Search the Music Review Database

Tan Dun: Symphony 1997
Yo-Yo Ma / Imperial Bells Ensemble of China / Hong Kong Philh. O ./ Yip's Children's Choir / Tan Dun
Academy of St Martin in the Fields, Sir Neville Marriner
Sony SK 63368 Reviewed by SG
The Symphony 1997 was written for Hong Kong's reunification with China. Composed in three parts, its whole is an amalgam of the traditions of ancient China, characterised by the Bianzong (65 bronze bells excavated from a 2400 year-old tomb), and the future of the former British dependency, in the children's voices. Among these representations are the full-blooded orchestra and Ma's touching cello, resulting in something akin to that which will greet the competitors at the opening ceremony of the newly declared Beijing Olympiad. Traditional Chinese melodies and rhythms dance with western orchestral composition, and while the two seem an admirable pair, they can also become slightly untrusting bedfellows. The 2nd part -'Earth' - is particularly avant-garde, yet a certain balance is maintained. All the performers play or sing adequately, although the Children's Choir can sound, stereotypically a little hackneyed. The recording is an audiophile's dream, with a massive soundstage that holds vivid and dynamic sounds within its boundaries. The bells sound particularly real, with excellent separation and superb transients. This occasionally moving music reveals the composers optimism for a future where mankind lives in harmony with itself, nature and the spiritual world. An admirable CD for an admirable vision.

Mozart: Eine Kleine Nachtmusik, Symphonies 39 and 41
Philharmonic/NPO Otto Klemperer
EMI CDM 5 67334-2 Reviewed by JMH
That Klemperer was a great Mozart conductor hardly needs arguing. And, while there have been considerable changes in playing style since these recordings were made back in the '60s, it's remarkable how well the performances stand up. Breadth and Power are the key aspects of Klemperer's Mozart. Even in the shapely trio section of Eine Kleine Nachtmusik there's no trace of sensuality, no sense of things being manipulated or massaged. Although Klemperer had a reputation for slow tempi in his later years, he always kept Mozart moving. But the music is never taken so fast that phrasing is rushed. Fashion dates, style doesn't, and Klemperer's Mozart always had style. His liking for forwardly balanced winds (and the distinctive reedy timbres of his wind players) aids clarity, avoiding the turgid string-dominated balances that were characteristic of many contemporary Mozart performances. Dr K's interpretation of Mozart's last symphony was famous for its contrapuntal clarity and broad sweep. So many modern performances seem to emasculate this work, but Klemperer's expansive tempi create a breadth that ensures the scale of the music is never diminished. EMI's vintage recordings sound full-bodied and focussed, with excellent clarity and good pitch definition. Best sound is from Eine Kleine Nachtmusik (1966), but the symphonies (1963) aren't far behind.

Mahler: Symphony No 9
Shirley-Quirk; Norman, Royal Concertgebouw orchestra, Haitink
Philips 464 714-2 Reviewed by JMH
Originally released on LP in 1970, Haitink's Mahler 9 quickly won many converts, not least for the purity and truthfulness of the Philips recording. It's a sane well-balanced reading of great dignity and calm restrained power. And while it lacks the intense gut-wrenching emotional angst of some later performances (Bernstein's with the same orchestra, for example, or Guilini's Chicago version - both DG), there's no doubting the deep sincerity that informs every note. Haitink was due to re-record the work with the Berlin Philharmonic as part of his new digital Mahler cycle. But, alas, the series was destined to remain incomplete, and this remains his only reading. The analogue recording (newly remastered using 96kHz/24bit technology) sounds more focussed and crisply detailed than the original full-price CD issue coupled with Kindertotenleider. But why have Philips split the symphony over two discs when they've already issued it on a single CD in their Duo series? Admittedly, at just over 80 minutes in total, CD playing time is stretched to its limit. But, they've done it once, so why not do it again? The filler is Haitink's 1977 set of Wunderhorn lieder, atmospherically played, characterfully sung and sumptuously recorded. Compared to the previous CD issue on Philips Duo (Mahler orchestral songs - 454 014-2 2CDs) the recording now sounds even richer and slightly more spacious, with increased air around voices and instruments.

Music for a Medieval Banquet
Newbury Consort
Harmonic Mundi Classical Express HCX 3957038 Reviewed by SG
The music on this CD is based on some of the works of the 14th Century Tuscan poet Prudenzani, which are set to the melodies of some of the most prominent musicians of the time. These tunes include many exotic dance rhythms from regions of the Middle East and the Eastern Mediterranean, intertwined with those of Medieval Italy. This gives it a distinct folk-like quality, which is worked to fit around the writer's poetic structures, and represents the link between the contemplation of a medieval court and the animation of its subjects. There is a nice balance between vocal and instrumental pieces, and the music is lively but also authoritative, with the quintet of the Newbury Consort giving a spirited and expressive performance, full of authenticity. The interpretations are precise yet colourful, which combined with sound that is lively and dynamic, with plenty of ambience, and which matches the performance and music nicely, provides an impression of a live performance by a visiting group of troubadours. This CD delivers an enjoyable listening experience that should be of special interest to those who love the wonderful medieval psaltery and Arabic/Andalusian music produced by the MoA Recordings label.

Kapsberger: Baroque Lute Music (Vol. 1)
O'Dette
Harmonic Mundi Classical Express HCX 3957020 Reviewed by SG
Venetian by birth, Kapsberger had a German nobleman as a father. By the early 17th Century he had become a much-respected musician, having developed a demanding and pioneering technique on the chitarrone (or theorbo). He moved to Rome, where he became established as a premier virtuoso and composer, and was employed by the papacy for the rest of his life. His work is full of polyphonic clarity, and replete with counterpoint and wonderful rhythmic qualities. The pieces on this release are full of harmonies, with the composer's signature traits of enlivened virtuosity and originality throughout, making them demanding of the soloist. But this extravagance could well have led to Kapsberger's downfall, with his contemporaries, who had previously been full of praise, finally discrediting his name. O'Dette performs works on both a 10-course lute and the chitarrone, and his marvellous and totally sympathetic playing reveals the composers trills and arpeggios to the full, while the intimate and complimentary recording is full of detail and reverb, revealing the musical harmonies and energy. This is a superb CD, and a wonderful introduction to the music of a neglected master of the baroque period, whose music was often ahead of its time.

Boccherini: Guitar Quintets, Vol. 1
Savino / Artaria Quartet
Harmonic Mundi Classical Express HCX 3957026 Reviewed by SG
These are charming works that are played with sensitive vibrato and polished expression. The guitar adds a Spanish feel to the Italianate sounds of the quartet, with the castanets in the celebrated Fandango reinforcing this. The guitar is used as a solo instrument, as well as support to the wonderful counterpoint produced by the Quartet. Despite this extensive use of counterpoint, often favoured over harmony during this period of composition, Boccherini's works also let the individual instruments produce harmonies that allow the flow of melodic charm to expand and grow. The use of folk tunes, permeated with melancholia, continually merge with the refined textures of the Viennese, despite the composer's distaste for this classical style. Savino performs with refinement and subtlety, but does not stamp his conviction on these pieces as much as he could, while the Artaria Quartet's playing is far more authoritative and they are always beautifully articulate, performing with great clarity. The recordings are wholly appropriate and very natural and lucid. There is plenty of life and hall acoustic that add to the listening experience. This is music to cherish, performed and recorded in total sympathy.

Handel: Italian Cantatas
Kozena / Les Musiciens du Louvre / Minkowski
Archiv 469 065-2 Reviewed by SG
These three Cantatas where composed for private performances in front of the Roman aristocracy, and show the wonderful vigour and passion of that, and the many Italian cities that influenced the young Handel in the early part of the 19th Century. Czech soprano Magdalena Kozena conveys beautifully the impassioned drama of these pieces, and performs with an authority and conviction that belies her youth. She reveals wonderful agility handling even the most testing of tempos or the heart-rending feeling conveyed in 'Gia Nel Seno Comincia', with equal aplomb. Her technical accuracy and timing are beyond reproach, and there is a beauty and charm throughout. But it is the intensity and passion that are most striking, and this is especially noticeable in La Lucrezia: 'O Numi Eterni!' Minkowski and Les Musiciens du Louvre, play with authority and feeling. Their tempos are bold, yet in keeping with the composers brilliant writing, and the textures of each instrument are brought to the fore by a warm, yet vivid live recording. Kozena's singing is exceptional and totally out of the ordinary, revealing differing facets of her abilities, as well as the three works on this CD, establishing her as a star of the future.

Debussy: Images For Orchestra
Gigues / Iberia / Rondes du Printemps Munch, BSO
JVC/RCA JMCXR-0004 Reviewed by RG
The late '50s and early '60s saw a particular musical fascination with Spain and all things inspired there by. As a result, it was hardly surprising that Debussys impressionistic masterpiece, Images For Orchestra, should become a concert and recording staple, with every major label committing it to vinyl. For RCA, that meant Living Stereo, Munch and the Boston. With JVC embarking on the Living Stereo back catalogue, Munch's Debussy recordings were an obvious place to start. Interestingly, however, this XRCD isn't the first audiophile re-issue of the work, with Classic having released Argenta's Decca/London recording on gold CD. The comparison is surprisingly predictable, the Decca offering greater transparency and dynamic zip, the RCA a more stately, sumptuous and all enveloping reading (well suited to XRCD's strengths). Which you'll prefer is going to be down to taste, but for me it's difficult to ignore Argenta's natural empathy with the subject matter, as well as his greater sense of precision and organisation, better able to make sense of the more free form passages and sudden rhythmic shifts. Having said that, Munch's vision has it's own majesty and an appealing sweep, providing a lush and more romantic alternative to Argenta's sun drenched reading. But that's the beauty of classical music. This performance or that, this conductor or that orchestra...
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

J. S. Bach: Goldberg Variations
Murray Perahia
Sony SK 89243 Reviewed by SG
In 1955, Glenn Gould recorded a Goldberg Variations (Sony) that was to remain the benchmark performance for over four decades. Recently this high ground has been challenged; firstly by Angela Hewitt (Hyperion) and now Murray Perahia, with this CD. This is vivacious musicianship of the highest order with only an occasional hint of offensiveness in Perahia's attitude and reading of these pieces. He produces marvellous harmonies and contrapuntal resolutions, which reveal much of Bach's compositional skill and thoughts. There are dramatic tensions (Variation 8), comical rhythms (Variation 11), and deep anguish (Variation 25), but it is in the 'Aria' that Perahia reveals the full glory of these wonderful pieces. Here his expression, flow and clarity are superb, making this opening composition pivotal to the overall work. His virtuosity is admirable throughout, revealing assurance, enchantment and mastery while delighting his listeners. The warm sound is too close, but is detailed and clear, and manages to reveal the pianist's technique. While this recording is not the lone benchmark for Bach's wonderful Goldberg Variations, it does sit alongside two other great performances, and confirms Perahia as one of the foremost interpreters of this great composer's works for the keyboard.

J. S. Bach: Brandenberg Concertos Nos. 1-6
Tafelmusik / Lamon
Sony S2K 66289 Reviewed by SG
The excellent Canadian, period instrument ensemble Tafelmusik first came to my attention with their releases for Reference Recordings. Their recording of the six Brandenberg Concertos is one of the best all-round issues of this often-recorded work. While some have great singularity or innovation, this recording is more sensibly judged, while still remaining stylish. There are few eccentricities and the performances are unlikely to irritate. Tempos are satisfying, if occasionally on the faster side, and the music is allowed to flow naturally. Tafelmusik play with poise and there is a focus to their performance that brings Bach's wonderful use of polyphonic forms and counterpoint to the fore. The soloists are mainly reliable rather than outstanding, but Jeanne Lamon's solo violin and directorship throughout, are worthy of special mention, as are the two recorders in Concerto No. 4 and the harpsichord in Concerto No. 5, which are both stylish and vivacious. The recorded sound is pretty good, rather than of demonstration quality, with natural tones and soundstage, but there's compensation in the form of a nice acoustic. While no single recording of Bach's captivating Brandenberg Concertos is likely to unconditionally satisfy, this is one of the better performances and is recommended.

J S Bach: Magnificat; Acension Oratorio; etc.
Consort Players, Parrot
Virgin Veritas VBD 5 61647-2 Reviewed by JMH
The practice of performing Bach's choral works with reduced forces reached its zenith (or nadir!) with the one-voice-per-part performances of Joshua Rifkin; the ultimate outcome of a scaling-down process that began decades before as musician scholars attempted to recreate the authentic sound world of baroque composers. Andrew Parrot isn't quite as hair-shirt as Rifkin, but he's not far behind. Performing these works with reduced forces gives the music a flexible intimate quality that's very appealing. Inevitably, the big moments lose power and grandeur, but this is offset by greater expressiveness and crisper phrasing. Plainly, one voice can negotiate tricky changes of emphasis and awkward intervals better than a group trying to sing as one, though the stark clarity created can expose intonation and ensemble shortcomings mercilessly. The performance of Magnificat is very accomplished, and beautifully sung, but the wide-ranging dynamic contrasts between choral passages and solo arias is reduced. More successful is Bach's beautiful but technically challenging Easter cantata Christ Lag in Todes Banden; having one voice per part certainly helps clarify Bach's dense contrapuntal writing, ensuring one appreciate the multi-layered complexity of this wonderful piece. The recordings sound clean and detailed, and a slight increase in volume helps banish any sense of the performances seeming emasculated.

Boccherini: Stabat Mater / String Quintet, Op. 31/4
Mellon / Ensemble 415 / Banchini
Harmonic Mundi HMX 2981378 Reviewed by SG
The Stabat Mater is a work full of empathy and spirituality, but it never comes across as austere. Boccherini s composition is more like a sparsely orchestrated set of arias that fluctuate between varying keys, using many of the composes varied instrumental techniques to reveal a rich palette of emotional, poignant and tender sensuality. Although occasionally sombre, this work never exhibits over-sentimentality, and the passion revealed by Agnes Melton's wonderful voice holds a remarkable intimacy and luminosity. The Ensemble 415, under the leadership of Chiara Banchini s direction, perform with poise and expressive charm, especially in the String Quintet. This is deeply melancholic, as opposed to the other Op. 31 works, which exhibit the happier times that Boccherini was experiencing during this period. It is full of maudlin nostalgia and intense equanimity, only lifted in the 'Allegro Vivo' and 'Allegro Ma Non Troppo', but still not showing the agility and warmth of the composer's other chamber works. The recording is very good, with plenty of detail, texture and a beautiful tone, and the strings blend naturally with the vocal performers. This is a beautiful CD, of the definitive performance of both Boccherini's and the late 18th Century's most sublime work.

Josquin Desprez: Messes de L'homme Arme
Maitrise des Pays de Loire / A Sei Voci / Fabre-Garrus
Astree E 8809 Reviewed by SG
A Sei Voci continue their recording of works by Josquin Desprez, with this beautiful performance of the two L'homme Arme Masses. This is their sixth such release and the second with the excellent Maitrise des Pays de Loire. These secular pieces were written in the late 15th Century and possess melodic and rhythmic qualities that are the hallmark of the composer's work. They are particularly well performed, with the emotion and spirit of the compositions being captured perfectly, and the vocalisation is tremendously expressive, using both range and interpretative treatments to illustrate Desprez's compositional genius. There is a tremendous underlying power in the voices that is both inspirational and sensuous, especially in the darker toned 'Missa L'homme Arme Sexti Toni', and the polyphonic inter play expressed throughout supplies numerous focal-points for the listener. The two works of plainchant, which make up this CD, are also performed with a similar level of excellence. While the recording is a little too closely mica, it is wonderfully detailed and full. The Fontevraud Abbey provides a wonderful acoustic and atmosphere, which results in three-dimensional sound filling the listening room. This CD provides both an enjoyable and spiritual listening experience, and is thoroughly recommended.

Rimsky-Korsakov: Scheherazade
Berlin Philharmonic, Herbert von Karajan
DG The Originals 463 614-2 Reviewed by JMH
Karajan recorded Scheherazade just the once, and never performed it live in the concert hall. Why, is a mystery. As one of the great showpieces for orchestra, one feels he must've revelled in the music's brilliant luxuriant colours and exotic scoring. His 1967 DG performance is beautifully shaped and wonderfully played, sounding as though he and the orchestra loved the work and had given infinite thought and care to every detail. Michel Schwalbe is an outstanding soloist, and in the finale's introduction he makes his violin sound like a weeping hysterical woman. The recording has come up very well in this new CD transfer, sounding crisp, open, and well balanced, if a shade dry and bass light. The LP always needed a good MC cartridge to open things out; only then did the sound impress. The fillers are Karajan's contemporary accounts of Tchaikovsky's Capriccio Italien and 1812 Overture. In the sleeve notes, Richard Osborne hints that Karajan was very probably bored by the 1812. Yet, although it might not be the ultimate test of musicianship, how often does one hear a performance that really lifts you out of your seat - as it should and must? Karajan's 1812 is good, but the cannons at the close are feeble. Vastly better is Capriccio Italien -sumptuously played in every respect, and musically in a class of its own!

David Russell - Plays Baroque Music
Telarc CD-80559 Reviewed by SG
Classical guitarist David Russell performs a programme of transcriptions of works by Loeillet, Vivaldi, Handel and Domenico Scarlatti, which were all composed for instruments ranging from the harpsichord to the cello or flute, but not the lute or theorbo. The results are a thoroughly enjoyable recital, which often unearths layers of phrasing and the melancholic understanding that has eluded many performances on the original instruments. Russell's performance is smooth and graceful, free of gimmickry and irritating exaggeration. He plays faultlessly and exhibits effortless technique, revealing an acute attention to detail and complete understanding of each composition. His expressive warmth, allied to eloquent rhythms in Handel's beautiful Sonata in A minor, bring a sense of discovery and manage to reveal any dance-like quality held by the composition. The Scarlatti Sonatas (or Exercises) are extremely attractive, and bring the composers modern ideas to the fore. The sound is big, free and alive, with an excellent tone, with an open soundstage. But there are large amounts of reverb, which can distract from the performance. While a guitarist of refinement and sensibility, Russell may not exhibit the pyrotechnics of others, but his understated virtuosity suit this music perfectly.

Strauss: Ein Heldenleben; Tod and Verklarung
Royal Concertgebouw orchestra, Haitink
Philips 464 743-2 Reviewed by JMH
On the face of it, Bernard Haitink wasn't perhaps the most obvious choice to conduct a great Heldenleben; insufficiently bullish - too much of a gentleman. Yet, backed by a superb orchestra at the height of their powers, he confounded those who label him a worthy but somewhat dull conductor. True, his reading is less extrovert and headstrong than some, but heroism comes in many different guises, and Haitink's hero is serious and noble; brave but self-effacing and not in the least bit boastful. Frightfully British, dare I say it. If you were a record collector in the '70s, this was a "Must Have" LP for both sound and performance. And while by modern standards the recording hasn't quite the weight and amplitude of some later versions, it still sounds well. For their 50th anniversary series Philips have remastered the original analogue tapes using 96kHz/24bit technology, but there's not really much improvement over previous reissues - just a marginal freshening-up. Tod and Verklarung dates from 1983 and is digitally-recorded. The sound here, as you'd expect, is sharper and more wide-ranging, but still truthfully-balanced and very natural tonally. Haitink's interpretation is very persuasive; initially one of restraint, but always building inexorably towards each big climax. Consequently, the cumulative effect is greater than it is with less patient performances that go for broke from the start.

Held by the Ears - Palladian Ensemble
Linn CKD 726 Reviewed by SG
The title of this CD comes from one of the essays of Roger North that refers to the 17th Century composer and violin virtuoso, Nicola Matteis. His works were often influenced by his interest in the folk music of the time, and so it is a collection of these works and Scottish folk tunes of the period, that fills this disc. Matteis' compositions are fairly unique, and always interesting, with his work featured here producing a lovely contrast between brisk, irregular tempos and beautiful melodies. The Palladian Ensemble is perfectly suited to this music, comprising recorders, violin, bass viol, and either guitar or theorbo, but it is not just the correct instruments that make this an excellent CD. The performance reveals an enthusiasm and understanding, and there is an intelligence and warmth that many performers miss. The playing exhibits a wonderful spontaneity and verve, as well as a certain exhilaration and delight, that brings each work to life. The sound is also excellent, and the only letdown in this area is a slight lack of depth to the acoustic and soundstage. This is an enchanting disc that should entertain and enthral the listener time and again.

J S Bach: Harpsichord Concertos
Richter; Bilgram - harpsichords Munich Bach orchestra
DG 469 687-2 Reviewed by JMH
In autumn 1973, DG's Archiv label issued a sumptuous limited-edition UP set containing all Bach's harpsichord concertos played by Karl Richter. Because it was only available for approximately five minutes, the original boxed set is now quite rare though the LPs were reissued in Archiv's 1974 Bach edition. The performances are gorgeous - but only for those with a sweet tooth! Even by early 70s standards Richter's warm and richly-phrased Bach was starting to sound anachronistic. Yet no set of recorded performances on authentic instruments rivals the sheer fun and euphonic splendour of Richter's. The music positively glows, and one senses everyone thoroughly enjoying themselves. Tempi are brisk, but not too fast, with proper emphasis given to supple phrasing and crisp flexible articulation. Baroque die-hards may find it all a little too lush and Romantic. But only purists will fail to warm to Richter's infectious musicality. The recordings were always among the best of their day, and reflect the warmth and richness of the playing. This CD gives a generous (78 minute) cross section of the complete set , but it's a pity the great D Minor Concerto (BWV 1052) wasn't included - Richter's account was impressively serious and intense. At budget price this disc is definitely worth getting - though now having heard it, I'm longing for the complete set!

Joan Armatrading - Self-Titled
Speakers Corner (A&M) SP-3228 Reviewed by RG
Armatrading exploded onto the music scene with this, her 1976 debut album, and what an album it was. Great songs throughout, capped off by the classic 'Love and Affection', a composition of such stature that it's in danger of over shadowing the rest of the record, single handedly catapulting its author to international super stardom. But to see this as a one track wonder is a huge mistake. This is an album of consistent quality and astonishing maturity, one which Armatrading was never to surpass, or even equal until the arrival of Me, Myself and I. The simple, largely acoustic arrangements add poignance and penetration to lyrics that cut straight to the emotional core. It's a mix that thrives on the silent surfaces and inky backdrop of this superb Speakers Corner pressing, something that the original A&M pressings never possessed (at least mine didn't!). Just take the opener, the fantastic 'Down To Zero'. There's a pellucid majesty to those all so familiar descending bass notes, a confidence and poise to the swooping vocals. It might have made the Records To Die From listing back in Issue 10, but that's more a function of over indulgence than anything else. If it's a while since you sampled these musical delights, what better excuse do you need than this 180g re-issue?
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Various artists - High End Edition, Volume 1
HEE CD 001 Reviewed by DD
And from the very darkest recesses of the Editors review bag comes this miscellaneous collection from Germany. It's an audio assessment disc from the High End Society, organisers of the Frankfurt show, so it arrives with some pedigree. Proceedings start with a selection of early music including vocal pieces from Giulo Caccini, Sanchez, and Montiverdi. These are well performed and nicely recorded: diagrams in the sleevenotes set out the microphone layouts for the recording of each segment. A simple 3 microphone layout for these pieces, and for the following organ music and string quintet, and a somewhat more complex 6 mike set up for the jazz quartet sessions that close the CD. The organ pieces by Weckmann and Buxtehude are extremely natural sounding. There's the expected deep, deep bass, but also tangible reedy sounding pipes and a real sense of the spacious acoustic environment in the Ludgerkirche where these pieces were recorded. The string quintet, the Ensemble Concertant, breeze through a couple of pieces by Schubert and Boccherini, again well performed but slightly less well recorded. The bass is a touch hard and the pieces feels very closely milked with breathing noises obtrusive on occasion. The jazz trio - Bob Degan, Thomas Kramer and Stephen Schmolck - are probably the reason the Ed selected this curates egg for me in the first place. 'Competent' is a fair description. They work through three pieces by Ellington, Degan and Victor Young. The recording is good but not outstanding. The piano feels a bit buried in the mix with cymbals and snare drum dominating in the first number, Ellington's 'It don't mean a thing'. The most successful and freely played of the numbers is Degan's own composition 'Joy in the form of sadness'. This really stands out with a truly live feel and much Jarrett like singing along with his playing. A mixed bag then, but one that gives you plenty of scope to explore a system with just a single disc.
Supplier: www.audiofreaks.co.uk

HIGH ENDITION - Volume 3
HEE CD 003 Reviewed by RP

HIGH ENDITION - Volume 4
HEE CD 004 Reviewed by RP
It was refreshing to hear that, in a tiny but effective way, one of the organisers of a major European show (Frankfurt) was prepared to reinvest some of the proceeds into a project for the benefit of its sponsors, the public. Others seem to approach these annual events solely as a self-serving, revenue raising exercise, where exorbitant exhibition and entrance fees underwrite another years hackneyed activities. Our pastime deserves far better. Perhaps I am guilty of placing too greater emphasis upon these particularly striking musical excursions from the High End Society? But I am impressed by their gesture. At one level both these CDs have been produced with such a degree of accuracy that they can be usefully and, to my mind, meaningfully be employed as assessment tools. The seriousness of this task can be seen from the detailed liner notes of, for example, the Russian vocal collection (High Endition Volume 3) which pictorially shows the spread, location and types of microphone used to get inside the body of a truly stunning Mariendon church acoustic. Here, once you get beyond some fascinating vocal tuning in 'Proben' (Dom Leer), the Aleko ensemble engage in rich and fulsome singing. Rarely have tenor, baritone and bass been so naturally heard and reproduced. While the repertoire itself may not be something that you will return to everyday, it is still beautifully composed and executed music. Forgive me if I am wrong, but music is what we should listen to at home - not recordings of bangs, whistles, explosions or jet engines! Consequently, I contend that we should make our equipment value judgements on the basis of music as opposed to noise. Unveiling the cadence, pitch, register and harmonics of a human voice is one of my prerequisites where this is concerned. Another would have to be a natural recreation of those robust, tactile images surrounding textured low cello strings and the crisp, transparent decay of plump and sonorous piano notes. The recital disc (High Endition Volume 4) adheres to these laudable qualities with a rendition of chamber works by Frescobaldi (Toccata), Granados (Intermezzo) and another half a dozen pieces penned or transcribed by Gaspar Cassado. This recording, utilising a sophisticated microphone arrangement, is made all the more listenable through notable virtuosity and interaction between Rudolf Mandalka (cello) and Maria-Barbara Nytsche (piano). While sonically this disc represents an audiophile object of desire it also stands out as musically significant it its own right. Now go impress the dem room.

Louis Armstrong - meets Oscar Peterson
Classic Records/Verve MG VS-6062 Reviewed by RG
Two of the greats in one of those oft engineered collaborations so beloved of Jazz labels. Of course, the improvisational and collective nature of the genre lends itself to such showcasing, but all too often the result is rather less than the sum of the parts. It is here too, but that doesn't mean this is a bad record. Personally I'll take either of the major protagonists solo, but it has to be said that Peterson, the consummate, urbane stylist provides the perfect foil for the latter day Armstong's vocals. And there's the rub. If you want Satch and his cornet then you'll need to look an awful lot earlier than this. The odd horn solo shows that effortless deftness of touch and improvisational subtlety, but it's Satch the singer you are paying for here. The backing from Peterson's rhythm section, rounded out with Herb Ellis on guitar is fluid and faultless, underpinning Peterson's sinuous lines and anchoring Louis' elastic phrasing. The voice is big, present and central, the instruments spread with Peterson's piano to the left. Staging is open and coherent, with Verve's warm house sound scrubbing up beautifully in the re-pressing. Surfaces are flat and wonderfully silent. But whilst it's impossible not to love Armstrong's voice, every time he picks up his horn it reminds you what he's really good at.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

© Images and text copyright Absolute Multimedia (UK) Ltd 1999-2008
another fine webwork by Global WebTrader