Search the Music Review Database

Classical Music

Prokofiev: Romeo and Juliet
Tilson Thomas, San Francisco S.O.
RCA Classic Library 82876 59424 2 Reviewed by SG
Issued as part of RCA’s “Classic Library” Series, this highly acclaimed recording was meant to announce a new contract between conductor, orchestra and record company. Made a couple of weeks after Michael Tilson Thomas’ inaugural concert as Musical Director in San Francisco, with the orchestra now releasing SACDs on its own label, the contract has collapsed. The musical arrangement takes the sequence of the ballet, rather than the composer’s three suites, with its better narrative, and Tilson Thomas provides some wonderfully perceptive and animated conducting. He employs convincing yet distinctive rubato, heightening the natural flow of the drama. There is particular rapture in the Balcony Scene, and nimble yet spirited tempos bring drive to the Folk Dance and the Young Juliet, while the intense energy exhibited in Romeo’s Revenge captures the attention better than on just about any other recording. In fact, with warm and dynamic sound, allied to playing of the highest calibre, this has got to be classed alongside those of Järvi, Maazel and Previn. And for some, with an arrangement that accommodates just about every principal theme of the full ballet, while excluding Prokofiev’s numerous repetitions, this particularly enjoyable disc will certainly be a first choice.

Ysaye, Leclair, Telemann, Locatelli, Bach, Paganini: Sonatas
Leonid Kogan
Testament SBT 1227 Reviewed by RP
It’s easy to understand why the original Columbia SAX 2531 and 33CX 1373, 1546 & 1562 recordings from which this collection of Baroque and Romantic chamber works have been drawn are so highly prized by collectors. Leonid Kogan was a legend and his playing here almost defies belief. There is a performance of rare beauty in the Bach Sarabande from Partita No.1. The Ysaye Sonata No.1, Telemann Canonic Sonata no.1 and Leclair Sonatas No.1 & No.3 (all for two unaccompanied violins) are priceless examples of the virtuosity and empathic understanding achieved by Kogan and his wife, Elizaveta Gilels. Their naturally intertwining bow work is beguiling, while a peppery Locatelli Sonata in F minor and that showy Paganini Cantabile OP.17 both feature Koganís regular pianist, Andre Mytnik in exquisitely tuned and quite delectable Paris recitals that were lovingly recorded nearly fifty years ago in glorious mono. A lifelike volume, shape and scale, together with the vibrant and richly textured reproduction of these violin and piano images makes this disc an even more attractive proposition. The only barrier you may need to overcome is the stylistic approach which a half a century later differs markedly from those more familiarly heard today.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Tchaikovsky: Concert Fantasia for Piano and Orchestra
Prokofiev: Piano Concerto No.2
Ardasev, Prague SO, Svárovsky
Supraphon SU 3757-2 031 Reviewed by SG
Neither of the two works on this disc can be regarded as mainstream repertory pieces. Tchaikovsky’s Concert Fantasia lacks a big, memorable tune to advertise itself, because its major theme is silenced by the composer as part of his second movement “Contrasts”, while the Prokofiev is surprisingly neglected, at least comparatively. Igor Ardasev’s performances offer plenty of fireworks in both pieces, but these are handled in a most balanced way, especially in the Prokofiev, where its first movement’s harmonic structure is allowed to fully develop without the piece falling into the usual degenerative struggle between the pianist and his instrument. In the second-movement toccata, he exhibits an incredible lyrical quality, allied to some magnificent dynamic articulation, which prevents the usual mechanical performance that one often receives from lesser performers. The Concerto Fantasia also receives a most fluid performance, with its distinctively thematic orchestral accompaniments receiving superbly disciplined playing from the Prague Symphony Orchestra, especially at its rousing conclusion. In both performances, Ardasev’s refusal to simply rely on pyrotechnics alone to batter the listener into submission is fully justified, and makes a welcome case for both works to be more widely heard.

Elogio per un’ombra
Makarski, Larcher
ECM New Series 1712 465 337-2 Reviewed by SG
For the curious listener, ECM’s catalogue is often a voyage of discovery. This disc of works mainly for solo violin (two have a piano accompaniment) is no exception. American violinist Michelle Makarski creates an intelligent and thoughtful program by composers who, on the face of it, are either Italian or have ties with Italy. Many have ties with each other, but it is the sonata by 18th Century composer Giuseppe Tartini that is the key to a connecting thread that runs through the program. Makarski has interspersed the modern pieces among the sonata and some of its variations, revealing that many of the 20th Century works borrow from it, and making the Tartini sound rather contemporary. There are subtle, often gentle changes - variations of light and dark - punctuated with more stark and surprising moments of atonality that provide a fascinating series of colours. While occasionally abrasive, at times almost surrealistic, the music is more often beautifully lyrical. The results are surprisingly accessible, although sometimes uncompromising, but never uninteresting, and like its label, this disc certainly provides the listener with a discovery of the unexpected, confirming the legitimacy of melding new ideas with older forms.

Bach, Beethoven & Schoenberg: Sonatas and Phantasy
Yehudi Menuhin & Glenn Gould
Sony Columbia Masterworks SMK 87856 Reviewed by RP
This disc appeared two years ago as part of Sony's Glenn Gould Anniversary series and is one of his more interesting chamber recitals not least because it features Yehudi Menuhin. The recordings were made in the mid 1960s at the CBC Television Studios, Toronto and these performances are characterised by a genuine warmth, depth of feeling and generosity of spirit that existed between these virtuoso musicians. Despite Menuhin's familiarity with the Beethoven Sonata No.10 in G major, OP.96 he happily gives Gould an unfettered opportunity to express himself with that typically indulgent and idiosyncratic exploration which goes well beyond the printed text to deliver a memorable and quite different interpretation. Bach's Sonata No.4 in C minor, BWV 1017 is of course confidently handled by both players but the real find is the Arnold Schoenberg Phantasy for Violin and Piano Accompaniment, OP.47. Menuhin unlike Gould was not noted for his understanding of Schoenberg's music yet the great man quickly grasped the considerable technical difficulties within this score to give an uninhibited and inspired reading that is quite breathtaking in terms of its physical execution and affectionate tone. A rare and unlikely musical partnership, perhaps, but one that is nevertheless beautifully conceived and full of mutual respect.

Rossini: Complete Works for Piano Vol. 4
Giacometti
Channel Classics CCS 18098 Reviewed by SG
This fourth volume of Gioacchino Rossini's complete works for piano features the first eighteen Queleques riens pour album. But these innovative, entertaining and often sprightly pieces are anything but the "album of trifles" of the title. They are rather adventurous works that should stand alongside the composer's more famous operas, with particularly notable counterpoint and harmonies. There is a hint of Chopin to some, particularly No. 4, which resembles part of the Polish composer's E minor prelude, with an added Lisztian ingredient or two. Many reveal a softer, more placid atmosphere, but Rossini does not hold back in the more virtuoso pieces, adding some particularly inspiring fireworks, as in No. 14, with its runs that can leave a pianists fingers doing contortions, and No. 18, with its ruthlessly recurring chords. The interpretations are all the more captivating with the sound of the 1837 Erard piano, superbly captured by Channel, exhibiting far more in the way of vibrato than modern instruments. Paolo Giacometti sounds as if he really loves performing these pieces, milking the audience at every corner, overemphasising each concluding moment, supplying first-rate performances to add to the first three volumes, and delightfully promoting some seriously undervalued repertoire.

Victoria Et Jesum (Motets, antiphons and mass movements adapted for voice and lute / vihuela)
Mena, Rivera, Gallego
Harmonia Mundi HMI 987042 Reviewed by SG
It is a gratifying surprise to find that these magnificent works, known for centuries in their choral settings, now exist as adaptations for solo voice and either lute or vihuela, despite most of these transcriptions not being made by Victoria himself but by the performers. Juan Carlos Rivera and, countertenor, Carlos Mena , in keeping with common practice during Victoria's time, have taken their models (as well as a few actual selections) from 16th and 17th Century manuscripts, adding self-penned transcriptions of their own favourite works by the composer. The results are totally engaging, and any doubts about these standing up to Victoria's originals should be cast aside. They are beautifully sung and played, preserving much of the original's harmonic characteristics and polyphonic structuring, while concentrating on Victoria's beautiful melodic lines and their original texts. Mena sings with technical mastery, but also brings out the music's ardour and sentiment. Several tracks feature Rivera alone, skillfully interpreting his instrumental transcriptions, while a couple also feature Francisco Gallego on cornet. The resulting release is thoroughly enjoyable, played and recorded to remarkably high standards, which provides an enthralling new perspective on some beautiful and extraordinary music.

Mahler: Symphony No.2 “Resurrection”
Barbirolli, BPO, Maria Stader & Janet Baker
Testament SBT 1320 Reviewed by RP
Sir John Barbirolli, the leading British Mahler advocate of his day, had a strong rapport with the musicians of the Berlin Philharmonic. This live performance recorded in June 1965 shows with its convincing representation of human mortality and through the atmospheric development of its themes of Christian regeneration and immortality that conductor, orchestra and soloists fully understand and embrace the composer's conflicted visions of spirituality. The mysteriousness and deep seated symbolism, vivid tonal painting, a literal and quite unmistakable realisation of Judgement Day in the finale and the psychological dimensions of an expressive and overpowering first movement dripping with impotence, anger and despair at man's mortality are all beautifully conceived. The graveside images and much wringing of hands in the middle movements are equally striking, as is the quality of the soprano and mezzosoprano singing by Maria Stader and Janet Baker respectively. JB's direction is suitably purposeful and clear-sighted. This and the impeccable German playing add to the effectiveness of Testament's transfer. Interestingly, disc one only contains the first movement which keeps faith with Mahler's instruction in the score that there should be a pause of at least five minutes before the start of the following Andante Moderato.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Martinu: String Quartets Nos. 4, 5 and 7
Martinu Quartet
Naxos 8.553784 Reviewed by SG
The reference recording for these works has been the complete set on Supraphon, by the Panocha Quartet, but this disc now completes a similar collection for the Martinu Quartet. While the charming and affectionate Fourth, and the Concerto de Camera (Seventh), with its undoubted lyricism, are the more popular pieces, it is the Fifth that is the major statement among Martinu's Quartets. It employs the same anguished vernacular as the Concerto for Double String Orchestra, Piano and Timpani, but being nearly half-an-hour in length, is even more extensive than the orchestral work. The Martinu Quartet may lack some of the wonderful effortlessness of the Panochas, but they exhibit a particularly animated sense of rhythm, as well as great understanding for each piece. There is certainly no hint of lethargy, despite a slightly longer finale of the Fifth here than with the Supraphon release, with this performance revealing a slightly weightier and darker feel. Either fashion seems to serve the music well, and with excellent sound quality this disc completes a collection that is very much the equal of those by the Panocha Quartet, and possibly the best current chamber release from Naxos.

Shostakovich, Copland: Piano Trios
Trio Wanderer
Harmonia Mundi HMC 901825 Reviewed by SG
This CD includes performances of both Shostakovich's first two piano trios, along with the inspired coupling of Copland's Trio Vitebsk - a single movement work, like Shostakovich's Trio op. 8, and based on a Jewish theme, like the Russian composer's Trio op. 67. In fact the playing here of Copland's piece exhibits much that is reminiscent of Shostakovich, with cellist Rapaël Pidoux offering some outstanding touches. Pidoux also handles the Shostakovich better than just about anyone, matching the tremendous intensity of the other members of Trio Wanderer perfectly. There is no lack of ensemble cohesion, even in the most climatic moments, and there is a certain warmth of tone throughout each performance. Trio Wanderer create just the right atmosphere, revealing some truly solemn moments in Shostakovich's pieces, and tempos are never rushed, with the finale of the Trio op. 67 simply allowed to build naturally, avoiding the decent into vulgarity in search of dramatic affect that all too often is inflicted upon its magnificent conclusion. In fact this is chamber music at its most splendid and, with a recording of the very highest quality, this wonderful release deserves to be heard by all lovers of great music.

Schumann, Chopin, Debussy, Mompou: Royal Festival Hall Recital
Michelangeli (piano)
Testament SBT 2088 Reviewed by RP
Arturo Benedetti Michelangeli was an enigmatic and legendary pianist who was reclusive in his personal life but headstrong, controversial and quite brilliant in both the concert hall and the studio. These previously unpublished recordings were taped during a live recital at the Royal Festival Hall on March 4th 1957 and they showcase Michelangeli's formidable crystalline technique and a dazzling interpretative armoury. Schumann's Faschingsschwank and Carnaval are presented with subtle lyricism, tonal integrity, grace and immaculate control. On the Debussy Images he flouts convention with a vital and wonderfully lively rendition whose piquant flavours differ greatly from the usual dreamy and impressionistic readings that we regularly hear. The Chopin Fantasie in F minor and Ballade No.1 are elegantly yet passionately realised. They are also terrific examples of the dexterity, fluidity and rapid tempos employed by this pianist. While the two sensuous encore pieces in Mompou's Cancion and Chopin's Valses are enjoyable displays of virtuosity. The second disc closes with an indispensable half an hour of sound checks and rehearsals prior to Michelangeli's definitive performances for EMI's recording of the Rachmaninov Piano Concerto No.4 and Ravel G major Concerto. A significant CD in all departments.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Vaughan Williams: The Lake in the Mountains, Six Studies in English Folksong, etc.
The Nash Ensemble
Hyperion CDA67313 Reviewed by SG
This wonderfully varied selection of Vaughan Williams' chamber works, written between 1912 and 1952, illustrates the composer's consistency of style perfectly. Whether it is the serene atmosphere of the opening The Lake in the Mountains, a tone poem for solo piano, or the dramatic and emotional intensity of the String Quartet No. 2, with its wartime connections, there are always those melodic and harmonic structures that are typical of the composer's writing. The Six Studies in English Folksong for cello and piano, which continue in the same tranquil vein as the opening work, are from 1926, while the most modern composition is the A minor Violin Concerto. With its broad themes and episodic development it is absolute vintage late Vaughan Williams, yet it still reveals much that is found in the earliest - the Fantasy Quintet - despite this work's display of youthful freshness and enchanting naivety. Hyperion's engineering is excellent throughout, and the Nash Ensemble, who play with great sensitivity and exhibit a meticulous concern for focus, draw each distinct element into the most entertaining of music, and delightfully project an illustrious style in composition that you will want to hear time and again.

Audiophile Recordings

Travelling On With The Weavers
Cisco Music: Vanguard VSD 2022 Reviewed by RSF
This was the first Weavers album released in stereo by Vanguard and quite honestly, sonically...it was nowhere. It was also the Weavers fourth album for Vanguard, each one mapping the group’s development: how they grew and how diverse, wide-ranging and historically important they were. Their songs range from gospel through blues, folk,
protest to early Americana. One of their later albums VSD2150, has been on HP’s Abso!ute Sound list forever. It’s a Live at Carnegie Hall album and is quite truly a delectable moment in time.
Travelling On… has been given the life it truly deserves and I am grateful to have it in my library. What is so fascinating about the recording is how vast their repertoire was. Each song builds to the next and the natural-sound Vanguard captured in the studio blossoms in this re-issue.
Sixteen songs include ‘Twelve Gates to the City’, ‘Gotta Travel On’, ‘House of the Rising Sun’, ‘The Keeper’ (who plays that trumpet!?) and even that old camp standby: ‘Kumbaya’ are presented in the harmony that only this ensemble can deliver - they are unmistakable. The strength of the (bass) baritone voice of Lee Hays and the beauty of
Ronnie Gilbert’s soprano comes through loud and clear. This is a must own album for anyone with even the slightest interest in exploring the roots of popular music. Highly recommended.

Albert King with Stevie Ray Vaughan - In Session
Analogue Productions/Stax APB 7501-45 Reviewed by RP
In comparison with his namesake BB King, Albert King was almost as big an influence on rock guitarists, including his guest on this 1983 set, Stevie Ray Vaughan. The cover has a splendid shot of the imposing King with his upside-down Gibson Flying V serenely puffing on a pipe whilst the relatively diminutive Vaughan is hunched over his guitar in the background.
King excelled in live sets and although this is a effectively a studio session, recorded for a TV programme, it has a very live feel with it’s spoken intro’s and between tracks interchanges between the pair. It doesn’t scale the heights of King’s finest like ‘Live Wire, Blues Power’ but is hugely enjoyable nonetheless. The pair shine particularly in the extended 15-minute workout of ‘Blues at Sunrise’ and in the lightning-paced ‘Don’t Lie to Me’ that opens side four, trading licks with seemingly endless invention. The accompaniment throughout is adequate – it does the job just fine in laying down a solid foundation for King and Vaughan to fire from – but will win absolutely no prizes for originality.
The recording brings the best from each guitarist although the bass and drums tend to merge into a unified warm thump in the background. Not unlike many a live gig I’ve seen, so that’s alright then.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

The Doors - L.A. Woman
Elektra 7559-60328-1 Reviewed by RSF
I recently spent a wonderful long weekend in San Francisco thanks to the hospitality of some fellow phonogrammers. I was there for a barbecue of all things, and of course a bunch of us brought our 'killer' LPs to share. Brian Hartsell, owner of The Analog Room (can you believe he only sells twochannel sound? No home theatre!) has LOTS of new and used records in his store. He brings this copy of the Doors album...something we've all heard a bazillion times before. Well...I'm here to tell you that you've NEVER heard what's on this album until you hear this 180 gram re-issue. I've not compared it to the great DCC re-issue, but Brian and others have and said this is the one to own. It's totally insane. Bass like you wouldn't believe. Presence, punch, dynamics, musicality...it's simply unreal. All the album says on the front is 're-issue from original master tapes'...and they even recreated the original first US jacket! Morrisson and company bring you back to their greatness in stunning, stunning sound. Brian was kind enough to give me this copy but there are more out there and you will have to turn your Rock/Doors card in if you don't buy this. It's that mind blowing! Do you think I like it? Wait until you hear 'Riders on the Storm'. KILLER!

Joe Williams - Me and the Blues
Speakers Corner/RCA LSP 2879 Reviewed by RSF
The original US release of this album is one of the worst records produced by RCA and their Dynagroove process. They made it sound pinched, thin and just really nasty. Well rejoice, 'cause SCRecords has given this the love and attention this fine album deserves. Williams has a fabulous smooth, deep, silky voice that is just easy listening at its best. Let me tell you right off: If you have trouble getting your wife/girlfriend to buy into your passion for things Hi-Fi, get yourself a nice bottle of wine and put this record on your turntable. I can assure you that you will thank me in the morning. One of the great qualities this recording offers is how well the musicians are woven into their solos, while Williams keeps reappearing and binding each song together in a sharp, highly polished and sophisticated manner. This album is timeless and a must for anyone even slightly thinking romance. The musicians here are all first-rate: Thad Jones, Urbie Green and Junior Mance to name but a few. Williams is in excellent voice and everything comes together perfectly. I'd always wondered why this LP was so hard to find until I heard an original. Now it's been updated with outstanding sound that allows these performances to speak for themselves. Gentlemen . . . start your engines. Highest recommendation!

Mussorgsky: Pictures at an Exhibition; Night On Bald Mountain
Slatkin, St. Louis S.O.
Mobile Fidelity/Vox MFSL UDSACD 4004 Reviewed by RG
Originally recorded in 1975 by Vox, using a fourchannel discrete surround set-up, MoFi describe this as "a jewel in the crown of multi-channel recording". They're not wrong. For once, the care and attention that's gone into the engineering has been matched by a stellar performance of works that are all too often reduced to orchestral pot-boilers and aural firework shows. Slatkin imbues them a coherence, menace and tension that contrasts all the more effectively with the lighter moments. This hybrid disc makes an excellent CD and an even better SACD, the palpable sense of acoustic and the natural tonal colours pulling you into the performance just like a live concert. In fact, the drama and purpose in the playing is reminiscent of exactly that, rather than the more staid, measured qualities of the studio. I was so impressed by the stereo performance of this disc that I took the trouble to play it on a Meridian surround set-up, where the subtle rear ambiance further enhanced the sense of being there. Whatever your chosen replay format this is a disc to savour, equally impressive on both sonic and musical grounds. Superb.

The All-Time Greatest Hits of Roy Orbison
S&P 2-507 Reviewed by RSF
This two record set is all you need of the great Roy Orbison - a spectacularly redone job by Steve Hoffman. Although there is a DCC copy of this album floating around the used marketplace, it doesn't hold a candle to the sonic virtues that have been fleshed out for these new issues. We're given four sides of pure 180gram magic, pressed by RTI in California and I guarantee this is a desert island set if there ever was one. Orbison is in your room, from the beginning of 'Only the Lonely' to the last track on side 4, 'Oh, Pretty Woman'. I've never heard Orbison sound this great. I've compared several cuts to a couple of original Monument issues I own and they're not even close. I don't know what Steve did, but he's given us a release to cherish. Thank you. For each and every song, Orbison is at the height of his vocal range and it's astonishing to hear what this man could do. No stress, no strain, no loss of high frequency extension in his voice. It's marvelous. Buy this set: You'll be very glad you did. Oh, and by the way, a little note to Mr. Kevin Gray: I spotted in the deadwax on Side 1 of record 1, 'Roy Lives' and on side 4 of record 2, 'Bill Porter Rules'. Nice touch Kevin.

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