Urlicht AudioVisual, a New York City based music production company, launched their record label in mid-2012. The focus of the label is unique artists, both standard and underrepresented classical repertoire, inventive approaches to standard repertoire, and works that have never before been recorded. Releases are issued as high-definition lossless downloads through mEyeFi Media and compact discs, with select high-definition recordings issued in Audio Blu-Ray format.
Artists include the New York Piano Quartet, whose recent recording of music by Joseph Marx and Erich Wolfgang Korngold earned high praise from Gramophone; sensational Israeli pianist Elisha Abas, whose explosive, fearless rethinking of Brahms’s Piano Concerto No. 1, accompanied by dynamic maestro Yoel Gamzou conducting the National Symphony Orchestra of Cuba has generated buzz and no little controversy; legendary French pianist Pascal Rogé; and rising star violinist Miranda Cuckson, whose recording with electroacoustic music virtuoso Christopher Burns of Luigi Nono’s La lontananza nostalgica utopica futura was honored by the New York Times as one of the best new classical recordings of 2012; and legendary double-bassist Gary Karr.
Forthcoming recordings for 2014 include Pascal Rogé and Friends playing the music of Francis Poulenc, and violinist Elmira Darvarova as soloist in the first recording of Vernon Duke’s Violin Concerto with the ORF Radio Symphony Orchestr Vienna conducted by Scott Dunn. Darvarova will also be featured in a program of solo repertoire from the final decade of the Soviet Union and Warsaw Pact. Also in perparation is the world premiere recording of trio sonatas of Cervetto with Gary Karr, Elmira Darvarova, and Harmon Lewis, and the reissue of the historic early stereo recordings of Beethoven’s music for cello and piano played by former Berlin and New York Philharmonic principal cellist Joseph Schuster and pianist Friedrich Wührer.
Gene Gaudette, a longtime recording industry veteran and independent media producer, sums up the reasons for starting Urlicht AudioVisual’s record label: “The global economy is in chaos, the music industry is retrenching as the business model continues to evolve, and the future of the audience for classical music remains a question mark — in other words, this is in fact the best time to take the risk of starting a label with a specific focus on artistic excellence and musical daring. I’m aiming this label at people like me who seek daring and insightful interpretive approaches to the familiar, and both rare and new repertoire that confronts the listener and demands repeated listenings. I’m fortunate to be working with artists who are passionate about what they do and seek to broaden the audience for teh music they love.”