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Classical
Music
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Gustav
Mahler: Das Lied von der Erde
Christa Ludwig, Fritz Wunderlich, Philharmonia and NPO, Otto Klemperer
EMI 5 66892-2 ADD 64m 07s Reviewed
by JMH
Klemperer had a special authority in Mahler. As a young man he met the composer
and heard him conduct many times. This legendary performance was issued
on LP in 1967. But the first sessions with Christa Ludwig took place in
London's Kingsway Hall during February 1964, and Fritz Wunderlich recorded
his songs at Abbey Road studios in November that same year. Those November
sessions were the original Philharmonia's swansong: shortly after, founder
Walter Legge tried to disband the orchestra. With the musicians reconstituted
as the New Philharmonia, Klemperer and Christa Ludwig returned to Abbey
Road to complete the recording in July 1966. Despite being spread over almost
two and half years, the performance shows remarkable continuity. Klemperer
conducts without a trace of sentiment, giving a tough angular reading notable
for its plain unvarnished honesty. Wunderlich is passionate and lyrical
in his songs, while Christa Ludwig is commanding and authoritative, matching
Klemperer's stoical reserve and intellectual toughness. The recording was
always good, and sounds very firm and clean in this newly remastered edition;
clarity is excellent - voices separate well from the orchestra, with winds
nicely forward in typical Klemperer fashion. |
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Mahler:
Symphony No 4
Angela Maria Blasi (sop), Bavarian Radio Symphony orchestra, Sir Colin
Davis
RCA 09026 62521-2 Reviewed
by JMH
With its delicate transparent orchestration and crisp shimmering sonorities,
Mahler 4 is a work that fits into the confines of hi-fi reproduction perfectly.
The music teems with intricate detail, yet thanks to Mahler's skilful
scoring, the sound picture remains clear rather than becoming cluttered.
Even so, the effortless clarity and wide dynamic range of the present
recording remains something to marvel at. The sound is fresh, luminous,
and skillfully balanced, allowing even the tiniest strand can be heard.
Davis' interpretation is wonderfully subtle and blessedly free from preciousness,
despite infinite care taken over detail. Tempi are flexible, but the transitions
feel so natural and spontaneous, one could hardly imagine things being
otherwise. Angela Maria Blasi sings beautifully in the finale, and Davis'
phrasing and pointing of rhythmic subtleties in this movement is breathtakingly
sublime. A disc to treasure!
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Brahms:
The Two Piano Concertos, Fantasien Op. 116
Gilels, Jochum, Berlin PO
DG 447 446-2 Reviewed
by JMH
Although Gilels made many impressive recordings throughout a long and
distinguished career, it's arguable than his accounts of the two Brahms
concertos for DG were the high watermark. Apparently he had never played
the first concerto in public, yet his performance has immense weight and
authority, and he is equal to every emotional nuance in this raw powerful
work. Jochum has the Berlin Philharmonic spitting blood (the trenchant
orchestral opening tutti is stupendous), and they play like men possessed.
The second concerto is equally fine: dark, weighty, rich, and very mature.
Gilels had a formidable technique, yet even he sounds stretched at times
in what feels like a clash between titanic forces. The experience of hearing
a great pianist engaged in the performance of great music, playing to
the limits of his technique, is exciting beyond compare. DG's recording
is worthy of the playing, and still sounds well despite being nearly thirty
years old. Alas, Gilels and Jochum are no longer with us on God's earth,
but their collaboration lives on in these priceless discs.
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Debussy:
La Mer; Iberia; etc
Ravel: Ma Mere I'Oye suite
Paray, Detroit SO
Mercury Living Presence 434 343-2 Reviewed
by JMH
It seems safe to say that Atmosphere wasn't high on Paray's list of priorities
when he conducted the music of Debussy and Ravel. His tempi are fast,
sometimes to the point of brusqueness, and he never lingers over detail.
This obviously robs the second movement of Iberia (The Fragrance of the
Night) of its sultry languid charm. But the outer movements have plenty
of life, and Paray's direct approach certainly makes exciting listening.
The same strictures apply to his performance of La Mer; the playing is
lively, but the lack of atmosphere tells in the quieter moments - the
ripening is very prosaic. The suite from Ravel's Ma Mere l'Oye sounds
very colourful, with a remarkably vivid tam-tam in Laideronette. Given
recording dates of 1955 and 1957, the sound is surprisingly sharp and
detailed, with bright forward balances and a rather squashed dynamic range,
in typical Mercury fashion. Interesting rather than essential, but well
worth hearing nevertheless.
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Beethoven
Symphonies 1 to 9
Tonhalle Orchestra, Zurich; David Zinman
Arte Nova 74321 65410-2 Reviewed
by JMH
David Zinman's Beethoven cycle kicked off in 1977 with taut accounts of
symphonies 5 and 6. And now the series is complete, Arte Nova have released
the 5CDs in a slip case at a special price (I paid under £20), making
it one of the cheapest Beethoven symphony sets ever. Using new Urtext
editions of the scores edited by Jonathan del Mar, Zinman offers crisp
lively interpretations that brim with energy. Tempi are fast and textures
open and transparent - very much the sort of approach one expects from
Period Instrument bands, but using modern forces. Clarity is excellent,
and in almost every symphony you'll hear interesting brass, wind, or string
detail. Perhaps there's a lack of weight at times; those expecting Klempereresque
gravitus and grandeur, or Karujans power and sophistication, may be disappointed.
This is Beethoven for the new Millenium; fiery and bursting with life.
The recordings mirror the performances, being clear, focussed, and very
articulate, with natural dynamics and perspectives. No matter how many
sets of Beethoven symphonies you have, you'll find things in this one
to challenge and stimulate. A truly outstanding set!
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Mendelssohn
Symphony No 3 'The Hebrides' overture. A Midsummer Night's Dream Excerpts
Maag, LSO
Decca 443 578-2 Reviewed
by JMH
The LP coupling of symphony and overture Mendelssohn in Scotland was one
of Decca's early stereo triumphs, and even after nearly forty years the
sound astonishes with its vivid brilliance and excellent separation. True,
the upper strings and brass sound a bit fierce, and there's a little tape
hiss. This CD mirrors the brightness of early SXL LP pressings, albeit
without the extra tonal body achieved on vinyl; I find some treble cut
and bass lift improves the bass/treble balance. Otherwise, the 1960 recording
wears its years lightly. Maag drew incandescent playing from a clearly
inspired LSO, then going through a golden period. And engineer Kenneth
Wilkinson, working in London's Kingsway Hall, captured all the excitement
and drama on tape. In particular, try the conclusion of the Hebrides overture;
it has a surging tactile quality like no other performance. The four MSND
excerpts date from 1957, and again the playing is crisp and vividly focussed,
with bright open sound. A classic!
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Audiophile
Recordings
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Ray
Charles and Cleo Lane
Porgy & Bess
Classic Records JP-1831 Reviewed
by DD
Louis Armstrong and Ella Fitzgerald's version of 20 years earlier remains
the definitive jazz treatment of Porgy & Bess, but this is a worthy alternative.
Why doesn't this stack up to the earlier version? Well, I don't think
there's quite the same empathy between the two. Undoubtedly great singers
in their own fields, they just don't convey the same sense of joy that
Armstrong and Fitzgerald managed. Nor is either vocalist best suited to
every number they're called on to sing. OK, that's the negatives out of
the way, now what about the positives? When Ray Charles gets into his
stride he's a delight. Cleo Lane is also on great form. The duo's take
on 'Summertime' is, unsurprisingly, worth the price of admission on it's
own. I also particularly enjoyed the instrumental breaks from Ray Charles,
accompanied by an ace rhythm section. These could sit as happily on any
of Charles' best albums. The sound quality is good with vocals well projected
although a little larger than life. The backing band and orchestra are
well presented with silky string tones and good placement across the stage.
All in all this is yet another commendable re-issue from Classic and whilst
it doesn't quite match Armstrong and Fitzgerald, it's readily available!
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Rachmaninov:
Symphony No. 2
Leonard Slatkin, St Louis Symphony Orchestra
REFERENCE MASTERCUTS RM 1002 Reviewed
by RP
This expansive, lyrical composition, with its frequent climactic outbursts,
lends itself to an audiophile repressing. Here, Doug Sax presents an impressive
"real time" vacuum-tube direct master from the original Vox quadraphonic
tapes by using the main (front) two channels only. It faces some stiff
competition from a reissue of the famous Previn/LSO performance, but as
I've yet to hear Testament's re-cut, comparisons were made against an
original EMI (ASD 2889) LP which after twenty five years still remains
the benchmark by which all other Rach. 2s are judged. Slatkin and the
SLSO deliver an affectionate, perceptive and smooth reading. If I did
not know the EMI disc so well I could happily live with them alone. However,
Previn's empathic interpretation has unequalled passion, romance and melancholy,
and it is played to perfection by an orchestra that had made this symphony
their own. Sonically, the recordings suit the performances. Reference's
Mastercut has tremendous warmth, and its extensive and detailed soundstage
richly enhanced eloquent instruments like the solo clarinet of the slow
movement. Whereas EMI produce a more incisive and vivid sound where strings
(especially the cellos) resonate.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Ravel:
Ma Mere L'Oye; Valses nobles et Sentimentales
Stanislaw Skrowaczewski, Minnesota Orchestra
REFERENCE MASTERCUTS RM 1004 Reviewed
by RP
Ravel, Skrowaczewski and Reference are an irresistible combination. This
release and its companion disc of Ravel's orchestral pieces (RM 1001)
are interpretations as good as any available. Ideal speeds, superb phrasing,
and subtle variations in texture and colour signal a conductor's art at
its confident best. Thc Minnesota playing is individually excellent, and
these are spirited performances. Orchestra Hall, Minneapolis can be a
sublime recording venue and once again Doug Sax works a special brand
of magic on these limited edition LPs. His direct re-master from the 1974
tapes produces a characteristically wide-ranging soundstage where transparency
and instrumental accuracy are very good. Listen for the piquant flute
entry of the Ma Mere prelude and an impressively ample bassoon later in
the ballet. Valse Nobles is an equally mouth watering proposition. A sumptuous
score is treated to the same sun-drenched ambience, and the rhythmic freedom
and frequent changes of tempo appear quite seamless. Recording balance
is so natural that you could easily be forgiven for thinking that this
record is one of the Professor's own efforts. While the swirling dances
of Apotheose confirm the presence of true bass extension and a beguiling
depth of richness in the string tone.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Beethoven:
Egmont O.P. 84 Complete Incidental Music
George SzelI, VPO, Pilar Lorengar, soprano.
DECCA SXL. 6465 Reviewed
by RP
Any complete recording of this music for Goethe's melodrama was always
likely to suffer from the intrusive nature of the narration which intersperses
a performance of this work. Even an orator of Klausjuergen Wussow's conviction
will not, alone, encourage renewed listening. Fortunately, a brilliant
Szell reading accompanied by the sympathetic contribution of his VPO musicians
and singing of rare emotional intensity from Pilar Lorengar, redeem Speaker's
Corner's unexpected choice of repertoire. Egmont's heroic resistance against
a tyrannical Spanish occupation of the Netherlands is an allegorical tale
of love, impetuosity, imprisonment and victory, during which the orchestral
playing dynamically shifts between crescendo and decrescendo to mirror
an unfolding tableau. This recording attractively handled the ebb and
flow of woodwinds, strings, brass and percussion; yet its transfer (although
competently engineered) lacks the punch of earlier releases from this
source. A genuine curate's egg of an LP, where shortcoming in the composition
and the re-master are papered over by the tremendous talents on display.
If they are not enough then at least the libretto will give you an ample
opportunity to brush up your German. Read. Listen. Repeat after Wussow!
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Glazunov:
The Seasons - Ballet O.P. 67
Albert Wolff, Paris Conservatoire Orchestra
DECCA SXL 2141 Reviewed
by RP
The original LP is one of my favourite versions of this picturesque work.
Of the others, Ansermet's later 1967 Decca account (SXL 6269) was better
recorded; while the Moscow Radio Symphony (under the baton of Boris Khaikin)
gave an electrifying and typically Russian performance for EMI/Melodiya
(ASD 2522). However, Wolffs fond and often enchanting approach to Glazunov's
richly textured orchestration, strikes a happy medium between these interpretations.
His PCO musicians warm to the task, teasing out a kaleidoscope of colours,
whose changing patterns perfectly match subtle variations in each of the
seasons. They also reserve a suitably enigmatic tone for those imaginary
creatures which populate this tenuous tale. Yet their dexterity, energy
and sheer exuberance still stylishly bring to one's mind the lively dances
present in the ballet. Technically, the re-master is a considerable improvement.
Cutting at a higher level has brought instruments sharply into focus.
The strings bite; percussive notes shine out like beacons; and crisply
delivered flutes, clarinets land horns have far more body. Gains in transparency
and an overall sense of space make the original record sound portly and
quite sluggish by comparison.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Elgar:
Cello Concerto and Sea Pictures
Du Pre, Baker, Barbirolli, LSO
Testament EMI ASD 655 Reviewed
by RG
Long overdue, one of the jewels in EMI's crown finally gets the reissue
treatment. Du Pre's empathy for the Elgar is legendary, and the emotional
power in her performance is so focused as to have an almost physical presence.
Barbirolli provides the surest support, neither swamping his soloist,
nor robbing his orchestra of power and impact. This is a performance which
demands your attention, and simply sweeps you away. The testament reissue
lacks the incredible immediacy and vibrant presence of early originals,
and the cover is an absolute travesty. The photographs are so heavily
grained that they look like they were scanned on a home PC! That aside,
the 180g pressing is absolutely flat and silent (which is more than can
be said for most of my secondhand copies), and whilst it might not scale
the dizzy heights of the best originals, it's still one hell of a record,
with a rather more natural scale to the cello. If your old copy is feeling
its age then this is an excellent replacement. If you don't own a copy,
then shame on you, and buy one immediately. You'll not regret it.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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