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Mark-Antony Turnage: Music to Hear
The Nash Ensemble
Black Box BBM 1065 Reviewed by SG
This recording features a collection of instrumental chamber works by one of the most important British composers of recent years. While much of his compositional output is gritty, with a kind of flamboyance and even violence that has achieved an appeal with contemporary audiences, this music is far more intimate and moving. Here are elegies, farewells and memorials to friends and colleagues, with this mourning and sentimental outpouring seductively expressed. Turnage's influences are laid bare, with his love of modern jazz being central to the identity of these pieces. Simple phrases are plainly executed, but then extended and added to, opening to reveal moods of melancholia and tranquillity. Fragments of romanticism interject to add an emotional feel and response, but the composer's privacy manages to hold on to its identity. The performance of The Nash Ensemble, for whom some of these works were commissioned, is very polished, and is full of feeling and character. The recording is generally very good, but is let down by the sound of the piano, which in places is far too close. This is a significant release in many ways, revealing a new side to Turnage's talents.

Gerald Finzi: Cello Concerto, Eclogue and Grand Fantasia for Piano and Strings.
Hugh (c), Donohoe (p), Griffiths, Northern Sinfonia
Naxos 8.555766 Reviewed by RG
Ever since Jacqueline Du Pre recorded her coruscating interpretation of the Elgar it's almost as if the rest of the British Cello repertoire has crawled quietly into the shade and given up the game. But lurking in those shadows are masterworks from Walton, Britten and the aforementioned Finzi. Finzi's Cello Concerto recorded by Yo-Yo Ma for Lyrita has long been a favourite of mine. The trouble is that the Lyrita does tend to both the rare and the expensive, so I was exceptionally pleased to see that Chandos have recently re-released a coupling with the Leighton, only to be disappointed when I tried to actually buy it. "Never mind" responded the assistant, "what about this one on Naxos?" For a fiver how could I resist? The Cello Concerto is excellent; bold and dramatic when it has to be, sweeping and sumptuous when it should be. The shades of Dvorak and Walton look benevolently on and if the recording doesn't match the Lyrita, Tim Hugh's performance blows it away. But the real joy was discovering the Eclogue for piano and strings, a piece of both depth and beauty that manages to remain beautifully accessible. Much more than just a filler, and a major contribution to one of the best fivers you'll ever spend.

Mungrel Stuff - Scottish-Italian music by Francesco Barsanti and others
Concerto Caledonia
Linn CKD 140 Reviewed by SG
Although many of the Italian composers whose work is featured here, interspersed by compositions by obscure homegrown talent, spent either little or no time at all in Scotland, their fascination and love for things Scottish still shines through. Barsanti even went on to marry a Scots lass. The Scottish compositions reveal a suave and sublime deftness at times that is obviously Italian. It is this amalgamation of two distinct cultures throughout the 18th Century that gives this album its banal title. This fusion is so complete that it is often difficult to accurately attribute the nationality of a composer to any given work. The music is infectiously played and sung by the 18th Century Scottish musical specialists Concerto Caledonia, with Mhairi Lawson (soprano) and Jamie MacDougall (tenor). It is just a pity about Lorenzo Bocchi's A Scots Cantata, which includes an awful, coarsely accented text by Allan Ramsay. The recorded sound is detailed and lively, but not quite up to the standards set by the absolute best. This enduring and compelling CD is only let down by A Scots Cantata, but even this cannot spoil an occasionally bizarre, yet ultimately enjoyable listening experience.

Haydn: Complete Cello Concertos
Kligel / Cologne Chamber O./Muller-Bruhl
Naxos 8.555041 Reviewed by SG
These delightful works have been questioned over their authenticity, with the C major only being given a relatively recent first modern performance, and the Concerto in D major (Hob.Vllb:4) only now making its welcome first appearance on disc. Alternatively they are typical of Haydn, combining masterly composition with memorable subject material and inventive orchestration. Naxos has already recorded Haydn's Cello Concerti, but Maria Kliegel's style compliments these well, especially in her impressive C major, presenting sensitivity and vigour. But even here the performance is letdown by her cautious cadenzas. The readings come across as coherent and resonant, but she sometimes appears a little laboured, lacking the verve found with Du Pre or Walevska. There is a pleasing vitality, but this comes from the brisk tempi of Muller-Bruhl and the Cologne Chamber Orchestra, who play enchantingly, and the performance lacks the poise and grace shown by Truls Mork. The recording is not one of Naxos' best, with the harpsichord too close and intrusive, but it does have a nice, warm acoustic. This CD is a useful budget offering, as it includes the second Concerto in D major, but Kliegel does not have the individualism to make it a thorough recommendation.

Buxtehude: Membra Jesu Nostri
The Symphony of Harmony and Invention / The Sixteen / Christophers
Linn CKD 141 Reviewed by SG
This cycle of seven cantatas are a passion, or meditation, on the death of Christ, with each individually referring to a part of his body on the cross. While these works may be regarded as grave or sombre, they do encapsulate sensuality and contemplation, encouraging an intimacy with, and understanding of, Buxtehude's expressive writing. The grief and melancholy in these works contribute to a performance of rapt feeling and beauty. Each piece opens with an instrumental sonata, performed with an insight and feeling by The Symphony of Harmony and Invention. The five singers of The Sixteen perform the vocal pieces with grace and precision, as well as periodic releases of power, which creates polyphonic patterns and textures that move across the surface of each movement. The performers, complemented by Harry Christophers' admirable direction, play and sing in great unity, extracting the colours and textures that the composer threaded into the fascinating tapestry of these striking works. The sound is good, with a natural and pleasant acoustic, but it also manages to be a touch bright in tone at times. This is ravishing music, performed with both intrinsic emotion and great intensity to captivate and move the listener.

Dvorak: Symphonies 7 and 9 From the New World
Vienna Philharmonic Orch. / Kubelik
Decca Legends 466 994-2 Reviewed by JMH
Perhaps because Decca began a stereo Dvorak symphonies cycle with Istvan Kertez and the LSO in the early '60s, Kubelik's Vienna recordings of 7 and 9 from October 1956 were forgotten. In the UK, 9 was issued on LP in stereo on Decca's midprice Ace of Diamonds label in sound of thrilling brilliance and immediacy - early Decca stereo at its vivid best! The stereo sound is excellent, reproducing very well in this new CD transfer - detailed and crisp, with only a little of the tonal thinness common to many orchestral recordings made by Decca in Vienna in the 1950s. Kubelik's performances are intensely felt and emotionally charged, with flexible tempi and some exciting committed playing from the Vienna Philharmonic. Interestingly, producer John Culshaw (in his book Putting the Record Straight) says Kubelik was unable to control the orchestra properly, creating a diffuse swimmy sound. Yet there's little evidence of this in the finished recordings. Agreed, the VPO's playing is not as taut or disciplined as that of the Berlin Philharmonic in Kubelik's better-known DG Dvorak cycle, but there's no way you'd describe it as sloppy or diffuse. The sound here is extremely sharp and vivid, with excellent detail and plenty of impact. Stereo is wide-ranging and almost holographic at times. A classic reissue!

Mozart: String Quartets K499 "Hoffmeister"/ K589 "Prussian"
Quatuor Mosaiques
Naive Astree E8834 Reviewed by SG
The wonderful Quatuor Mosaiques are probably my favourite chamber ensemble, and have been releasing performances of the highest order for a number of years. This CD is one of the more outstanding. Whether live or recorded, this ensemble continues to produce performances of almost flawless beauty. They play with finesse, delicacy and perfect poise, but also manage to produce music of wonderful conviction and vigour, when the composition demands it. Here the results are graceful and natural, revealing Mozart's melodic charm and ingenious wit. Their accomplished musicianship is further enhanced by the superb interplay of the instruments, which coax and shape the composer's dynamically written contrasts and affectionate phrasing. There is a resulting dialogue between the players that produces a colourful tapestry of textures and rhythms, resulting in a performance that never allows the listener's attention to relax. The recorded sound is also superb, with the clear and sympathetic acoustic perfectly assisting in the presentation of both the fabric of the music and the performance. There is a lushness and richness to the tone, not always heard from period instruments, and the group's wonderful vibrato has been caught beautifully. I cannot think of a finer recording of Mozart's chamber music.

Rimsky-Korsakov: Scheherazade / Russian Easter Overture
Atlanta Symphony O. / Spano
Telarc CD-80568 Reviewed by SG
This is the premier release by Robert Spano since he joined forces with The Atlanta Symphony Orchestra and Telarc, with the two works recorded chosen to highlight the principal players of the conductor's new charges. Spano comes with an excellent set of recommendations, having directed some of the world's leading orchestras, and his talents are revealed here. The readings are dependable and fairly cautious, but the resulting performance is very good indeed. While there may not quite be the emotion and imagery of Beecham's recording (EMI) or the verve and excitement of Refiner's (RCA) there is plenty to recommend this performance. The playing is excellent throughout, with the especially superb solo violin of Cecylia Arzenweski just standing out for topmost praise among the group of very good leading players, and the sound produced by the Atlanta strings and brass is also very agreeable. The recorded sound is State-of-the-art, with Telarc using Sony's DSD, high-resolution, to the full, enhancing Spano's use of detailed textures. The bass is excellent, revealing both weight and feeling in the deepest notes, and the soundstage is wonderfully 3-dimensional. This CD comes highly recommended, with exceptional sound and a performance that ranks close to the very best.

Manuel de Falla: The Three Cornered Hat; Love the Magician.
Ansermet / OSR
Decca Legends 466 997-2 Reviewed by JMH
Ansermet gave the first performance of El Sombrero de Tres Picos (The Three Cornered Hat) in 1919, so his interpretation of this vivid colourful score has unique authority. He made a recording of the work in mono in the early 1950s, but this 1961 stereo remake is his definitive performance - captured in wide ranging brilliant Decca sound. It's a performance of great vitality and panache, even if the orchestral playing hasn't the virtuoso brilliance or idiomatic Spanish temperament of Rafael Fruhbeck de Burgos' famous 7964 HMV account with the Philharmonic. Ansermet's recording has been out on CD before, but this new 96kHz/24bit remastering offers greater presence and clarity plus increased dynamic range and fine detail. The tonal balance is good too, with firm bass and open treble. El Amor Brujo (Love the Magician) was taped in 7955, and sounds slightly less full-bodied and rich than the main work; a slight increase in volume helps bring the music into focus, and then the sound is extremely good - amazingly detailed and crisp for 1955. The performance is outstanding too, with some impressively fiery moments. Mezzo Marina de Gabarain is simply wonderful. She sings her solos with earthy Spanish passion; a husky voice and crisp consonants making it sound as though the words were being spat out! No messing with this chick, boys...

Rachmaninov: Symphony No. 2 / Vocalise (Orchestral Version)
Cincinnati Symphony Orch. Lopez-Cobos
Telarc CD-80543 Reviewed by SG
This CD follows that of The Baltimore Symphony Orchestra/Zinman issue from the same label (CD-80312). This Vocalise is the Orchestral Version, as opposed to the last of The Fourteen Songs performed immaculately by Sylvia McNair on the earlier release. Unfortunately for Lopez-Cobos, it is through this comparison with Zinman's CD, that his lack of drive and communication of musical energy, so well executed in Baltimore, are fully revealed. Here the conductor wallows in romantic mire during the opening, giving the performance a slow, ponderous attitude that is never fully abandoned. The Vocalise does not possess the profound beauty of the song from which it comes, adding to the overall lack of imagination. While The Cincinnati Symphony Orchestra perform admirably, they are eclipsed by the precision of the Baltimore unit who provide a wonderful depth of tonal expression. The recording has a natural soundstage and plenty of detail, but tonally it is slightly on the warm side, being over-ripe, which does not suit the dark, quixotic flow of the performance. This CD does not compare well with Zinman's, and although the sound is good, it only emphasises L6pez-Cobos' lack of subtlety and understanding for the composer.

Capritio: Instrumental music from 14th Century Italy
Tragicomedia
Harmonic Mundi HMU 907294 Reviewed by SG
This is the first Harmonic Mundi release by the ensemble Tragicomedia, and contains a lively and intriguing performance of some little-known triumphs of the Italian baroque. The quartet performs with vigour and imagination, exhibiting excellent rhythmic characteristics and marvellous polyphony. There is a kaleidoscope of musical textures, to which each instrument brings its own distinct hues, as well as a delightful inventiveness and spontaneity to the performance. Erin Headley's performance on the viola de gamba reveals a rare eloquence, especially in Susanne ung jour, while Paul 0'Dette's virtuosity throughout is splendid. Stephen Stubbs (baroque guitar and chitarrone) and Alexander Weimann (keyboards) perform with a wonderful enthusiasm, with the former superbly revealing the folk-like qualities of Matteis' Suite from "The False Consequences of Music". The sound, recorded at Skywalker Sound, is exceptional, with the harpsichord in Settma Toccata being the best I have heard from CD. Elsewhere there is plenty of life and the textures are revealed precisely, with all the instruments realistically portrayed. This is a disc of simple, but delightful music that I will cherish for many years, and so comes highly recommended.

Berlioz: Symphonie Fantastique / Love scene from Romeo et Juliette
Cincinnati Symphony Orch. / Jarvi
Telarc CD-80578 Reviewed by SG
This autumn, Paavo Jarvi takes-up the baton in Cincinnati, and to celebrate its new recording team, Telarc have released this CD. While there are better Symphonie Fantastiques, this is still a very good example, with Jarvi and the Cincinnati Symphony Orchestra producing both faultless playing and detailed phrasing. The string section sounds particularly first-rate. There is a majestic control that matures but never fully develops, as is the case with Beecham or Davis, but this is probably down to youth with Paavo, as I cannot imagine the same lack of commitment coming from his father, Neeme. Having said that, this youthfulness generates the passion of Romeo et Juliette superbly, with the younger conductor's sensitive direction paying dividends, and his restraint here matches the respectful sophistication of the piece perfectly. The recording, made in Cincinnati's Music Hall, using tube microphone amps, is superb. The three-dimensional soundstage is enormous, containing palpable images of the various players within it. There is plenty of detail throughout, and it has sufficient impact and power in reserve, for when the moment arises. With a number of recordings lined up for this team, I look forward to future releases. This is a promising first CD together.

Le Droict Chemin - Popular devotion at the time of the Reformation
Lucidarium
L'Empreinte Digitale ED 13126 Reviewed by SG
These works are a collection of 16th Century chansons that contain a mixture of polyphonic, secular songs and spirituals, and the simple, rustic qualities of the folk music of the time. Composed for the entertainment of the French upper classes, they were written with many theatrical virtues, which include some risque elements in their texts and many dance-like rhythms, to enliven the performances. The Ensemble Lucidarium have an exceptionally varied and colourful set of textures and timbres from which to draw and arrange their instrumental and vocal performances, which reinforces the individual compositional styles prevalent throughout the album. They manage to produce musical contrasts that bring each composition to life by displaying the individual qualities and perceived feelings of each piece. The playing and singing is wonderfully alive and full of adoration and devotional feeling, as well as respect and reverence for the music. The sound is very good - helped by distant microphone placement - which produces some very natural soundstages and excellent acoustics. This is a very pleasant album of music that should entertain listeners today as much as it did many of the Catholics and Protestants at the time of the Reformation.

Schubert: Symphony Nr 8 'Unfinished';
Mendelssohn: Symphony Nr 4 'Italian'
Sinopoli / Philharmonia Orch.
DG Masters 445 514-2 Reviewed by JMH
Although it wasn't his first recording, this was the disc that launched the late Giuseppe Sinopoli's mainstream conducting career in 1984. In his hands, Schubert's 'Unfinished' lasts almost half an hour, receiving a performance of dark glowering passion that brings out the tragic pathos of the work - not to mention its incredible originality. There's nothing saccharine about Sinopoli's Schubert; at all times one senses the demonic power behind the notes. Although tempi are broad, the performance doesn't sound slow -just weighty and inexorable. Schubert's 'Unfinished' was never quite the same again for me after I'd experienced Sinopoli's interpretation! The reissue CD booklet includes Sinopoli's deeply intellectual psychological (the less kind called it absurdly pretentious) article - Dream and Memory in Schubert's 'Unfinished'- that accompanied the original full-price CD. After Schubert's cosmic utterances on the meaning of life, Mendelssohn's effervescent Italian symphony strikes a wholly different chord. Sinopoli's performance is vivacious and high spirited, with fast tempi and crisp phrasing. The recording, one of the last to be made in London's legendary Kingsway Hall, sounds spacious and airy reverberant ambience. The recessed sound suits Schubert better than Mendelssohn, and a touch of glare afflicts the upper strings despite DG's best attempts.

Handel: Complete Violin Sonatas
Manze / Egarr
Harmonic Mundi HMU 907259 Reviewed by SG
While this recording contains two works that modern research of the composer's work has exposed as fakes, it is Andrew Manze's exceptional virtuosity and expressive inventiveness that prevail over any worries about authenticity. Manze relishes flamboyance and takes full advantage of Handel's great sense of theatrical composition. This exhilarating recital of these miniature masterpieces is imbued with both colourful splendour and distinct outbursts of confident agility and wit, perfectly revealed by the avoidance of the modern practise of adding a cello to add melody, and so reducing the harpsichord to merely providing harmonic filling. Richard Egaar s keyboard work matches Manze's playing perfectly, with passionate understanding for the music and of his partner, creating a wonderful sense of harmony between the duo. Skywalker Sound must once again be congratulated on the excellent sound they have produced. The superb transients match Manze's technique superbly, giving the whole performance life and great definition, and the timbre of both instruments is spot-on. Manze provides baroque violin playing that is outstanding in every way and he is certainly without peer within this generation of artists, providing the listener with a thrilling experience.

Led Zeppelin - 3
Classic Records Atlantic 507201 Reviewed by DA
Led Zeppelin have long had an association with Fairport Convention, so I suppose it was inevitable that they would eventually incorporate a folk influence into their material. Led Zeppelin 3 was the album where that influence came to bear, opening up new horizons for their work. While the opener 'Immigrant Song' gave no hint of what was to come by storming in with one of Rock's most memorable riffs, later songs such as 'Tangerine' and most notably 'Gallows Pole' showed that Zeppelin were not to be constrained by their earlier work. Ultimately 315 not one of their most satisfying albums due to the sheer diversity of material on offer, from Rock to Blues to Folk, which makes the album feel at times like a sampler. However, at the end of the day second string Zeppelin is still much better than most bands can offer, so who's complaining. As with the 1 and 2, Classic Records have made a tremendous job with the re-issue, even reproducing the expensive to produce thumb-wheel cover design. The recording quality here is not fantastic, but the transfer makes the best of the master tapes. Never before have I heard the squeak of John Bonham's bass drum pedal on 'Since I've Been Loving You' so clearly and with such rhythmic integrity (no really, it makes it much less irritating).
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Knud Jorgensen Jazz Trio
Opus 3 LP 8401 Reviewed by SG
The Swedes have a major interest in jazz, but with albums like Jazz at the Pawnshop, Scandinavian musician's reputation is for being too stiff and unadventurous. This is generally not the case here, with fine piano jazz played with firmness and some imagination by Jorgensen, and skilfully assisted by Sture Akerberg (Bass) and Johan Dielmans (drums). 'Satin Doll' is a little polite, but from then on things start to swing, despite Jorgensen not quite really cutting loose. The slower, ballad - like numbers, such as 'Too Late Now' and 'It Might As Well Be Spring' are probably the musical highlights on the album - being more suited to this kind of performance. Unlike the contrived sound on Jazz at the Pawnshop this record sounds very natural. There is great clarity and transients are tight, enhancing Jorgensen's attention to dynamics, and leading to a wonderful recreation of a live event. But it does sound a little closer than other recordings from this label, causing the piano to lack some richness in tone. Opus 3 are now pressing records with Pallas, in Germany, and this LP has excellent surfaces and near perfect sound, yet contains a fine performance that should not embarrass jazz aficionados.
Supplier: www.hififorsale.com Tel: 0870 2412469

Schubert: String Quintet in C major, D956
Auryn Quartet / Christian Poltera (cello)
TACET L110 Reviewed by RP
Think Schubert. Think Trout Quintet? Think again. Comparable to his Great C major Symphony, D956 not only shares the same key but it also exhibits that same intellectual strength throughout an absolute investigation of tone-colour. The communication skills and unwavering concentration of these Auryn players is so all-embracing that the velocity of every single note registers as the musicians and the audience become immersed deep within the very centre of the work. In each of these four movements, the suddenness of dynamic contrasts, rapid harmonic shifts and flashy, chameleon—like textural changes are caught faithfully in a stunning recreation cut for Tacet by the mercurial Wilfred Zahn. In a playful Scherzo the restraint is palpable, as are those simple utterances of compelling beauty which have been so lovingly distilled from a sublime Adagio. Here, the level of inner tension achieved (especially in the softest of moments) compellingly and sensitively conveys a profundity of vision. Meanwhile, the perfect balance between instruments, together with the tonally accurate and wonderfully ripe reproduction of Christian Poltera's 1739 "Sleeping Beauty" cello, are resonant images that remain prominent in the mind long after the record is over. Technically and musically brilliant.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

The Film Music of Jerry Goldsmith
LSO / Goldsmith
Telarc CD-80433 Reviewed by SG
Jerry Goldsmith has been at the pinnacle of both motion picture and television music for around a quarter of a century. This release brings back memories of some of the most successful and best-loved scores from that period. There are a number of complete film themes as well as two medleys (one for film, the other for TV music), with the music conjuring up moods of their associated film or show. This is where Goldsmith really 'scores" best, through his compositional skills and his study of individual characters and their emotions, he manages to supply the illusion of scenes from the listener's memories. Titles from the silver screen, such as Star Trek, Airforce One, Basic Instinct and Chinatown, rub shoulders with The Man From U.N.C.L.E., Dr Kildare and The Waltons. The LSO, who are well established as leaders in the field of soundtrack recording, play with their usual polished verve, and with feeling and poise. The recording, made at Abbey Road, is excellent, and the tremendous dynamic range totally befits the emotional, and sometimes rather moody, character of the music. This release is a must for all fans of movie and TV music, as well as audiophiles alike.
Supplier: www.hififorsale.com Tel: 0870 2412469

Stravinsky: Petrouchka / Firebird
Monteux PCO
Classic Records RCA LSC - 2113 Reviewed by RP
An indispensable addition to any classical record collection, with two of the Stravinsky "big three" ballet scores. This double-barrelled release under Monteux's erudite baton returned him to the city in which they received their World premieres some ninety years ago. Again, in the case of Petrouchka and Rites, it was a remarkable Pierre Monteux who had the privilege to be the first to conduct these widely exotic, dazzling and highly original pieces. A reading of Petrouchka and The Firebird (Suite no.2 version) from this source is, to my mind, irresistible. Alright, just occasionally the Paris Conservatoire brass and wind players are overcome with GalIic enthusiasm, and their musicianship becomes a shade wayward, as a result. But this is tempered by the maestro's consciousness of those colourful, ever-present dance rhythms. His grip remains firm. There is, too, a real bonus in that Julius Katchen, no less, caresses the keys for the piano parts in Petrouchka. The recording (by Decca for RCA) is another engineering triumph for Kenneth Wilkinson. Bold, rich and vividly accurate, it compares very favourably to my early, British (RCA SB—2037) Decca 1k pressing. A touch more tape hiss is a small price to pay for that infusion of precise tonal detail which reveals the slightest instrumental nuances in a fine, sympathetic and satisfying performance of both works.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Chico Hamilton - El Chico
Speakers Corner/Impulse AS - 9102 Reviewed by RG
Chico goes Latin. Recorded in 1965 this was Hamilton's first flirtation with the rhythms from south of the border. In the familiar style of his various 'Formations' he again shows that he's not afraid to surround himself with talent, or give it the room to breathe. His drumming is as solid and surefooted as ever, mastering the complex Latin beats with effortless grace and rhythmic security, giving the rest of the band the foundation on which to build. Here it's the guitar of Gabor Szabo that takes the honours, bringing an alien, Hungarian gypsy tinge to the now familiar Latin melodies. His playing might lack the flow and delicacy of a Charlie Bird, but there's substance and shape to his lines that might at first sound clumsy until you appreciate how emotionally intense it is. Add the cultured, understated contributions of Sadao Watanabe on sax and flute, and percussion work that avoids the flashy and overbearing and you've the basis of an excellent set Underneath though, it's always Chico that binds it all together. The recording is rhythmically and tonally excellent - especially the bass. The spatial aspects might not be in the same league, but that rarely detracts from a performance that feeds on the band's chemistry. Superbly played and presented, this is music to revel in.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Bartok: Concerto for Orchestra
Reiner CSO
JMCXR-0007 Reviewed by RP

Respighi: Pines and Fountains of Rome
Reiner CSO
JMCXR-0008 Reviewed by RP

Debussy / lbert: La Mer / Escales
Munch BSO
JMCXR-0003 Reviewed by RP
Time has barely diminished the stature of these early RCA recordings. After close on haIf a century they continue to command considerable affection and, certainly in the case of those Reiner Chicago performances, remain held in the highest esteem. Dr. Reiner's memorable reading of the popular Respighi tone poems, and for that matter a masterful Bela Bartok Concerto for Orchestra, can correctly be regarded as definitive interpretations of all three works. For anyone fortunate enough to be in possession of an original "mint condition" 1S/1S living stereo LP pressing of the Pines and Fountains (LSC-2436) the rewards could have been even greater - at its peak these records regularly changed hands for upwards of £400.00! Sanity returned, somewhat, with excellent re-cuts made available by Classic Records and a Nineties economic downturn that suppressed the bullish Far Eastern second-hand vinyl market. Owners of CD players, meanwhile, were left to ponder upon exactly what all the fuss had been about because, although brilliant direction and playing were always apparent, the characteristically stunning dynamic, imaging definition and transparency of these master tapes were seldom present in the standard CD transfers of the day. Enter JVC and their 20 bit extended resolution process that proves to be something of a curtain raiser where these particular re-masters are concerned. From a technical standpoint each of the original tapes did benefit from the mighty presence of Lewis Layton (engineer) and Richard Mohr (producer) overseeing events. This renown partnership was responsible for many of the finest sounding RCAs of the 50s and 60s and it's a great platform from which to now deliver audiophile CDs that seek to emulate the reputation of their forbears. The Respighi disc with a stylistic variety that combines power and delicacy is the most effective. The XRCD format is, for example, totally at ease with that strident and densely textured opening, 'Pines of the Villa Barachese', extracting extraordinary detail, definition and space for all those competing instrumental voices which have been known to falter so badly in the past on less expert transfers. There is none of the smeared messiness that congeals around the edges until the soundstage is reduced to an indistinguishable glutinous mess. Chicago Symphony Hall, to its fullest dimension, breathes with every dynamic requirement of this Orchestra. A stunning Concerto is unquestionably one of the truly great recorded performances. Reiner, steeped in a Central European tradition, draws upon his close friendship with Bartok to give a satisfyingly clear sighted account that possesses plenty of cutting edge but none of the decorative and frivolous touches enjoyed by other conductors. This recording, though very good, is not perfect. Reproduction of the strings is uneven. Always a detailed and transparent they are on occasions over assertive. But the depth and ambience of Orchestra Hall, coupled to a soundstage that reveals the fine division between instruments, is adequate compensation. Things really move into credit with the sonorous, warm-throated notes delivered by the wind and horn sections. For gorgeous, translucent strings though look no farther than Boston Symphony Hall. Charles Munch consistently teased a vibrant, diaphanous and finely-spun tone from his violin, viola and cello players - here to a magical effect in Escales which also possesses superbly resonant low-end strings. Tremendous virtuosity and dexterity from the BSO on both works enhances what is already thoroughly evocative and richly textured music. Munch, here, secures an unlikely and extremely impressive balance between excitement, colour, emotion, momentum and control. With so many decent versions of La Mer and Escales to choose from this is one that stands out as a recording and a rendition. Do I have any serious gripes where these CDs are concerned? Well, only one. They can not be hailed for their generosity —none extends beyond 39 minutes playing time.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

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