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Fantasia De Mon Triste - Renaissance Lute Virtuosi of Rome and Venice
Christopher Wilson
Metronome MET CD 1025 Reviewed by SG
In 1998, members of the Lute Society voted this as the "Best Lute Recording of all-time". While I would not go that far, it is certainly superb. I have been a fan of Christopher Wilson's craft for a few years, since attending a concert by him and tenor, Paul Agnew, at the Wigmore Hall. He has a superbly clean technique that reveals the sensitivity contained in the phrasing of this refined repertoire, allowing the listener to hear and follow the melodic qualities contained within each piece. Some of the works featured here appear quite improvisational (Spinacino), while the works of Capirola are more simplistic and the Da Milano pieces are markedly more controlled. Wilson overcomes these extremes of style sublimely, with great panache, sympathetically bringing each piece to life, and revealing the musical textures and emotional impressions. The recording - made originally for Hyperion - is excellent, revealing every nuance of Wilson's instruments. There is plenty of life, and a superb tone, but I would prefer a slightly more distant microphone position. This is certainly a top recommendation for anyone looking for an excellent introduction to either the lute music of the renaissance, or Wilson's impeccable talent.

Vivaldi: Nisi Dominus / Salve Regina / Concertos for Strings
Scholl / Australian Brandenburg Orchestra/Dyer
Decca 466 964-2 Reviewed by SG
Through his associations with the Ospedali (welfare residencies for women), Vivaldi wrote a number of works for the solo female voice. There is today an argument over whether these pieces should be performed and recorded by countertenors such as Andreas Scholl. While there is some basis for the negative, Scholl's performances throughout, but especially in the beautifully crafted Nisi Dominus, should be enough to quash this theory. He sings with perfect tenderness, in enchanting contemplation and absolute intimacy. His eloquent diction and superb pitch match Vivaldi's compositional ideas. Scholl's voice sounds haunting in Surgite Postquam Sederitis and beautifully pure in Gloria Patri, where his only accompaniments are the viola d'amore and the organ. The two motets, Clarae Stellae, Scintillate and Vestro Principi Divino, are infrequently performed and are a very welcome addition to this recording. The two Concertos for Strings are inserted between the works for solo voice, and as with those pieces are played with aplomb by Dyer and the ABO. The recording is very good - being very natural, and vivid enough to reveal the delicacy of the composer's textures. This is a CD that features Scholl at his superb best, performing works that really suit his consummate talent.

JS Bach: Keyboard Concertos Nos. 1, 2 & 4
Academy of St. Martins, Perahia
Sony SK 89245 Reviewed by SG
While I have not always been totally enamoured with some of Perahia's recordings, these are superb. The performances are full of life and feeling, and the music seems to dance with infectious stimulation and joy. Concertos 1 and 2 are based on two of Bach's Cantatas, and sound accordingly reverential. Recordings of the D minor Concerto can often exhibit austerity, but Perahia's playing is full of verve and vivacity, while his direction of the ASMF is inspired, creating music of delight and freshness. The slow movements are profound, with both Perahia and the ASMF performing with exemplary refinement and sensitivity. In the A major Concerto, the ASMF utilise a Theorbo (Bass Lute) to represent the chordal instrument that Bach wrote into the continuo group. This adds some extra texture to the performance, as well as fullness of the recording. The sound is very good, if slightly close. It is full and rich in tone, and vivid enough to hear many clicks from Perahia's fingernails. While this can be occasionally distracting, it does add to the atmosphere. This is a landmark recording, of Perahia at his very best, which reveals both the greatness and the beauty of Bach's accomplished compositions.

Mahler: Symphony No. 1 / Blumine
Florida PO. / Judd
Harmonia Mundi Classical Express HCX 3957118 Reviewed by SG
This reissue is of a CD that has been hailed as one of the best sounding ever. While that may not quite be the case, the recording is warm, yet vivid and detailed enough to reveal every compositional nuance. The dynamics are tremendous, handling Mahler's brass and percussion with ease, and the acoustics of The Broward Centre match Mahler's ideals superbly, allowing space to develop with the music. Distant hunting horns can be heard far to the rear, and layers of orchestral detail are unveiled. The performance is also very good, with Judd directing matters with obvious understanding and appreciation. There is a wonderful klezmer-like feel to the Funeral March, and the Finale is almost apocalyptic in its outburst, yet the whole work comes across with inspirational meaning. The only disappointment comes with some of Judd's slower tempos, especially in the 1st Movement, which can sound a little ponderous and heavy. The playing of the Florida Philharmonic Orchestra is excellent, and the inclusion of the Blumine (Mahler's original 2nd Movement, removed by the composer for a traditional 4-movement form) is an important bonus. Harmonia Mundi has given us an audiophile recording, with a very good performance. All at Naxos prices. Fabulous!

Italian Baroque Sonatas, Vol. 1 Matteis / Suites and Sonatas from "Ayers for the Violin"
The Arcadian Academy / McGegan
Harmonic Mundi Classical Express HCX 3957087 Reviewed by SG
Fairly little is known of the life and works of violin virtuoso and composer, Nicola Matteis, The title Italian Baroque Sonatas is a bit of a misnomer, as although he was Neapolitan by birth, he came to England in the early 1670's and settled here. The music on this CD comes from his Ayers for the Violin, which he composed in four parts, being published between 1676 and 1685. The music is a little quirky, although this is mainly due to its rhythmic qualities. It is relatively simple and rustic in composition, but all the more engaging for it, and there is a general folk-like quality, where the composer has blended rhythms of the baroque with both English and Italian jigs and dances. McGegan and the Arcadian Academy perform with feeling and enthusiasm, letting the music speak for itself. There are no performing pyrotechnics, just pleasant music played with honesty and intelligence, allowing Matteis' compositional charms to come to the fore. The recording is vibrant, with a lovely depth to the timbre of each instrument, and the performers appear naturally within a persuasive soundstage. A CD to cherish, that offers an unconventional aspect on the music of the baroque.

Corelli: Concertos, Vol. 1 Concerti Grossi, Op. 6 (1-6)
Philharmonia Baroque McGegan
Harmonic Mundi Classical Express HCX 3957014 Reviewed by SG
This recording contains the first six of Corelli's wonderful Opus 6, Concerti Grassi - hence the Volume 1 classification. But, any first part of these works should include the first eight Concerti, and therefore all the Concerti Dachiesa, or church sonatas, which have alternating fast and slow movements, as opposed to Concerti 9-12, which are chamber sonatas. These Concerti Grassi are some of the jewels in the crown of baroque music, and McGegan and the Philharmonic Baroque Orchestra produce a gem of a performance. Although Corelli craved accuracy and composed with much conventionality and precision, these works display stylistic freedom and virtuosity, which through structured composition and rhythm create the textural contrasts that make them so engaging. The performances are full of vitality, yet are both sympathetic and polished, revealing Corelli's multi-layering of tone. They are beautifully proportioned, and the playing is superb. The recording is also excellent and complements the performance superbly, allowing the musical textures to live and breathe. These are enthusiastic yet elegant performances of some of the greatest music of the Italian baroque, and an excellent way to begin exploring this wonderful composer's work. This is a very enjoyable CD in every way.

Mozart: Piano Concertos Nos. 20 and 24
Brendal / Scottish Chamber Orchestra / Mackerras
Philips 462 622-2 Reviewed by SG
These are two strong and inspirational performances of Mozart's only Piano Concertos set in a minor key. Piano Concerto No. 20 is a dramatic work that Brendal plays as if it is a fresh piece. He is wonderfully inventive, and although his playing is not quite as smooth as that of Uchida, he never fails to hold the listener's attention, through the use of upbeat tempos and the passionate accompaniment of Mackerras and the SCO. Piano Concerto No. 24 is another work that manifests weight and striking virtuosity. It is often considered as a piece of portentous tragedy, but Brendal supplies a performance full of heroism and lively bravura, balancing the traditional with his own inventive detail. He produces the cadenzas for both pieces, to augment those of the composer, which would have been improvised. Like much of the performance, the recording is detailed and vivid. The performers are placed quite forward, and the piano is much too close, sounding as if the listener were actually seated within the body of the instrument. While not a first choice for a recording of these two wonderful works, they are recommended to those looking for an edge of the seat performance.

Mahler: Symphony No. 5 (includes discussion disc)
Philharmonic Orchestra / Zander
Telarc 2CD-80569

Mahler: Symphony No. 5
Junge Deutsche Philharmonie / Barshai
Laurel Records LR-905
Mahler's symphonies are complete entities, rather than individual movements, and nowhere is this better illustrated than in his Fifth. This symphony needs to be thought of in three parts, with the opening two movements creating the first part, the Scherzo as the second, and the famous Adagietto and the Finale making up the third. It should reveal the triumph of light over darkness, but some conductors have treated the Adagietto as a Funeral Dirge, rather than the "love song without words" that Mahler envisaged. Since Visconti's film, Death in Venice, this treatment has unfortunately become prevalent, losing much of the romance, and putting it out of context with the Rondo-Finale's emotions of hope and joy. Zander expands on this in his, stimulating and amusing, discussion disc that accompanies his recording, revealing his enthusiasm for, and understanding of, the composer and his work. Zander always makes a great point of stressing Mahler's use of rubarto, and indeed it is this that gives his compositions their fluidity. The performance flaws beautifully, with Zander letting the music speak for itself. He applies generally brisk tempos, which make the music sparkle, and bestow the Funeral March with a lack of austerity. The performance is meticulous, incorporating the crucial contrasts that reveal the symphonies inner details. But, this induces both a lack of passion in the Adagietto and a lack of joy in the Finale The playing of the Philharmonic is superb, and the recording is up there with Telarc's best. Barshai's recording has recently been awarded an almost cult status through some outstanding reviews on the Internet, and from the opening fanfare this is indeed a special performance. By treating the symphony as a whole, Barshai has conveyed the complete scope of Mahler's emotions, matching his markings perfectly. Each of the three parts reflects the expanse of Mahler's conception, with Barshai never trapped by the temptation to speed up the Scherzo or slow down the Adagietto. He is fully aware of the rhythms and phrasing, as well as Mahler's wonderful use of counterpoint, communicating an intrinsic comprehension and extraordinary conviction. This is a performance of passion, thrills and understanding. The Junge Deutsche Philharmonie is immaculate and assured, with the brass being particularly dynamic. The live recording, while not quite in the demonstration class, is wonderfully real and brings a sense of drama to the performance. This is one of the great Mahler performances, and a totally thrilling experience.
Available from Silver Disc CDs Tel.: 01509 829301

J.S. Bach: Partita No. 2 / Sonata No. 3
Lara St. John (violin)
Well Tempered Productions WTP 5180 Reviewed by RP
Johann Sebastian Bach's works for solo violin are the epitome of bourgeois good taste. Consequently, when such well-known pieces as the Second Partita and Third Sonata are delivered in tandem, a little more than the usual "reading by rote" or "sonic painting by numbers" is certainly needed if we are to separate a particular performance from the pack. A fine starting point, here, is a dry, austere acoustic, pleasantly free from technical embellishments, but strong on transparency, clarity and detail. Across this tautly stretched canvas youthful Canadian soloist, Lara St. John, plays in an expressive style which radiates personal vivacity, flair and imagination. A canny, older violinist would probably have developed a riper, fuller tone for the Partitas five dances, while engaging in greater virtuosity during a C Major Sonata - both at the expense of tenderness. An obvious alternative to Miss St. John would be Ida Haendel's 180gr triple album recorded by Testament, SBTLP 3090. It definitely possesses compelling levels of insight. Yet, for an uninhibited (sometimes dazzling) and quite refreshing approach - allied to an outstanding 24 Bit HDCD easel - Lara has much to offer and little to learn.
Supplier: hififorsale.com Tel: 0870 2412469

Jimmie Lee Robinson - All My Life
Analogue Productions Original APO 2011Reviewed by RP
For a Nation that possesses so little history of it's own, last years abandonment by the Chicago City Fathers of a decaying Maxwell Street (instead of preserving and renovating that birthplace of a great blues tradition) was one of those typical expressions of modern mercenary myopia. A few, including Jimmie Lee, protested - but even his Eighty-One day fast and its attendant publicity couldn't put a halt to the developers wrecking ball. This breathtaking recording, through it's old fashioned front porch acoustic virtues, delivers an intelligent valediction upon that bygone age when aspiring blues men could be heard on any of those street corners. Terrifically gritty, mournful songs like Forty Days and" Nights (Morgan Field) and Robinson originals, The Girl I Love, and title track, All My Life, recreates that world once again with their poignant acoustic guitars and weeping harmonica licks. The jingle jangle of Jimmie Lee's spurs and those gravelgrazing vocals give them that meaty blend of fat and juices that thickens into a rich musical gravy. With these thirteen steamin' rhythm and blues numbers - amongst them Chester Burnett's, I'll Be Around - his slippery, sidewinding sidemen Jimmy D. Lane and Madison Slim are also given ample opportunity to bite down hard on this wonderful material.

Mark Levinson - Live Recordings at Red Rose Music
Red Rose Music RRM01 Reviewed by SG
Mark Levinson (the man, not the company) has recently been inviting musicians, friends and family to record on Sony's DSD system, and this hybrid SACD sampler is the inaugural result of those sessions. Musically, this disc includes a number of genres, from jazz and blues, to classical and popular. It is generally very well performed with the highlight being Chico Freeman and Bill Sims' rendition of Goin' Back To Louisiana. But, there are also two tracks that bring this accomplished level of musicality down with a bump. Here Levinson accompanies his Mother-in-law and Wife's readings of the 23rd Psalm and Rupert Brooke, on eastern temple bells and his 17th Century bass respectively. These are trite and fatuous, and should only be of interest to dealers and those without a musical soul, and I have ignored them in my final rating. The sound is big, vivid and a little too close; meaning it does not have the spaciousness of a single-point recording. But, it does have life, and a wonderfully real timbre. This is a great demo disc that will find its way into many dealers' systems. It is just a pity that a couple of inane tracks will surely make this a future "Record to die from".
Supplier: hififorsale.com Tel: 0870 2412469

Shostakovich: Symphony No. 5 / Symphony No. 9
Vladimir Spivakov, RNO
Well Tempered Productions WTP 5190 Reviewed by RP
Stylised and contrasting symphonies recorded in the Great Hall of the Moscow Conservatory possess electrifying immediacy of a kind you only get when the orchestra performs live to an appreciative audience. Yes, this excellent-sounding disc does pick up plenty of extraneous noises from musicians and public alike, but it's so refreshing to hear an audiophile CD produced in a fully occupied and atmospheric venue, that any doubts should be put firmly to the very back of your mind performances emasculated in the editing suite these are not. There's always been a special affinity between the Motherland's orchestras and her Soviet composers - it shines through as these Russian National Orchestra players, Spivakov and the Moscow concert goers interact. Superbly aggressive and dynamic brass for the central episode of the Fifth Symphony is definitely one of the hallmarks of this highly rated rendition - as are the notes of discord, protest and impotency drawn out in a generally optimistic-sounding finale. The Ninth, on debut, was a difficult pill for Soviet audiences to swallow, when another triumphant patriotic work to rival the Eighth had been expected. Instead a compact, ironic Symphony musing on a post-war world was unveiled. Here, those contemplative qualities are fully resolved.
Supplier: hififorsale.com Tel: 0870 2412469

Led Zeppelin - 4
Classic Records Reviewed by DA
Any reviewer that assesses the album that contains the all time number one rock track runs the risk of being burned at the stake. No need for my asbestos suit, however, as I concur that, taken on its own merit, 'Stairway To Heaven' is a truly standout track. The problem with is that over familiarity has lessened its impact, and that it overshadows the other excellent songs on this album, such as 'Four Sticks' and 'Misty Mountain Hop'. 4 saw the boys bringing together into a cohesive whole the disparate elements that almost fatally fractured 3, providing a much more satisfying end result. Side one storms off the block with the heavy rock fireworks of 'Black Dog' and 'Rock'n'Roll', then chills out with the mystic folk of The Battle Of Evermore' featuring Fairport Convention's Sandy Denny on guest vocals, before ending the side in style with the world's number one. Side two by contrast is a much more even affair, spotlighting the cavernous sound of John Bonham's kit, which could have been recorded in Wookey Hole. Led Zeppelin 4 is a milestone in rock, and the much-maligned 'Stairway to Heaven' is a musical institution. You owe it to yourselves to own a copy. Forget the re-masters, this Classic Records re-issue is the real deal.
Supplier: Vivante 0208-977-6600

Mendelssohn: Symphony No. 3 "Scotch" / Overture "The Hebrides"
Otto Klemperer / Philharmonia Orchestra
Testament / EMI Columbia SAX 2342 Reviewed by RP
In this, the most pastoral of Mendelssohn Symphonies, we see play maker Otto Klemperer (who was renown for his slower than usual speeds) develop an expansive and powerful reading that is, for him, remarkably unfussy in conception. If there is a weakness this lies not in his interpretation, but with a Philharmonic Orchestra that isn't always at its best. However, their playing for The Hebrides, by contrast, is so greatly improved that to call them "outstanding' would be no exaggeration. Clearly, the cagey old Doctor imposed his will in no uncertain terms - with the Philharmonic players responding tremendously. Returning to the Third Symphony and the depth of these orchestral (Brahmsian-styled?) textures is warmly reproduced. Contemporary reviews of this 1961 recording cited it for spaciousness and I wouldn't disagree! Additionally Testament have cleaned up the original Columbia's slight tendency towards opaqueness in and around the tuttis and orchestral fringes. This refined level of clarity allows the strings, in particular, to open out - revealing incisive characteristics which propel both works along at their natural tempi. Without doubt this is a nice record to own. A gripping performance of the Overture and reasonably sure-footed Symphony will please Klemperer acolytes and create a few new converts as well.
Supplier: Vivante 0208-977-6600

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