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Classical Music

Prokofiev: "Classical" Symphony Orchestral Suites
St. Petersburg Philharmonic Orchestra / Temirkanov
RCA Red Seal 82876 50475 2 Reviewed by SG
These recordings were made over a decade ago, and one has to wonder why RCA have sat on three such gripping accounts for so long. The engineers have managed to capture the natural acoustics both St. Petersburg's Hall of Columns and the Blackheath Concert Halls beautifully, revealing every nuance of these highly expressive performances, although the volume does need to be turned up a fair way to appreciate them fully. The Romeo and Juliet Suite is excellent, and it is just a pity there is no Temirkanov recording of the complete work as, on this evidence, it would certainly eclipse the current opposition. Its love scenes are mirrored by the seriousness of their counterpart in the Love for Three Oranges, where the March is treated in a rather jazz-like manner rather than the quaint court ceremony that is often the norm. The only letdown on the whole CD is a missing stroke of the timpani in the Infernal Scene, as the cards are slapped down on the table, but this is a minor problem in an otherwise outstanding performance, underlining the view that Temirkanov has to be one of the great interpreters of Prokofiev's music.

Rorem: Symphonies Nos. 1-3
Bournemouth Symphony Orchestra / Serebrier
Hyperion CDA67369 Reviewed by SG
I have long admired American composer Ned Rorem's song-writing, epitomised by Susan Graham's excellent recording for Erato, but have to admit to previously being rather ignorant of his orchestral work. This disc shows precisely what I have been missing, and contains all three of his symphonies from the 1950's. Having been recorded over a period of just two days, the results are a testament to the professionalism of the performers, with orchestral playing of both grace and power throughout. But it is the music that remains at the forefront, thriving in its effort to grab the attention, with the composer interspersing long, lyrical passages, full of Gallic charm, with the vigour and thrust of pure Americana. This is all beautifully highlighted by the opening Third Symphony, with its Debussian elegance fused with more extrovert moments that are undeniably Copland-like. During the Allegro molto finale there is the added touch of a perfect Ravel pizzicato, while Rorem's First and Second Symphonies also exhibit glorious melodies that can only have been inspired by the French composer. With firstclass engineering, this release can only be recommended as an extraordinary example of beautiful orchestral music at its best.

J.S. Bach: English Suites
Angela Hewitt
Hyperion CDA67451/2 Reviewed by SG
Angela Hewitt has set such a high standard of excellence in previous instalments of her Bach cycle with Hyperion that almost all are a guaranteed first-choice. This is also the case here, unless you prefer an authentic instrument or are impressed by the outrageousness of Glenn Gould (Sony). The six English Suites - so-called because they were allegedly composed "...for an Englishman of rank" - are no more English in style than Bach's French Suites are French. What they do exhibit throughout is an unusually brilliant and elaborate prelude to their standard sequence of dances. With Hewitt's earlier background in dancing she seems able to articulate these dance-form origins better than others, with the use of tempi and rhythms that bounce and cascade, without a hint of mechanical constraint. She may lack a little of the spontaneity revealed by Perahia (Sony) or Schiff (Decca), but is generally more subtle than either, orchestrating and illuminating each piece through the use of more varied dynamics and vivid articulation. Her clear singing tone and inventive ornaments pay marvellous dividends, as does Hyperion's excellent engineering, making these joyous, searching performances a pure delight from start to finish.

Vivaldi: Violin Concertos Op. 4 "La Stravaganza"
Rachel Podger / Arte Dei Suonatori
Channel Classics CCS 19598 Reviewed by SG
Many will feel inclined to pass over yet another set of Vivaldi concertos, but this is one of this often underestimated composer's most vibrant in the catalogue. While the first half-dozen pieces remain relatively familiar but instantly appealing, the second disc of six is where things start to get particularly interesting. Here Vivaldi has experimented with more adventurous solos, unusual orchestral shadings and textures, and harmonic variations, revealing his mastery of melodic and rhythmic effects, all gained from a minimum of instrumental forces. Rachel Podger's masterful and stunning display of violin-playing, exhibiting her technically assured and wonderfully expressive abilities to the full, is emphatically accompanied by the Polish period-ensemble, Arte Dei Suonatori, who perform with committed excellence, producing ravishing tones throughout. The engineers have done more than a decent job, capturing the event in a perfectly balanced, naturally vibrant and totally palpable manner. While the music may stand out for its energy, excitement and rhythmic flow, this is simply emphasised by the superb performances and the outstanding recording. Together they allow Vivaldi's compositions to fill one's listening room in a manner that should enthral even those who might overlook this release as just another Four Seasons.

Debussy: Images and Études
Pierre-Laurent Aimard
Warner Classics 8573 83940-2 Reviewed by SG
Debussy's Études are the direct forerunners of those by György Ligeti, but despite the contemporary works' far more mechanical style, it is not surprising to find that Pierre-Laurent Aimard, whose Ligeti performances remain unsurpassed, delivers another masterful recording here. He also exhibits a total sureness with these earlier pieces, despatching these studies for chromatic scales with dazzling virtuosity, revealing the textural counterpoint and the compositional richness held within each and so taking them beyond mere keyboard exercises. He is alive to their expressive possibilities, driving the music forward with a certain momentum. But he still lacks the total rhythmic freedom commanded by Uchida, on one of the most outstanding piano recordings released in recent times. Along with Aimard's superb playing, this release possesses very good sound, exhibiting a similar warmth and richness of tone to Uchida's earlier, Philips disc. But Aimard has the not inconsiderable bonus of including recordings of both of Debussy's books of Images, from which he conjures landscapes of colour and pictures of poetic imagery. In the end, I could not be without either CD, as they simply both take the playing of these beautiful works to the height of artistic expression.

Boccherini: Cello Quintets, Vol. 2
The Vanbrugh Quartet and Richard Lester
Hyperion CDA67383 Reviewed by SG
Compared to the standards set by Haydn and Mozart, Boccherini's quintets are relatively leisurely affairs, but they also contain much that is absorbing, and are full of sensuous delight. They are able to constantly exploit the ensemble's potential for rich and flamboyant sonorities, and the Vanbrugh Quartet, with guest cellist Richard Lester, are superbly eloquent, performing with all the colour, refinement and vigour these pieces require. They mould and shape the music to reveal detailed and expressive flourishes that are so much more than simple decoration, and manage to fully realise the composer's inventive surprises, bringing a certain swagger to the Iberian influenced movements, with guitar and castinet effects. They also lend the music some explosive moments during the faster movements, yet the general feeling is for music that, by sustaining a richness and grandeur, particularly in the love duets between violin and cello, is smooth and harmonious. The engineering is also first-rate, being warm, faithful and able to create the illusion of the players being in the room with the listener. As with their first outstanding disc of Boccherini's Cello Quintets (Hyperion CDA67287), this ensemble seem once more able to raise ones

Holst: The Planets / Lyric Movement
Matthews - Pluto-The Renewer
Hallé Orchestra / Ladies of the Hallé Choir / Elder
Hyperion SACDA67270 Reviewed by SG
Some may argue whether Colin Matthews' rather directionless composition Pluto-The Renewer should be grafted onto Holst's perennial favourite or not, but I believe that any future recording will include the extra piece, as is the case here. The offending track can of course be "skipped", and the SACD layer on this disc includes both versions, with and without the new work, anyway. More importantly, how does this release stand compared to others on the market? Well, the opening Mars is a little on the polite side, lacking the full dynamics of the best available. Mark Elder's direction is certainly more relaxed than most, although Venus is actually a touch rushed in parts, and Saturn's crescendos of brass fail to achieve their full potential. On the other hand, Jupiter is superb, which along with Mercury are the most convincing movements here, and there is a nice performance of the Lyric Movement for Viola and Orchestra. While the performances may be undistinguished, Tony Faulkner's engineering is first-rate, revealing plenty of detail and natural vibrato, but ultimately leaving us with a disc that is unlikely to be a first choice, except possibly with audiophiles, with so many great performances available.

Thomas Tomkins: Above The Starrs
Fretwork with Emma Kirkby, Catherine King et al.
Harmonia Mundi HMU 9073220 Reviewed by SG
This disc features a collection of verse anthems and consort music from the pen of West-Country organist, Thomas Tomkins. The verse anthem grew from the Elizabethan fashion for solo songs accompanied by a consort of viols, as opposed to their performances by cathedral choirs - the vogue prior to the civil war of 1642. While those that appear here were published for solo voices, choir and organ in 1668 by Tomkin's son, we know they appeared half a century earlier for either solo voice or vocal ensemble with viol, and that is the arrangement here, with the more medative anthems, such as Above the Starrs my Saviour Dwells, succeeding particularly well. The ensemble of distinguished singers perform with authentic élan, revealing the particular vowel sounds of the composer's day, with Catherine King - for her eloquent performance of the sacred song Woe is me - and Richard Wistreich's strong bass tones standing out. Fretwork's accompaniment is always sensitive, while they also perform the consort pieces that make up two-thirds of the programme with animated rhythms, well-shaped contrapuntal lines and dextrous finger work, producing some wonderfully biting tones. With excellent performances and sound that is well above average, this is a most rewarding release.

Tchaikovsky: Variations on a Rococo Theme.
Saint-Saëns - Cello Concerto No. 1.
Bruch - Kol Nidrei
Wispelwey / Die Deutsche Kammerphilharmonie Bremen
Channel Classics CCS SA 16501 Reviewed by SG
Of the two works here by Tchaikovsky, the Andante Cantabile is the more satisfying, simply because Pieter Wispelwey's style suits its tender sensitivity more than the characteristic fervour and the associated apprehension of the Variations on a Rococo Theme, his performance of which cannot approach the captivating eloquence of Rostropovich and Karajan's, only existing as a muted impression to the Deutsche Grammophon release. Likewise his touching affection in Bruch's Kol Nidrei does not furnish the required and explicit exhilaration. But it is the performance of Saint Saëns' A minor Concerto that is the highlight of the disc, encompassing everything from precise proficiency to expressive imagination. This work has long remained an enigma, but Wispelwey has resolved its unanswered questions with an amazing exhibition of insight and treating it as large-scale chamber music. Although he misses some of the brilliance and verve that the likes of du Pré and Starker exhibit, this is a small price to pay, and the engineering is excellent, with superb, natural sound that put it near the demonstration class. So, while this release may not be the most extravagant, the performance of the Saint Saëns piece alone is enough to get my recommendation.

Rainbow Body
Atlanta Symphony Orchestra / Spano
Telarc CD-80596 Reviewed by SG
The title of this new release comes from the opening work by Christopher Theofanidis. It opens with cello murmurings, emphasised by the woodwind, which eventually awake the whole orchestra from its slumber to announce the main theme. This beautiful melody is scattered with more dramatic sequences, building to the work's impressive climax. Robert Spano has carefully planned the program so that each piece reflects on the preceding one, before introducing the next. Barber's Symphony No. 2 follows with its boisterous opening, with Spano directing a superb reading. The more reflective qualities of Copland's Appalachian Spring then introduce a fresh mood, and it receives such an impressive performance as to rank along side the best available. This piece closes with comparable bell sounds to those which open the closing work; Jennifer Higdon's Blue Cathedral - an imaginary journey through an aerial glass church. The composer employs some original styles to help us visualise her heavenly voyage and this is aided by Telarc's state-of-the-art engineering. The Atlanta players perform with supreme enthusiasm, great confidence and total polish, all meaning that despite two of the included works being rather familiar, every piece appears entirely fresh.

Hubay: Violin Concertos Nos. 3 and 4 (All'antica) / Variations sur un théme hongrois
Shaman / BBC Scottish Symphony Orchestra / Brabbins
Hyperion CDA67367 Reviewed by SG
This disc is the third volume of Hyperion's Romantic Violin Concerto series, and features works by Hungarian composer Jenö Hubay. Why his work is not better known today remains a mystery, with his Third Violin Concerto being full of searing virtuosity, strong melodies and eminent orchestral contributions. In fact, this is the kind of concerto that someone like Heifetz should have made famous. All four movements are superb: a dramatic opening Introduction quasi Fantasia, the Scherzo (of which Mendelssohn would have been proud), one of the most gorgeous adagios to be found in any violin concerto, and a sparkling finale. Despite being slightly less remarkable, the Hungarian Variations and the All'antica Concerto also reveal superb craftsmanship. But it is the Third Concerto that remains the highlight here, and must be regarded as a high point in late- Romantic violin composition. Hagai Shaman plays like a foremost virtuoso, performing with total equanimity, managing the most difficult passages, which flow from his instrument with ease, and backed by an orchestra on top form. With Hungarotron also releasing a set of all four concertos, I hope this marks the beginnings of a revival in Hubay's work.

Chopin: Scherzos
Arthur Rubinstein
JVC JM-XR24009 Reviewed by RG
JVC's XRCD re-issue series continues its trawl through the RCA Living Stereo back catalogue and finally reaches the stellar output of one Arthur Rubenstein, an artist who divides opinions almost as starkly as his stable-mate Jascha Heifetz. Not that his style, his impact on the music is nearly as pronounced as Heifetz. But if you're going to start on Rubinstein then there's no better place to start than his Chopin; You can choose between this Scherzos disc and another of Piano Sonatas Nos.2 and 3 (JVC have also released the Brahms Piano Sonata No.3). This one was recorded in March 1959 at the height of RCA's powers and the sound shows, with a rich, stable piano sound that makes the most of Rubinstein's fluid, virtuoso playing. JVC have captured the full glory of both the recording and the performance that it encapsulates. It demonstrates just exactly how far you can extend the performance of good old Red Book CD if you take the care and have the technology. AS loved the Reimyo CD player that uses JVC's K2 chipset, the very same one used in the XRCD standard. It's no coincidence that these discs sound so good. Try this one and if you like it, try the Sonatas too. I love them both.

New Formats

Motörhead - Overkill
Silverline 288189-9 Reviewed by AS
Many British men aged between 30 and 45 have a Motörhead story. It almost always involves a live gig, head/bass-bin proximity and how many days it took for the storyteller's hearing to return. Classic Motörhead had Lemmy on bass and that peculiar throat-barking that passes for vocals, assisted by Fast Eddie Clarke on axe and backing shouting and Phil "Philthy Animal" Taylor on drums. That's the line-up on Overkill. Overkill wasn't Motörhead's first album, but it was the first of the classic discs on the Bronze label, made in 1979. It blends punk and heavy metal in the band's onslaught style, perhaps not as OTT as later noise-fests from the likes of Prong and Sepultura, but Overkill still goes up to 11. It's not an attractive recording (engineers were eaten alive for attempting to turn down a fader), but from the first manic drum intro of the title track to the final (and quite nasty) alternate version of 'Louie, Louie', Overkill's wall of metal sound still represents audio artillery at its finest. 5.1 channels of Motörhead is just dangerous, but is also a great test for your surround sound system. It demonstrates how specious some statistics can be, 'cos played at full tilt, most "5x100W" mini systems will collapse under the strain. Overkill - it does exactly what it says on the tin.

William Jackson and Mackenzie - Notes from a Hebridean Isle
Linn AKD 197 Reviewed by SG
Named after a Bill Bryson book, this release forms an interesting introduction to the traditional folk music of the Hebrides, reflecting the barren landscape and solitude of the isles. It is not an album of jigs and reels performed at a furious pace, but instead the tunes are treated with delicacy and respect, leading the listener on a fairly sentimental musical journey, although the last track, 'Looking South Over the Border', is certainly non-traditional in its approach. After an almost oriental opening, it becomes the nearest thing to Celtic dance music here. Multi-instrumentalist, William Jackson, is present on a number of tracks, specialising in various harps, which are played with great tenderness, while the three sisters of Mackenzie sing their Gaelic songs with utmost control and beauty. They are backed by a number of excellent musicians who play accordion, bass, fiddle, guitar, keyboards, percussion, and of course pipes, and Linn's engineering is very good, being detailed, with plenty of clarity, but never over bright. While the idea of such a release may not appeal to all, this disc of poignant, atmospheric music is good enough that it should attract anyone looking for a fresh musical experience.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Aaron Neville - Devotion
Silverline 288028-9 Reviewed by AS
As you might expect from a title like Devotion, this is a spiritual, semi-gospel album. Gospel is broadly divided between fantastic singers of other genre making statements of faith on record (Elvis, Aretha and Sam Cooke spring to mind), and committed God-squad acts that never do anything other than devotional records - Cliff straddles the divide. With Nawleans' finest Aaron Neville (of Neville Brothers fame) at the microphone, Devotion is very much in the former camp. The 13 tracks are gospel standards ('Banks of the River Jordan'), some new material ('What Would Jesus Do') and classic 'spiritual' rock tracks (like 'Bridge Over Troubled Water'). This 2000 recording is simply beautiful; Aaron may look like a bad Huey (Fun Lovin' Criminals) Morgan clone, but has one of the most gentle, soaring and sweet voices around. The transfer from stereo to 5.1 sound is done with care and delicacy (even the Dolby Digital mix for DVD players is open and expressive) and shows what intelligent mixing can do. The record stays just on the right side of saccharine, especially 'Mary Don't You Weep', which shows just how close early soul was to gospel music. If you are a fan of gospel - or just like fine singing - this is worth seeking out.

Sonny Rollins - Saxophone Colossus
Prestige / Analogue Productions CAPJ 7079 SA Reviewed by AG
What an incredible twelve months 1956 was for Sonny Rollins. In May he recorded Tenor Madness for Prestige. Later on that year there was an eponymous Blue Note debut, and for the April there had been a mighty jazz masterpiece in the shape of Saxophone Colossus. By now Sonny who was playing for both the Clifford Brown and Max Roach Quintets had the freedom to indulge in wonderfully expansive melodies and kinetic solo flights of fancy. And although there are only the five tracks cut for Colossus, they remain stylistically varied enough to reveal the inherent versatility and significant emotional tenor depths carved out by Rollins. Soaring blues sax solos and Max Roach polyrhythms can be heard in 'Blue 7'. There's the delightful 'St. Thomas' with its melodic and calypso-like flavour. An intense and heartfelt 'You Don't Know What Love Is' pricks your conscience. That interpretative triumph in the Kurt Weill / Bertolt Brecht composed 'Moritat' shows you how entertaining his brand of ingenuity can be, while a tribute to a generation of Chicago role models, 'Strode Rode', reminds us of their brilliance and his gratitude for the inspiration they provided. All the numbers possess a natural and luxuriant sound and this makes this album even more indispensable - if that was possible.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Frank Zappa - Halloween
DTS Entertainment 69286-01101-9-9 Reviewed by RP
Live Frank Zappa from 1978 in full-on 5.1 channel sound is either going to leave the listener cold with all that widdly-widdly fuzz guitar playing, or hungry for more releases on DVD-Audio. Officially the 71st release from the world of Zappa, this Halloween concert was previously only available as a dreadful-quality bootleg. Frank's son Dweezil has produced this from the master tape, 70 minutes of extremely fine live recording. One of the finest, in fact; the recording quality is truly remarkable and sounds like it came straight off a mixing desk last week, not 25 and a bit years ago. You are in with the crowd as it should be on a live recording and every instrument is clearly delineated on stage. People these days expect video footage with their live concert material; fortunately the recording is so pin-sharp and entertaining, you don't need no steenkin' pictures. Musically, this is Zappa at his odd best, with one of the most slick backing bands he ever had. If the dozen or so tracks aren't Zappa's very finest moments, they are some of the more approachable (and mercifully short) examples of his random viewpoint - weird but sort of fascinating. So be prepared to collect the other 70+ Zappa discs. Sadly, many of the Ryko CDs completely fail to live up to this extremely fine recording, so be warned.

Rachmaninov: Vespers op.37
St. Petersburg Chamber Choir / Korniev
PentaTone PTC 5186 027 Reviewed by RP
Orthodox Church music with a Russian choir singing under the baton of Nikolai Korniev has rarely sounded this well marshalled. The super audio digital format suits an expansive presentation of the massed St. Petersburg choral ranks, yet it also picks out the varied and delicate shifts which help to make the Vespers such a satisfying work. There is that incredible richness of the sonorous basses - they revel in this darkly affected music. Those sweeter and more persuasive tenors are memorable for their fluency and control as they lean towards the highest parts written for the male register, while in the alto and soprano roles (whether it is in the soaring and inspirational "Hallelujah" interjections or even when they recite liturgical texts) you can hear confidence and beauty easing through their delivery of those sustained notes and full-voiced chords which enrich these melodies based on Church modes. Beguiling in its most intimate and devout moments, generous and candid with a gently overpowering collective voice that exudes innocence, joy and elation in equal amounts as they zealously praise God and His works.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Audiophile Recordings

Stravinsky: Le Sacre Du Printemps
Solti / CSO
JVC JVCXR-0225-2 Reviewed by RP
Decca's recording techniques - the Decca Tree mix with two outrigger microphones and spots for winds, horns, timpani, basses and percussion - really suits the explosive quality of an imaginative and wide-ranging composition like The Rite which so evocatively captures those colourful, pagan, primitive and frighteningly violent landscapes of Russia. These Chicago Medinah Hall tapes from May 1974, engineered by Kenneth Wilkinson and produced under Ray Minshull's clear-sighted gaze, provide a fantastic template for this re-master. Georg Solti and his Chicago Symphony musicians deliver the goods as well. This is a powerful and unrelenting performance, breathtaking in its delivery of hammer blows and thoroughly transparent as inner instrumental details recreate the gnawing, scratching and clamouring sounds of nature awakening as a young girl dances herself to death in The Sacrifice. There is delicacy too in spades for the mystical scoring of woodwinds, flute and strings as they build towards those swirling brassy climaxes and savage ripped string barrages in the Adoration of the Earth. Compelling music making then, with a superbly realistic, tactile and dynamic transfer to XRCD that captures the very essence of Stravinsky's visionary work.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Bennie Wallace - Moodsville
Groove Note GRV1010-3 Reviewed by RP
Moodsville is a beautifully recorded and carefully executed nine-track album where those Cole Porter standards like 'Love For Sale' and 'I Concentrate On You' tread the boards alongside Billy Strayhorn's 'My Little Brown Book' and 'A Flower Is A Lovesome Thing'. Wallace, a tenor saxophonist of some stature, is rhythmically backed by strong Lewis Nash stick work, Peter Washington bass and Mulgrew Miller piano lines. Yet, in the midst of their considered and efficient approach to all these timeless songs, I felt that there was still something lacking. Jazz by its very nature needs a spark of compelling brilliance to remind us of those deep and uncomfortably dangerous roots. But here even in their take on the classic Miles Davis 'Milestones' this is a quartet which never quite throws down the gauntlet in an unmistakable challenge to the accommodating and polite cuts that blight the catalogue. This CD reminded me of that bland and frighteningly obsequious music which can often be heard from the dem rooms at Hi-Fi Shows around the country. You are drawn in with a seductive promise of something much more intimate than the warm platonic embrace that is finally delivered.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Britten: Young Person's Guide to the Orchestra, Variations on a Theme of Frank Bridge
Britten / LSO and ECO
JVC JVCXR-0226-2 Reviewed by RP
The composer vigorously conducts a charming exploration of instrumental possibilities and a performance of brilliantly played Bridge Variations that were originally conceived as vibrant display pieces. There is also great presence and a sense of complete assurance when this music is developed under his baton - one that others are hard pressed to match. In the Variations, as well as developing those more light-hearted rhythms heard in the Introduction, Adagio and March, he also coolly teases out a solemn and sombre mood in the Funeral piece and then delivers a suitably serious note for the closing Fugue & Finale. This, together with an atmospheric development of half tones in the waltz parody Romance reveals true depth in the writing. Yet it is Britten's brisk approach work both here and in the headstrong reading of The Young Person's Guide which has the most striking effect upon proceedings. It certainly accentuates those wonderfully uninhibited and youthful sentiments one naturally associates with this music. All its theatrical qualities and the delicate tonal shifts in colour are beautifully displayed in an XRCD 24-bit transfer that recovers a rich and translucent sound from those Kingsway Hall tapes of the early 1960s.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Debussy: Petite Suite, Prélude À L'Après-Midi D'Un Faune.
Ravel: Le Tombeau de Couperin, Valse Nobles et Sentimentales
Paul Paray, DSO
Speakers Corner / Mercury SR90213 Reviewed by RSF and RG
It's good to revisit old friends. I haven't listened to the original Mercury in at least three years and was delighted to hear it again. Let me get this out of the way very quickly-the original, in a stone-cold mint first pressing, is superior to this wonderful reissue by Speakers Corner. Having said that, you're going to get ninety+ percent of the sonic virtues of the original U.S. pressing for ten percent of the price. Should you be lucky enough to find an original, be prepared to part with about US$250...but the chances of even finding this elusive record in really mint condition is pretty close to impossible. Now let's get to the music, the conductor and the orchestra. The Ravel was recorded in 1955 - nearly 50 years ago and the Debussy was recorded 45 years ago. You'd never know it from this production. These are classic, with a capital "C", French works conducted by one of the greatest French conductors of the 20th century, leading an orchestra that, under Paray's tutelage (1952 - 1963), was considered THE finest orchestra for this repertoire by the critics of the day. Believe it! Better than Munch in Boston, better than Monteux in San Francisco and London and even superior to Cluytens and his contemporaries in Paris. I'm sure most of you are now on the floor laughing yourselves silly. But that's simply because you've never heard this record. It's stunning-from every point of view. It contains every element one could dream of from a record. If you have the slightest interest in these works, grab this. A jewel among gems.

Editors Postscript
Having just given Speakers Corner a record of the year award for their brilliant if eclectic box-set of 20th Century music from the Mercury label, I couldn't wait to see if they could maintain the standard with more mainstream offerings. Well, RSF has called it right, except in one regard that I'll get to shortly. Both musically and in recording terms this was one of Mercury's most successful efforts. Hardly surprising then that it's so highly sought after on the second-hand market.
Paray's direction is superb, combining delicacy and power, poise and tension to superb effect. Just the first few bars of the Prelude should be enough to convince you of the reading's merits, as well as those of the orchestra. So where did the History Man get it wrong? Well, the re-issue is clearly superior to my AMS16066 original, pressed by EMI at Hayes. It's more detailed, more transparent and has a(n even) better sense of the flow and phrasing so vital to these works. OK, I know, the US pressings, especially the earlier ones, are better. But here's the point. Unless your original fits that category then this re-issue is going to be better than most of the rest. And it'll have perfect surfaces, which makes it an absolute bargain. So, not so much wrong as undersold.
Perfect it isn't - there's way too much tape noise for that - but if you want to capture the concert experience then orchestral recordings don't come much more convincing than this. It represents a milestone for Speakers Corner as well as a monument in any record collection.
Purchase essential.
RG

Bob Dylan et al. - Masked And Anonymous
Classic Records / Columbia C 2K90618-1 Reviewed by RG
Nice. No other word for it. Here we have a double album of Dylan penned tunes (plus two traditional arrangements), sung by a cast of characters ranging from Dylan himself (four of the fourteen tracks) to Jerry Garcia, the Grateful Dead, Shirley Caesar, the Dixie Hummingbirds and a host of Latino performers, including Los Lobos. In common with many other soundtracks, recording quality is definitely a cut above the pop / mainstream norm, especially as regards dynamics. Unlike the current trend for simply loading down your soundtrack with hummable hits of yesteryear, this has a musical validity and integrity that comes from a single composer and dedicated recording sessions. It's got style and character too. Just listen to 'Come Una Pietra Scalciata' by Articolo 31. That's 'Like A Rolling Stone' to you and me - the Spanish rap version, of course. Now, speaking as someone who loves Dylan's music but has a limited tolerance for his "voice" this is all great stuff. Nice to see Classic applying their expertise and superb packaging to something other than another audiophile banker. This has really whet my appetite for the Rolling Thunder box-set.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

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