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Handel, Monteverdi, Telemann, Roman
Anne Sophie Von Otter
Proprius PROD 9008 Reviewed by SG
Anne Sophie Von Otter is one of the great mezzosopranos of the modern era and this CD, taken from her 1983 debut solo recording, reveals her full potential at that time. The arias are all taken from the baroque period, and highlight the contrasts of passions that the era personifies, whether it is Cleopatra's hopeless loss and torment in Handel's Guilio Cesare in Egitto, or the satirical grief of Telemann's Canary Cantata. Always able to bring forward the charm, elegance, or grace, balanced with sorrow, rejection, and fury, she sings with poise and precision. Sweden's foremost ensemble of baroque music, The Drottningholm Baroque Ensemble, accompanies her beautiful voice with assurance and finesse. Playing on period instruments they achieve a marvellous rhythmic accuracy. The recording, captured in a Stockholm church using a Nagra tape deck, is natural, without being in the demonstration class. It has ambience and plenty of presence, and Von Otters voice is beautifully presented within a natural space, shimmering in the surrounding air. A CD that beautifully demonstrates the grand postures and extravagant sentiments of baroque period vocal works, as well as an historical insight to the early talent of Sweden's most admired diva of her generation. Recommended
Supplied by Pentacone Tel.: 01274-871187 Fax:01274-873221

Brahms: Ein Deutsches Requiem
Previn, Soloists; LSO and LSO chorus
LSO Live; LSO-005CD Reviewed by JMH
Back in 1986 Teldec released an epic version of Ein Deutsches Requiem with the RPO conducted by Andre Previn lasting nearly 76 minutes. This new live recording from Previn and the LSO, recorded in the Barbican Centre, is notably swifter than the RPO version, being about 9 minutes shorter overall. Perhaps it's the dryish acoustic of the hall, but the new performance hasn't the spacious breadth and grandeur of the old one; there's less atmosphere too, which gives a slightly perfunctory feel to things. Clarity is good, and Brahms' sometimes thick scoring is kept transparent. Deep bass is impressive, with some weighty organ pedals for those with big subwoofers! Sadly, the choral singing is fallible and sounds tonally undernourished, with uncertain intonation - a point enhanced by the dry acoustic and a balance that emphasises the upper frequencies. The recording benefits from being played back at a generous volume level, but even then it does not create the impression of a big hall and massive forces. Previn's old RPO/Teldec version, recorded in the massively reverberant acoustic of All Saints' Church, Tooting, is a little too resonant perhaps, but it recreates the dignity and scale of this monumental work better than this new one which (curiously for a live performance) fails to catch fire.

Holst: The Planets Suite
Zubin Mehta, LAPO
Decca Eloquence 467 418-2Reviewed by JMH
In the UK, Zubin Mehta's 1971 Decca Planets never raised more than half a cheer among reviewers, being compared unfavourably to Boult's Stellar 1967 HMV account with the New Philharmonia on both sonic and musical grounds. Surprisingly, it was Mehta's version that made it on to the TAS list of best LPs. And it's been sought-after by audiophiles ever since. Actually, it's not a bad version; a fast, showy, virtuoso performance that certainly packs a punch. There are some balance oddities (strangely forward tuba in Mars, for example), but it's all good clean fun. The recording's been out on CD at least twice before, but for this new remastering, something called Ambient Surround Imaging (AMSI) has been used to 'improve' the sound. On LP, the tonal balance was on the thick side, with a full bottom end and smooth top. Original pressings sound best most later recuts were at a lower level - though early '80s US copies (pressed in Holland) sound excellent. AMS has given the sound a slight presence kick, increasing impact and brilliance, and I slightly prefer this new reissue to my Weekend and Double Decca copies. The filler is the suite from John Williams' film score to Close Encounters of the Third Kind, plus the main title from Star Wars both played with the brilliance and panache one expects from musicians based so close to Hollywood. Here the sound is very good - vintage late '70s Decca - especially Close Encounters.

Mahler: Das Lied von der Erde
Bernard Haitink; Royal Concertgebouw orchestra
Philips Eloquence 468 182-2 Reviewed by JMH
On vinyl this was always among the best recordings, technically, of Dos Lied. This is its third outing on CD, and for this budget-price reissue, the 1975 recording has been newly remastered using AMSI (Ambient Surround Imaging) technology. This has sharpened the tonal balance slightly, making it sound more immediate. Unfortunately, this brightening-up has made James King's tenor voice (already rather strained) seem even more strident and edgy. If your system's very smooth and refined, it'll probably sound okay. But, if your equipment produces a forward balance, the result may be harsh and shouty. Haitink's performance is sensitive but full-blooded, and the orchestra play with great intensity and passion. James King was somewhat past his best when the recording was made, and his singing lacks refinement and richness of tone. Janet Baker's contribution is something of a mixed bag too, though her many fans (who waited patiently for her to record the work) would doubtless disagree. Speaking personally, I find her singing too obvious in its emotional point making, and prefer a stronger purer line - for example, the horribly droopy entry to Der Einsame im Herbst! Yet there's no doubting the sincerity of her performance; clearly she feels the words deeply - the long final song is very moving at times.

Mikhail Pletnev - Hommage a Rachmaninov
Deutsche Grammophon 459 634-2 Reviewed by SG
This CD is a virtuoso recital of music played in concert by Rachmaninov, performed on the composer's majestic sounding Steinway, at his own villa near Lucerne. This is a performance of stature, but while Pletnev plays with passion and an underlying fire, he does not reveal the last word in finesse. Whether it is the composer's own works, or Chopin's Grande Polonaise, he shows a complete affinity with the music, but is slightly less happy with the Germanic tones of Beethoven and Mendelssohn. Having said that this recording is no less than compelling, with the pianist showing pristine technique, and excellent rhythm and phrasing in Rachmaninov's Variations on a theme of Corelli. The recording is detailed and dynamic to match the performance - revealing the size, impact, and tonal qualities of this impressive instrument. The sound is only let down by the closeness of the recording, giving the impression that you are almost inside the piano - impressive but far from natural. On the whole, this is a wonderful performance, recorded impressively, but ultimately let down in both areas by a lack of finesse. But, it is still well worth having to hear a passionate performance of Rachmaninov's work performed on the composer's own wonderful piano.

Respighi: Feste Romane; Pini di Roma
Lorin Maazel, The Cleveland Orchestra
Decca Legends 466 993-2 Reviewed by JMH
Originally released in 1977, Maazel's LP of Respighi showpieces was one of Decca's sonic blockbusters; a recording that pushed vinyl to its limits. In Feste Romone especially, the sound had ferocious power and weight, yet the orchestra was nicely set back in a lively spacious acoustic that imparted a sense of depth and atmosphere to the proceedings. Although climaxes had enormous impact, there always seemed to be plenty of space for the music to grow and expand. Maazel has all the necessary stick technique for this sort of music, and in the Cleveland orchestra he had a disciplined virtuoso ensemble able to meet every challenge. Although nearly 25 years old, the recording wears its years lightly and still impresses. Only the rather fulsome bass gives the game away. That and the fact that the very wide dynamic range of these rather over-blown pieces is slightly stagemanaged by the engineers (Wilkie at the controls) to keep everything within bounds. The two Respighi items have been out on CD before, but this new 96kHz/24bit remastering sounds slightly cleaner and fuller. However, the filler - the suite from Rimsky-Korsakov's Coq d'or- is new to silver disc. Here, the sound is not quite as good nor is the playing quite so distinguished, with Maazel delivering a well-drilled but somewhat perfunctory performance that fails to catch fire.

Beethoven: 5th Symphony and Egmont Overture
Pierre Monteux / LSO
Classic RCA VICS-1103 Reviewed by RG
Beethoven's 5th symphony is cursed, like Also Sprach Zarathustra, by its familiar opening passage. How many of you have listened beyond it, would recognise the second movement, or even the third? But the 5th's reputation as possibly THE classical symphony is well deserved, and for any conductor to carry it off he must nail all three. Of course, given its popularity there's no shortage of secondhand offerings, especially those from Karajan and Klemperer, which perhaps explains the paucity of audiophile re-pressings. There are only two: the one in the AAA/Rene Liebowitz Nine Symphonies box set, and now the Monteux/LSO reading first seen in 1965, released on Victorola a year after the conductor's death. Spread over most of two sides it's the Monteux that offers superior dynamic range and focus (although not perhaps the same coherence of soundstage). Purists might find the performance marred by an overly quick exposition of the (in)famous opening theme, but Monteux takes the whole piece at a fair clip, with a majestic second capped only by the masterful third movement. The Egmont makes a great filler and RCA's sumptuous, velvety tone is perfectly suited to both performance and work, while Monteux's inimitable command breaths new life into the familiar. Go on - treat yourself.
Supplier: Vivante - Tel: (44)(0)208 977 6600

Brahms: Clarinet Quintet
Wagner: Adagio
Members of the Vienna Octet
Speakers Corner DECCA SXL 2297 Reviewed by RP
A facsimile of DECCA's 1961 release in almost every department, these performances from Members of the Vienna Octet are highly commendable. Their approach to Brahms' contemplative and colourful work has character, poise and virtuosity. Alfred Boskovsky's richly ambient clarinet tone spreads warmth throughout all four movements, while a fine sense of ensemble (that interaction of musicians drawing upon one another, which is integral to these small scale compositions) is never in doubt with this gentle interpretation. An excellent recording compliments a relaxed reading. Cello, violins, viola and clarinet are beautifully reproduced, as is the natural timbre of Johann Krump's double bass in the Weberian styled 'Adagio: In terms of sheer presence and transparency, this recut outshines the splendid sound available from my original 1D pressing of this LP in which the instruments were a touch leaner and less rounded. A good stereo soundstage, and the secure location of the individual musicians playing in their own space within it, completes the overall picture. Despite the record also being recut by King Super Analogue KIJC 9122 these smallscale works consistently get overlooked in favour of orchestral sonic blockbusters. So buck the trend and enjoy the intimate pleasures of the Chamber.
Supplier: Vivante - Tel: (44)(0)208 977 6600

Dvorak: Cello Concerto
Fournier, Szell, Berlin Phil
Speakers Corner/DGG SLPM 138 755 Reviewed by RP
Though I yearn for a reissue of Janos Starker's larger-than-life Mercury recording (where Antal Dorati really does put the LSO through its' paces) this release, courtesy of Speakers Corner, is certainly no poor substitute. Pierre Fournier gives a wonderfully relaxed reading. Unashamedly romantic, his grand sweeping vision for this work (ravishing in tone and phrasing) has the cello elevate Dvorak's notes into a magnificent realisation of dignity, beauty and tension. The slower, poetical passages, are simply beguiling and, (proving that he has the complete armoury), Fournier then goes on to raise the temperature further - even to beyond boiling point - in a finale which is as virile and exciting as Starker's. Moreover, this was one of Deutsche Grammophon's better engineered LPs from which this enhanced repressing delivers an abundance of warmth for the cello's deeply resonant moments. The recording balance, pushing the soloist forward, but not into your lap (à la Starker) is also extremely well-executed. Bowing may sound slightly exaggerated, yet, when placed within an orchestral context under George Szell's vice-like grip, it does make complete sense. We are, after all, listening to a record and this positioning hits the sweet-spot every time.
Supplier: Vivante - Tel: (44)(0)208 977 6600

Led Zeppelin - 2
Classic Records / Atlantic 508236 Reviewed by DA
'Classic Album' is a much abused term, but in this case its use is not only justified, its mandatory. The fourth album may get all the attention due to 'Stairway To Heaven' but as far as I'm concerned 2 is the brightest star in the Zeppelin firmament. After this they may have became more considered and sophisticated, but in the process I feel a little life was lost. Now we have the chance to thrill again to the familiar Top Of The Pops riff of 'Whole Lotta Love', marvel at the unsophisticated but fun stereo ping pong of the guitar on 'What Is And What Should Never Be', and air guitar round the room during 'Heartbreaker'. If you consider yourself a rock fan and don't know every riff, bend, and break on here, then you really haven't been paying attention. This transfer to Vinyl is probably the best this album has ever had, full of verve and vigour, giving Page's guitar the body it needs for the ultimate impact, freeing up the rhythm section to keep things cracking along, and letting Plant's voice soar free above the maelstrom. Simply stunning. If you only buy one audiophile LP this year, make it this one. Oh, and a quick message to Classic Records: "For the love of God, don't stop now".
Supplier: Vivante - Tel: (44)(0)208 977 6600

Paganini / Wienawski: Violin Concertos
Rabin / Goossens / Philharmonia
Testament / Capitol SP 8534 Reviewed by RP
A fluent, extremely versatile and sometimes astonishing Michael Rabin shows a remarkable technique that has the capacity to make us believ that the music is better than it really is. This is especially true of the Wienawski Second Concerto. Whilst it possesses many nice moments of virtuosity - amongst them the gypsy-styled finale and earlier sonorous lyric line - this is still not quite in the same league as Paganinis bold, exhibitionist D Major work. Fiendishly contrived for a violinist of it's composers' own legendary stature, this is an exacting Concerto that needs th soloist on top of his art at all times. Not only must he be the master of precision timing, but there also needs to be a correspondingly flashy show of catwalk cockiness to carry off all the chords and harmonics in this one. Rabin, with unbelievable fluidity and a lovely (tonally rich) shape, does this with panache, right from the diabolically difficult first movement, and never looks back. An older Rabin might just have generated a little more personality, but that's being picky. The orchestral support is good, although not flawless, as Sir Eugene occasionally gooses it. A decent, wellbalanced, piece of engineering compensates with plenty of space, warmth and detail.
Supplier: Vivante - www.vivante.co.uk

Swedish Jazz Kings (featuring Kenny Davern) - Comes Love
Opus 3 9703 Reviewed by SG
I first became familiar with the clarinet playing of Kenny Davern on the 1980 recording Tomas Örnberg's Blue Five (now available as Opus 3 CD 8003). Once again the big, dynamic, sound he produces is the highlight of an excellent album and although his style is pretty unique, it matches that of the Swedish Jazz Kings superbly. The music on this CD is typical of the classic jazz of the 1920's - a mixture of blues and swing - and is produced here by probably the best exponents of the style, this side of the Atlantic. Their performance is unpretentious, with great piano playing by Englishman Martin Litton. The recording was made during three sessions, in May and September 1997, and is pretty typical of the high quality found on Opus 3. If I had to be ultra critical, I would prefer a slightly deeper soundstage, but the recording is far from flat. The tones are lifelike, with all instruments having real presence, especially the crisp saxophone of Tomas Örnberg. There is plenty of detail and it sounds like you are in a small club. While much jazz clarinet can sound jaded, this album, and Davern's playing, put those notions to rest.
Supplied by Pentacone Tel.: 01274-871187 Fax:01274-873221

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