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Classical
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Stravinsky:
Petrouchka - complete ballet, 1947 version
Bartok: Miraculous Mandarin - complete ballet
Kent Nagano, LSO
Erato 3984-23142-2 Reviewed
by JMH
An unusual coupling that brings together two seminal 20th century ballet
scores. Nagano gives a bold, brightly coloured performance of Petrouchka
that highlights Stravinsky's brilliant scoring and crisp incisive rhythms.
The LSO respond with a virtuoso display of firepower, playing with passion
and precision. The whole performance is nothing short of exhilarating.
But Petrouchka is more than just an orchestral showpiece, and I feel that
Naguno's extrovert approach robs the music of its pathos - the story is,
after all, a sad one with an unhappy ending. Nevertheless, if you're looking
for excitement above all, Nagano is your man. Bartok's Miraculous Mandarin
is likewise played with great attack and ferocity, making the most of
this nasty snarling bloodthirsty score. Tempi are fast, and the playing
is impressively taut and disciplined without sacrificing excitement. Erato's
20bit recording is good, though the sound hasn't quite got the dynamic
separation and effortless naturalness of today's very best discs. Everything's
sharp and detailed, but just a shade lacking in focus.
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Brahms:
The Four Symphonies. Tragic and Academic Festival overtures.
Haydn: Variations
Niklaus Harnoncourt, BPO
Teldec 0630 13136-2 Reviewed
by JMH
When Harnoncourt's set of the Brahms symphonies came out in 1997, I was
disappointed he'd chosen the Berlin Philharmonic over the Chamber Orchestra
of Europe, feeling the latter would've brought a youthful vigour and energy
to these scores that the Berliners (for all their virtuosity) couldn't
equal. But finally hearing the set, and reading Harnoncourt's fascinating
views on recording these works with an orchestra that dates back to the
time of Brahms, it's clear the conductor knew what he was doing. Listening,
one senses both he and the orchestra have re-thought these works from
scratch. Not to be radical for the sake of it, but to more faithfully
represent Brahms' intentions. The playing is vigorous and spirited, the
orchestral sound rich and sonorous. Yet textures are surprisingly clear
and transparent given the weight of tone this orchestra commands. Tempi
are often quite measured, yet crisp phrasing keeps the music moving. Teldec's
live recordings sound warm and full-bodied, with good detail despite the
smooth homogenous balance. A stimulating challenging set!
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Mahler:
Symphony No 9
Strauss: Metamorphosen
Wagner: Siegfried Idyll
Otto Klemperer, Philharmonia / NPO
EMI 5 67036-2 0 Reviewed
by JMH
Klemperer s Mahler 9 was originally issued in 1967, and it marked the
return of the conductor to the recording studio after a lay-off enforced
by illness and accident. The reading is tough and sinewy, with a clear-sighted
directness rare in performances of this intensely subjective work. Some
contemporary reviews spoke of a take-it-or-leave-it quality to Klemperer's
direction, but the playing is too sharp-edged and concentrated for accusations
of indifference to hold water. This is second time out for this recording,
and newly remastered it sounds firmer and cleaner than the earlier CD
transfer. Then the coupling was just Siegfried Idyll (a beautiful glowing
account); now EMI have added Klemperer's trenchant powerful account of
Strauss' Metamorphosen. The recordings were always among the best of their
day, and still sound very good - vintage EMI. The tonal brightness that
afflicted Mahler 9 has been tamed, and the overall sound is more solidly
focussed and finely detailed. If you missed these legendary performances
first time around, now's your chance!
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Mussorgsky:
Pictures at an exhibition
Stravinsky: Firebird suite; Pastorale.
Scriabin: Poem of Ecstasy
Stokowski / Various orchestras
Dacca Phase four 443 898-2 Reviewed
by JMH
On LP, you could always tell Stokowski on Phase four by the beginning-of-side
distortion! At the time, it wasn't always clear whether the roughness
was caused by cartridge mistracking or analogue tape overload. Alas, it
was the latter. And, despite remastering, the Decca engineers have not
been able to obtain totally clean results - it sounds as though the 2
track mix-down tapes from which the original LPs were cut have been used,
rather than going back to the multi-tracks and remixing. Pictures, in
Stokowski's own cut, but highly individual authentically-Russian arrangement,
is the earliest recording (1966) and has the most variable sound. Some
sections sound okay, but there's some tape hiss and overload in climaxes.
The performance, with the New Philharmonia, is willful and idiosyncratic,
but always gripping. Likewise the Firebird suite, which Stokowski partly
re-orchestrates to vulgar effect! Scriabin's Poem, recorded Iive is passionately
played by the Czech Philharmonic, and the sound is slightly better in
this work despite some tape squash in climaxes. A mixed bag then, but
musically fascinating; Stokowski's personality and individuality shine
through every bar.
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Dvorak:
Symphonies 7, 8, and 9 'From the New World', Carnaval Oveture.
George Szell, Cleveland orchestra
Sony Classical Heritage MH2K 63151 Reviewed
by JMH
George Szell was legendary for many things; incredible stick technique,
fabulous memory, and exacting discipline. He was also regarded as cold
and lacking in humanity; even in an age of autocrats, his authoritarian
ways were exceptionally strict. Yet he turned the Cleveland orchestra
into one of the best in the world, a reputation that stands to this day.
These accounts of Dvorak's last three symphonies offer ample evidence
of Szell's outstanding control, and the orchestra's superb discipline.
And if at times one might wish for a little more ease and relaxation,
the crispness of ensemble and clarity of inner parts is something to marvel
at. Nowhere is Szell's control more evident than in the Carnival Overture
- a potentially rather noisy 'busy' work that emerges here as a model
of clarity and scrupulous balance. The rarity here is Szell's 1949 mono
recording of his own arrangement of Smetana's autobiographical String
Quartet No 1 - From My Life - given a thrilling passionate performance
in decent mono sound. Sony's remastering is excellent, though some thinness/dryness
remains. Excellent artwork/presentation, including pictures of the original
Columbia LP sleeves.
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J
S Bach: Violin Concertos BWV 1041-3, 1052, and 1056; Double Consertos
1044 and 1064.
Elisabeth Walfisch (violin and direction), OAE
Virgin Veritas 5 61558-2 Reviewed
by JMH
It's open to debate as to how many violin concertos JSB actually wrote,
given that most of his keyboard concertos are almost certainly arrangements
of lost originals for violin. The present set includes the undisputed
works, plus a couple arranged for violin from the harpsichord version
- including the great D minor concerto BWV 1052. In addition, the celebrated
Triple concerto for violin, flute, and harpsichord is included, plus an
arrangement for three violins of the triple harpsichord concerto BWV 1064
- a work that still manages to sound gloriously anachronistic despite
the use of authentic forces! Elisabeth Walfisch is a stylish player, and
her intonation is spot-on despite the absence of vibrato. The playing,
using period instruments, is cleanly articulated and crisply projected,
with excellent ensemble and tuning - though there's little real individuality
or personality apparent. The recordings are smooth and well-balanced,
with good detail despite a slightly recessed tonal balance. There's also
a little ambient noise (valve mics?) audible between tracks. Otherwise
the sound is unobtrusively excellent, and exceptional value on this mid-price
release.
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Audiophile
Recordings
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Orff:
Carmina Burana
Rafael Fruhbeck De Burgos, NPO and Chorus
ALTO/EMI ANGEL SAN 162 Reviewed
by RP
Carl Orff's famous cantata, inspired by Thirteenth Century Latin texts,
has been too frequently recorded since its composition in 1937. This,
however, is one of the finer interpretations. Fruhbeck De Burgos gives
an imaginative reading by varying the speeds: slower than anticipated
in the Swan's Lament and Round Dance, he brings a refreshingly delicate
touch to this 1966 recording. The Orchestra, Chorus and Choir of Wandsworth
Boy's School, combined, are excellent. Their playing and singing is thoroughly
enjoyable, and Alto's terrific transfer vividly reproduces the climaxes
with good bass extension, excellent separation and refined instrumental
and vocal detail. Undoubtedly, the LP's greatest strength is found amongst
its vocalists: the two baritone's Raymond Wolansky and John Noble, together
with tenor, Gerhard Unger, are admirable; but the superlatives should
really be reserved for the enchanting Lucia Popp. She's not one of those
beefy sopranos who rely solely upon lung capacity. Her voice is pure,
and achieves its power through projection and clarity. An obvious audiophile
alternative would be Jochum's account DGG SLPM 139362 on Speakers Corner.
Although the sound is exemplary, the choir and soloists (with the exception
of Fischer-Dieskau) are less convincing.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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The
Curtis Counce Group - Vol. 2 "You Get More Bounce With Curtis Counce'
ANALOGUE PRODUCTIONS APR 3006 Reviewed
by RP
Hormone driven, I bought this record for its cover, without ever having
heard this smart jazz combo. My preconceptions (no doubt influenced by
the exterior bodywork) focused upon the prospect of some steamy sessions.
This proved to be more the product of an impoverished psyche. Yes, this
is a sexy jazz album, but it ferments, slowly beneath the surface. The
line up for these Contemporary recordings, made between October' 56 and
September '57, Is an impressive one: Jack Sheldon's lyrical trumpet, Harold
Land's vivacious tenor sax; crisp drumming by debutante, Frank Butler;
smouldering ivories at Carl Perkin's fingertips, and top bassist front-man,
Counce. A great collective opening track 'Complete' introduces each of
the individual jazz personas. They interact, learn and feed from one another.
What follows are half a dozen of the coolest numbers ... from Irving Berlin's
demure, 'How Deep is the Ocean', to an assertively upbeat, 'Big Foot',
in which Land explores a spectrum of emotion that would do Charlie Parker
proud. The superb remaster by Bruce Leek and Stan Ricker has a beat that
makes total tonal and rhythmic sense. Superior clarity for the piano notes;
rounded, reverberant bass lines; bluesy trumpet calls and haunting sax
playing that just demands to be heard.
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Captain
Horatio Hornblower, R.N. (Suite)
Robert Farnon, Royal Philharmonic Orchestra
Reference recordings RR-47 Reviewed
by RP
Canadian, Robert Farnon, is something of a dramatist. While the cinematic
action in this 1951 swashbuckler flounders, sinking almost without trace,
his delightfully descriptive symphonic score (augmented with additional
brass and French horn sections) delivers images of oceans, a breeze in
the sails, and an ebb and flow of musical and metaphorical undercurrents
that transcend the flotsam seen up there on the screen. In 'The Wind'
the melodic interchange of horns and strings is so atmospheric that one
can almost taste the seaspray, even in the final battle scene, where there's
only a hint of a recurrent melody. Watford Town Hall is a fine venue,
and Prof. Johnson's engineering provides a naturally warm, ambient, presence
along with the realistic sense of scale and proportion that so many audiophile
discs sacrifice. The midrange is seductive, especially where the strings
take up the romantic theme. A repeat of the Horn blower Suite can be found
on the fourth side of this album, but sides two and three are reserved
for a number of quite lovely compositions, including State Occasion, Intermezzo
for Harp and Strings, and the Rhapsody for Violin and Orchestra - wonderful
Farnon concert pieces that should not be overlooked.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Canteloube:
Songs of the Auvergne
Netania Davrath, Soprano
Analogue Productions APC 002 Reviewed
by RP
A deliciously evocative experience. An aroma of freshly baked rustic loaves.
Tasty Brie washed down with coarse, full-bodied, Red and bittersweet songs
suffused with the pastoral idyll. Netania Davraths expressive blend of
joy and pathos in Canteloube's sensitive arrangement of these folk tunes
distils an essence of the Auvergne which I'm certain will remain unsurpassed.
Wonderful intonation, captivating phrasing, perfect weight and emphasis,
warmth and vocal dexterity make this recital superior to all others. Language
alone cannot sufficiently describe a profound beauty present within 'Lo
Foilaire' (The Spinner), 'La Delaissdo' (The Abandoned) or the Shepherd's
Song, Bailero Pierre de a Roche handles the orchestra in an appropriately
subtle and understated way. Doug Sax and Chad Kassem also maintain the
careful balance between soloist and musicians in their finely etched transfer
of Omega Record's tapes from 1963. Contrastingly, Victoria de los Angeles
adopts a straight-laced approach in Testaments' recut of EMI ASD 2826.
She is far too operatic for my taste, and the overall performance is constricted
by an obsessive neatness that lacks all semblance of authenticity. Steer
well clear of both this and Dame Kiri's recent lamentable foray into the
French countryside. Davrath is Queen.
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Ella
Fitzgerald and Paul Smith - Let No Man Write My Epitaph
Classic Records Verve MGV6-4043 Reviewed
by RP
A lousy melodrama about gangsters corrupting a slum-dwelling concert pianist
is redeemed by thirteen lovely songs, of which, only three were heard
in the film. These beautiful jazz standards including 'Black Coffee',
'September Song' and 'One For My Baby' are all sensitively underscored
with a simple piano accompaniment. A perfect balance is struck between
Paul Smith's playing and Ella's inimitable ability to hold a note, fashion
a phrase, or modulate her voice - the listener is beguiled by their intimate,
late night rendition. Warm, richly textured inflexions in numbers like
'Misty' are performed with an unbelievable ease and naturalness that is
sympathetically captured by simple mic-ing arrangements. Bernie Grundman's
impeccable transfer ensures that there is no loss of focus; and the images
cast by Miss Fitzgerald's voice (their distinctive shape, intonation and
dynamic shift) possess the precise size, weight and scale intended for
them at the original session. Let No Man Write My Epitaph is a marvelous
collection of ballads that can be comfortably placed at the top of my
"Ella" list, where it sits alongside another great Classic Records re-issue,
the spine-tingling Clap Hands, Here Comes Charlie.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Music
of Rimsky-Korsakov
Ernest Ansermet, OSR
DECCA SXL 2113 Reviewed
by RP
Fairy-tale baubles. Bright, sparkling orchestration. A paint-box of colour.
Splashes of bumble bee oranges, yellows and black. The green and blue
hue in Sadko's seascape, mixed with the political shades of Dubinuska,
and a fresh snow-fall from the Christmas Eve Suite. Each impression whets
the appetite for another Ansermet reading. High class performances by
the Suisse players even accommodate that favourite of mine; a brassy Russian
personality trait which emphasises the flourish of trumpets, trombones
and horns, as with the climax of the Storm in Sadko. An old-fashioned
warmth and richness to the sound compliments these deep orchestral textures
and (for that matter) suits the conductor's stately, almost serene, interpretation.
His 'Flight' is a languid, nectar-filled one! Speakers Corner have also
brought fine detail to these pieces. Glittering stars and crisp flakes
are delicatt'ly sketched out by the percussion in Christmas Eve. While
the soundstage is roomy enough for all these celestial events, it is perhaps
not quite as expansive as that found in some DECCA recordings. However,
the transfer is a safe recommendation because the overall balance is realistic,
and Ansermet's rectitude illustrates the dignity of Rimsky-Korsakov's
music.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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