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Classical
Music |
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Gustav
Mahler: Symphony No 10 (realisation by Clinton A Carpenter)
The Philharmonia Hungarica, Harold Farberman.
Golden String GSCD-024 DDD Reviewed by JMH
Recordings of the completed Mahler 10 are no longer rare, but nearly all
conductors choose one of the two Deryck Cooke versions, so it's good to
hear another realisation of Mahler's original draft. For this recording,
Harold Faberman has chosen Clinton A Carpenters completion. He began work
on the score in 1946, finishing it in 1966. Compared to Cooke, Carpenter's
is a far more radical realisation. He feels that even the parts Mahler
fully orchestrated have an incomplete feel to them. Therefore, he's fleshed-out
the music. This is especially noticeable in the two scherzo movements,
which are (in Cooke's version) easily the least convincing parts of the
work. Here the textures are denser, the music busier and more contrapuntal.
I must say, it sounds more like a finished work, more like Mahler, even
if one or two details jar; speaking personally, I don't care for the percussion
enhancement of the first movement's climax, for example. But for the most
part, Carpenter's ideas work. Faberman adopts fastish tempi in the belief
that Mahler's own tempi were quicker than we typically hear today. The
orchestra play superbly, and the performance is excellent; sensitive and
subtly phrased, yet full-blooded too. Pressed on gold CD, the sound is
clear and detailed, if a shade glossy; it's rich and clean, but slightly
'peaky' at the top-end.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186 |
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Johannes
Brahms: Symphony No 4
Vienna Philharmonic, Carlos Kleiber
DG 457 706-2 DDD Reviewed by JMH
Originally released on vinyl in 1981, Curios Kleiber's exciting incandescent
Brahms 4 was one of DG's earliest digital recordings - and sounded it.
The LP was cut at a very high level, but the tonal balance was viciously
bright and harsh; at least, that's how it seemed at the time. I still
have my original LP, and CD, but today on modern equipment the recording
sounds much better. True, balances remain close, and you need a refined
system able to cope with this. But the sound has a thrusting tactile quality
that suits Kleiber's high energy performance. Now newly remastered for
DG's Originals series, the sound has been cleaned up and improved in terms
of clarity and focus. There's slightly greater richness and sheen to the
strings and brass, though you could never say the sound (or the performance)
was mellow or warm. Remarkably, this was Kleiber's last studio recording
of an orchestral work; since then (aside from the DG Tristan) all his
recordings have been made live. Many critics take this to be the finest
performance of Brahms 4 in the catalogue. It's certainly the most exciting
and brilliant, though for me it misses the autumnal sadness and bitter-sweet
melancholy of the music. However, it's a unquestionably a performance
of stature, and definitely worth buying at mid-price -even if the total
playing time is short. |
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Prokofiev:
Piano Concertos 1 and 3,
Bartok: Piano Concerto No. 3
Martha Argerich (pno), OSM, Charles Dutoit
EMI 5 56654-2 DDD Reviewed by JMH
Prokofievs third piano concerto is very much a work one associates with
Martha Argerich. She made a famous recording of it for DG back in 1967
with Claudio Abbado, and has performed the piece many times in concert.
So a new recording is very welcome, especially when generously coupled
with Prokofiev's first piano concerto and Bartok's third - works new to
the Argerich discography. Checking movement timings shows her new Prok
3 is slightly slower in all three movements, compared to the DG account.
The playing is as supple and articulate as ever, but the new interpretation
sounds deeper and more mature. There's no loss of focus or dexterity,
yet the playing is definitely less showy. Prokofiev's spiky first piano
concerto is given a suitably brilliant mercurial performance; less brash
than some, but always cleanly articulated and immediate. Bartok's third
receives a thoughtful atmospheric performance, with steady tempi but no
lack of drama or tension. In this work, The piano initially seems too
distant, as though the soloists were part of the orchestra. But this is
quickly corrected, and the bravura passage for soloist at 1m 04s sounds
correctly balanced. The sound in all three works (studio recordings, not
live by the way), is smooth, clean, and dynamic. But there's a slight
lack of brightness and transparency, I feel, and this impairs clarity
at times. |
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Gustav
Mahler: Symphony No. 9
Richard Strauss: Metamorphosen for 23 solo strings
VPO, Simon Rattle
EMI 5 56580-2 DDD Reviewed by JMH
Rattle recorded his volatile and incident packed reading of the Mahler
back in '93, and it has presumably been waiting for a suitable coupling.
The opening is exceptionally spacious, giving the impression that the
first movement will he extremely broad. But things soon tighten-up, as
conductor and orchestra strike sparks off one-another. Listening, one
gets the feeling at times that Rattle and the VPO were out to show each-other
what they could do; the interpretation has a slightly self-conscious quality,
and is perhaps a little studied rather than natural and spontaneous. Important
details are underlined, and the music is shaped rather than allowed to
unfold inevitably. Yet the performance is always interesting, and there's
no denying the sincerity and commitment of the playing. Metamorphosen
(recorded 1997) receives a vibrant, trenchant performance that's naturally
phrased and spontaneous, yet deeply committed and very powerful. It sounds
as if conductor and orchestra are more used to one-another, and the music-making
has greater naturalness and flow. The recording of the symphony has a
very wide dynamic range, and will tax all but the best systems. Metamorphosen
sounds rich and warm, yet detailed and well-separated. Both performances
were taped live. |
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Leonard
Bernstein: Prelude. Fugue, and Riffs; Facsimile; West Side Story - Symphonic
Dances; Divertimento for Orchestra
CBSO, Paavo Jarvi
Virgin Classics 5 45295-2 68m 23s DDD Reviewed by JMH
As a composer, Leonard Bernstein's music is too multi-faceted to be showcased
on a single CD. But this one gives a good idea of his brash jazzy side.
The exception is the ballet score Facsimile, which Bernstein wrote for
Jerome Bobbins. The work, premiered in 1946, deals with the dehumanising
of contemporary life and is the most 'serious' piece on the disc. The
most fun is undoubtedly Prelude, Fugue and Riffs, which finds Bernstein
at his most extrovert and outrageous - so far-out at times, it's almost
a parody of itself; only Bernstein could write music like this! Paavo
Jarvi's performance is not as wild and exaggerated as some, but he treats
the music with great respect, and obtains crisp rhythmically-tight playing
from the CBSO culminating in a racy exciting conclusion. Jarvi takes the
Symphonic Dances more slowly than usual, and the quieter sections have
great atmosphere. Overall, his performance is exceptionally cohesive,
emphasising the Symphonic nature of the music. Divertimento, written for
the Boston symphony orchestra's centenary, is a highly eclectic 8 movement
mixture of styles, including a smoky sexy Blues - wonderful stuff! The
recording sounds crisp and clean, with good clarity and definition yet
no obvious spotlighting of instruments. |
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Friedrich
Kuhlau (Eight Overtures)
Danish National Radio SO Michael Schonwandt
Chandos CHAN 9648 DDD 68m 55s Reviewed by JMH
The music of Friedrich Kuhlau (1786-1832) is largely forgotten today,
though his works for flute and piano retains a certain popularity with
amateur flautists. So it's something of a shock to find that the overtures
included here are of such high quality. The music sometimes reminds one
of Beethoven and Weber, without being quite like either. For Kuhlau has
his own voice and isn't derivative, even if influences can be detected.
His music sounds fresh and lively, with clean outlines and transparent
textures, It is beautifully crafted and atmospheric, yet strongly outlined
and rhythmically buoyant. Perhaps the only thing that's lacking is that
extra spark of genius one finds in the music of Beethoven, Mendelssohn,
and Weber. But there's much to enjoy, especially given performances as
polished and committed as these. It's difficult to imagine the music being
better played. Michael Schonwandt and the DNRSO attack these works with
great enthusiasm, as though it were the greatest music ever written. The
playing is scintillating, making the most of Kuhlau's effective orchestration.
The Danish radio recordings, made between 1993 and 1998, sound pretty
consistent - bright, lively, nicely detailed and immediate - and less
reverberant than typical Chandos productions. An absolute winner from
every standpoint. |
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Audiophile
Recordings |
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Simon
and Garfunkel - Bookends
Mobile Fidelity MFSL UDCD 732 Reviewed by RG
Decisions, decisions. You want to re-release a Simon and Garfunkel album,
but what do you go for? Bridge Over Troubled Water is the obvious choice,
but it's a well dodgy recording. MoFi opted for Bookends; not such monumental
music, but at least it's a reasonable tape. I think they called it about
right. Refreshed via the Gain system, the songs come up all sparkly and
new. You get 'Hazy Shade of Winter', 'Mrs Robinson' and my favourite S
and 0 track, 'America'. And the sound is far more natural and open than
my rather bright and brittle vinyl version (the boys were never that well
served by their recordings). The album also contains ample evidence that,
even in 1968, Paul Simon took himself altogether too seriously. 'Voices
of Old People' is the kind of pretentious art school drivel that is best
destroyed in order to avoid future embarrassment. If you've got to have
an audiophile S and G album, then this is it. Sonically it's perfectly
presentable, and the songs are timeless classics. My only real complaint
is the short running time - a little over 28 minutes!
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186 |
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Count
Basie Big Band - Farmers Market Barbecue
Analogue Prod. APJ023 Reviewed by RG
Choosing If like me you could never really get to grips with big band
jazz, you should try this record. I don't think you'll regret it. You
get eight arrangements which spot light the talents of Basies band - and
they are considerable. The Count can choose from the best and it shows
on this outing. What should you expect? Well forget Glenn Miller. Recorded
in 1982, these tracks are all about layered rhythms underpinning showcase
solos.the trademark brass tuttis are used sparingly, for impact and contrast.
The solo playing is fabulous, and the subtle prompts and accents of Basies
piano are a wonder of studied restraint, as important for the spaces he
leaves as the notes he plays. The insistent opening of 'Way Out Basie'
and the meandering solos of 'St. Louis Blues' have survived the indignities
of 'test track' status, and continue to weave their musical spell. This
recording fascinates with the beauty of the playing rather than the sonic
spectacle. If only more audiophile releases followed suit.Farmers Market
Barbecue is testimony to the quality of the Basie big band, and is a stunning
reminder of the power of the great musicians on a good day.
Supplier: Vinyl Demand (44)(0)1579-363604 |
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Mussorgsky:
"The Power of the Orchestra" A Night on Bald Mountain; Pictures at an
Exhibition.
RPO, Leibowitz.
CHESKY RECORDS RC3O Reviewed by RG
This recording could be likened to a vigorously shaken fizzy drink. Pop
the tab back and The Power of the Orchestra erupts with coherent musical
images cascading throughout the expanse of Walthamstow Town Hall. Dynamic?
You bet, and then some! 'The Witch's Sabbath' is accompanied by kettle
drum detonations that could wake the dead, while, at the opposite frequency
cutreme, instruments are wonderfully etched. An excellent midrange has
outstanding tonal qualities which fuel and sustain both ends of the register,
making this particular 'Night on Bald Mountain' a sonically spectacular
one. The Gerhardt/Wilkinson collaboration on 'Pictures' is equally impressive.
It is awash with colour and every dynamic nuance imaginable. Tim de Paravicini's
all-tube cut from the RCA mastertapes is superb. He has virtually eliminated
tape hiss, so turn up the volume and revel in concert hall levels. Rene
Leibowitz gives a dignified and easily recommended reading, but Reiner
and the Chicago Symphony's definitive performance of 'Pictures' (LSC-2201)
outclasses the RPO, while their impassioned interpretation of those frenzied
unearthly night-time activities found on Festival (LSC-2423) is a shade
more exciting. However, neither can match the Chesky's sonic muscle.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186 |
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Holst:
The Planets - Suite O.P. 32
Los Angeles Philharmonic Orchestra, Zubin Mehta
DECCA SXL 6529 Reviewed by RG
The Speakers Corner reissue of Holsts highly original and most 'English'
of celestial works, comes straight from The Absolute Sound's top seven.
Its technical credentials are almost peerless and, to be fair, it's a
score that demands and is given some of the finest orchestral sound around.
This is a performance which combines awesome power with the development
of a delicate, sensual and translucent string tone, which is faithfully
captured by a recording that reveals even the slightest shift in size,
scale, tempo and texture. Reservations? Well, there are two. The original
wide band Decca pressing is so vividly natural that it would secure perfect
technical marks. This pressing is not in the same class. And Zubin Mehta's
honest endeavors (though praiseworthy) do lack the sparkle of Boult's
literal reading (EMI ASD 2301); nor have they the refreshing creativity
that Previn elicits from his traditional performance with the LSO (EMI
ASD 3002). These LPs merit consideration because their sound is impressive
and both are readily available, secondhand, at a fraction of the price
for this 180gr replica disc. What price the TAS list?
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186 |
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Dvorak:
String Quintet in G Major OP.77
Philharmonia Ensemble, Frankfurt
EDITION PHEONIX EPH-02 Reviewed by RG
Do not miss the opportunity to own this LP. Its unadorned, flesh-coloured
sleeve barely hints at the pleasures to be found within. The recording
of the Philharmonia Ensemble, Frankfurt, is exceptional. An independent
Hanover based label, Thorofon, taped this chamber work in November 1982
and Wilfried Zahn was the original session engineer. However, for those
that are unfamiliar with this early lyrical music, the Quintet is a sensitive
and atmospheric dialogue where instruments express many differing moods.
Spirit, passion, indecision, effusiveness and melancholy are all aspects
of the human condition teased out by the Philharmonia players - culminating
in the joyous uninhibited dancing of the Allegro assai. This emotional
rollercoaster, its dynamic shifts between crescendo and diminuendo, is
wonderfully reproduced. The location of each instrumentalist within the
soundstage was never in doubt. Scale, imaging and balance are naturally
lifelike - violin timbres spinetinglingly so - in this sympathetic and
idiomatic rendition that even outstrips the Decca account by Members of
the Vienna Octet. I can't think of any more superlatives to heap upon
this record. The Quintet is a revelation.
Supplier: Vinyl Demand (44)(0)1579-363604 |
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Italian
Violin Music 1600 - 1750
Various
Edition Open Window OW 002 Reviewed by RG
Choosing a single LP to represent the 'Open Window' series has not been
easy, but I felt this stylishly played and beautifully recorded selection
of Baroque vignettes to be a persuasive candidate. This may be one of
the earliest Klimo/Zahn collaborations (1986) but its values are fundamentally
correct. Modeling the production as closely as possible to an old DECCA
session. Zahn used three vintage Neumann omni-directional mics to harvest
a rich, intoxicating and sun-ripened fruit. Whereas the Dvorak Quintet
has a 'bite your tongue" immediacy; this resonant, intimate church acoustic
allows the violin's timbres to caress a Leoni or Uccellini Sonata. Banchini's
seductive tone then teases, and explores like a deliberately drawn out
kiss. The Teldec cut (as with those DECCA antecedents) has been released
on 'standard' weight vinyl. In company with many other engineers, Zahn
privately admits that a pressing tipping the scales around the 140-150gr
mark is the optimum for a record. On this showing its hard to disagree
with this slim and sexy approach to music.
Supplier: Vinyl Demand (44)(0)1579-363604 |
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