 1960s, penning sixty-six scores between 1962 and 1984 for Soviet film companies. His method of drawing on the past was rejected by proponents of the avant-garde, but embraced by filmgoers and concertgoers alike. Volume 6 in this disc Edition of Schnittke’s film music presents scores from the film series Little Tragedies (1979), which was based on popular novels by Alexander Pushkin. A bonus is that conductor Vladimir Jurowski, following lengthy research, was also able to record parts of the score that had been excised for the final film version.

This world premiere audiovisual recording of Donizetti’s opera Il diluvio universal (The Great Flood) is heard in Edoardo Cavalli’s critical edition of the work’s original Naples version, which Donizetti composed in 1830. It enjoyed limited initial popularity and soon fell into oblivion until its rediscovery almost a century-and-a-half later. This 2023 production from the Donizetti Teatro in Bergamo, Italy comes in a new production by MASBEDO, the artistic duo of Nicolò Massazza and Iacopo Bedogni, who have collaborated on a wide range of productions since 1999. With the Biblical story interweaving with human emotions, the result is a uniquely intense drama. The performance was noted by OperaLibera for ‘a stellar cast in its acclaimed 2023 revival at the Festival Donizetti’ and how ‘this production transports Donizetti’s opera into the present day ... collective and individual destinies are interwoven, urging us to reflect on issues such as the environmental crisis and climate change.’ It also noted the authoritative direction of conductor Riccardo Frizza, ‘[who] offers a masterful reading of the score.’

Also available on Blu-ray Video (DYN-58029)

This is the second instalment in Ondine’s complete cycle of Ferdinand Ries’ symphonies that features the Tapiola Sinfonietta, Finland’s premier chamber orchestra, under conductor Janne Nisonen, who is well-known for his stylish performances of classical and early romantic repertoire. Remembered today as Beethoven’s ‘right hand’, Ries is revealed on these recordings as a major symphonist, who was already being favourably compared to the likes of Haydn, Mozart and Beethoven in his time. Vol. 1 in this series was well received by the critics, Pizzicato commenting on ‘Nisonen’s gripping direction [that] shows how original and expressive the first two symphonies are.’ The programme on this second album comprises Ries’ Fifth Symphony, ‘[which] is one of those works which announce the genius of its author’, according to a contemporary review, and the Fourth Symphony, composed in London in 1818.

This Royal Ballet production of Manon Lescaut, a story of poverty, desire and tragedy, combines Massenet’s wonderful orchestral score with exemplary performances by acclaimed dancers Natalia Osipova and Reece Clarke. Kenneth MacMillan’s adaptation of Abbé Prévost’s novel L’Histoire du Chevalier des Grieux et de Manon Lescaut embodies his acute insight into human psychology and his mastery of narrative choreography. This is MacMillan at his best, finding full expression in the impassioned duets of the central couple, visceral and urgent in their desire. Leading London journals awarded the performance five-star reviews across the board: ‘A company triumph, night after night.’ (The Guardian); ‘MacMillan’s tragedy bites again.’ (The Evening Standard); ‘Another heart-stopping revival of a perfect ballet.’ (The Telegraph)

Also available on Blu-ray Video (OABD7327D)

This is another fine production from Opus Arte’s Critics’ Choice series, a collection of past titles featuring many of the classic, innovative and perhaps less well-known audiovisual productions for which the label has long been renowned. Scottish Ballet’s 50th anniversary in 2019 came to a spectacular close with the world premiere of The Snow Queen, inspired by Hans Christian Andersen’s classic tale of love and friendship, and performed to music by Rimsky-Korsakov. This recording of that glittering world premiere production is sure to delight the whole family, with a colourful cast of characters ranging from young lovers parted by a spell to a circus ringmaster with a few tricks up his sleeve. With choreography by the company’s artistic director Christopher Hampson and designs by award-winning Lez Brotherston, it’s ‘frosty and firelit, sweet and sharp, it’s another Scottish Ballet Christmas triumph.’ (The List)

Also available on Blu-ray Video (OABD7284D)

These classic Vox recordings of performances by the Baltimore Symphony Orchestra are conducted by Sergiu Comissiona, who was the orchestra’s music director from 1969 to 1984, and who developed it into one of America’s finest ensembles. Dating from the mid-1970s, the original recordings were produced for Vox as part of a series made by Elite Recordings, the company established by Marc Aubort and Joanna Nickrenz. Long acknowledged as audiophile classics, they’re heard here in high-definition transfers of the original sound. The performances of Mendelssohn’s Symphonies Nos. 4 and 5, together with The Hebrides overture, became a reference for the repertoire in their day, so I have no doubt this album will prove highly attractive for many collectors of such vibrant, classic performances. I should also mention that the booklet notes have been reprinted from the original LP release.