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Music Reviews from Issue 37

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Vivaldi: Concert for the Prince of Poland
Andrew Manze & The Academy of Ancient Music
Harmonia Mundi HMX 2907230 Reviewed by RP
Director and violinist Andrew Manze is a self-confessed champion of the Baroque and there are few better ways to hear this music from the Seventeenth Century than when it is played on period or reproduction instruments. Here the Academy of Ancient Music, whose pedigree in this field goes back to the early 1970s, is stripped back to a tight chamber group of twenty or so musicians. They are a compact, refined and technically adroit outfit of specialists centred upon the eight first and second violins. Their playing lends an appropriate amount of weight and no little illumination to Vivaldi’s Violin Concertos in C and E major, the Sinfonia in G major and those equally colourful Concertos in D minor, A and C major which are featured here. These bristle with sonorous and innovative instrumental scoring. The C major Concerto even has a pair of chalumeau and two mandolins. Yet because of this small-scale approach the intimate and gentle sounding strings of the lute and viola create a touching sense of aural eroticism for the D minor work.
Recorded at St. Jude-on-the-Hill, London this CD lacks that last degree of clarity and separation but does have plenty of warmth in its presentation of such varied textures.

Norwegian Classical Favourites
Iceland Symphony Orchestra / Engeset
Naxos 8.557018 Reviewed by RG
This astonishing and exhilarating selection of acutely Nordic music can hardly be classed as “favourites”. Unless you studied Scandinavian music, there would be little to find familiar among the ten works included. But represent their homeland they most certainly do; with music about drinking, legends, the sea, and of course trolls, all presented in a most distinctive manner.
Even the composers are far from familiar, with the most notable being Geirr Tveitt, whose work I have praised before. But despite the misleading title, there is very little to criticise. Bjarte Engeset leads the Iceland Symphony Orchestra through each piece in a most committed and enthusiastic manner; relishing the more colourful phrases of the lyrical and tender moments, while also attacking the plenty of thrilling music, and producing some tremendously dynamic and spine tingling results. Characteristic is Harald Sæverud’s The Ballad of Revolt, with gentle moments interspersed by more rousing passages, hinting at both Borodin and Mahler. Add Naxos’ scintillating engineering, which in this case can be classed as demonstration quality, and you have a most enthralling release of unknown Norwegian music that could certainly become favourites. I certainly look forward to volume 3, although what would be on it would be anybody’s guess.

Vivaldi: Concertos for the Emperor
The English Concert / Manze
Harmonia Mundi HMU 907332 Reviewed by SG
Anyone seeking some compelling Baroque music should look no further than this most enjoyable release. It features Andrew Manze’s second outing as leader of The English Concert and, more importantly, some truly astonishing Vivaldi. The six pieces are taken from a set of twelve that were given to the Holy Roman Emperor Charles VI, in 1728. They are presented here in reconstructed form; offering excellence of study, as is usual with Manze, but also supplying some artistic license; as in L’amoroso, where the baroque guitar has been utilised rather than the original harpsichord continuo, to emphasise the “love” theme. The sound is also supremely clear and atmospheric.
But the highlight of this CD is in the performance, where Manze and his charges produce some of the most breathtaking and thrilling playing to be found on any such release. Their playing can exhibit either lyrical charm or rather crude and unrefined textures, dependent on the composer’s needs. Add to this the rather curious and often disconcerting melodies that these works sometimes offer, and you have a release that may not delight those looking for a gentle listen, but is simply a must-hear for the rest of us.

Beethoven & Brahms: Violin Concertos
Steinberg, Pittsburgh Symphony, Nathan Milstein
EMI 7243 5 67583 2 2 Reviewed by RP
Milstein’s famous violin recordings from 1957 and1954 respectively were dusted down at Abbey Road and mastered by Allan Ramsey using their Prism noise system back in 2001. The results are sonically rewarding when compared with the original mono LPs. Both of these monumental romantic Concertos benefit from a realistic and natural orchestral balance that neither places the soloist too near or too far from the audience. There is warmth, instrumental clarity and a good sense of soundstage width and depth, with accurate and well-proportioned images. Given the age of these masters the virtual absence of background tape hiss is also commendable. The strings of course have bite and real presence, while Milstein’s sweet and sinuous sounding violin is revealed in all its expressive spine tingling moments of beauty.
He is marvellously focused for the Beethoven as he achieves those spiritual and quite majestic highs so integral to a satisfying reading of this work. Appropriately in the Brahms, Milstein shows exceptional energy to heroically propel us through the score, especially in the outer movements.
His rapport with Steinberg and the Pittsburgh Symphony musicians is palpable and they convey a sense of unity and joint purpose that cannot and should not be ignored. It adds much to the overall pleasure found in these renditions.

Ysaÿe: Sonatas for violin solo, op. 27
Thomas Zehetmair
ECM New Series 1835 472 6872 Reviewed by SG
Eugène Ysaÿe’s six violin sonatas were produced in 1923/24, and are arguably the most eminent solo violin works since Bach. In fact, the Belgian violin virtuoso exploited the Baroque master for his inspiration; providing him with both formal and technical illustrations from which to work, and supplying some actual segments of music that are incorporated into Sonata No. 2. Each work is dedicated to a great violinist of the composer’s day, such as George Enesco, Fritz Kreisler and Joseph Szigeti; playing on the specific strengths of each given virtuoso. The results are an amalgam of various musical styles, from neo-Baroque to late-Romantic, but there is an overall coherence. A number of excellent exponents have tackled these pieces in recent years, either as individual works or complete cycles, but few, if any, have had either the imagination or skill to conquer Ysaÿe’s countless technical demands. Thomas Zehetmair on the other hand has such requisites, and he has produced an album of utterly captivating music, combining his own fascinating style with those of each sonata to supply a captivating sequence of violin moods. Helped along by the most intimate engineering, the results are elegant, vibrant and intensely profound.

Albeniz, Granados & Lopez-Chavarri: Recuerdos de Espana
Duo Favori
Tacet 109 Reviewed by RP
The classical guitar may lack those vocal-like qualities of a violin or the wide ranging statements available to the piano but in the right context and with sympathetic transcriptions it can attractively tease and tug at our emotions. Duo Favori (Barbara Grasle and Frank Armbruster) doubles those languid, enchanting and resonant effects in these carefully chosen arrangements tailored for two guitars. Spanish compositions throughout, that cultural synthesis of Christian and Moorish society, offer an intriguing pictorial and atmospheric blend of mysteriousness and magnificence. Diverse traditions that are embedded deep within the Albeniz Cordoba and his idyllic swaying melody for Mallorca Barcarola, then surface through sonorous harmonic effects.
Archetypal and spectacularly varied impressionistic sun drenched landscapes are also crafted for his Suite Espana. Elsewhere, in the Granados Valses Poeticos, our senses are beguiled by a subtle idiomatic feel. Those essentially romantic motifs are discretely communicated to us through clean and polished musicianship rather than extravagant gestures. The Lopez-Chavarri Leyenda del Castillo moro is an academic inclusion - one that is more representative of the late Nineteenth or early Twentieth Century style of guitar playing.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Beethoven: Symphony No. 3 “Eroica” / Symphony No. 8
NDR Symphony Orchestra / Wand
RCA Classic Library 82876 60858 2 Reviewed by SG
The late Günter Wand’s Beethoven cycle with the underrated NDR Symphony Orchestra remains one of the finest on disc; lacking idiosyncrasies, yet full of character, and allowing the authentic personality of the composer to shine through: and while these two performances may not rank with the best the set has to offer, they certainly do not disappoint. Now re-issued as part of RCA’s Classic Library series, this disc also exhibits much improved sound over the original “Red Seal” CD from the 1980s, thanks to 24-bit technology. The “Eroica” reveals some slightly cautious tempos, light yet sparkling textures, and tight rhythms, and it follows a more Romantic path rather than a purely classical direction. While its opening movement may appear slightly stiff, lacking a little in the way of spontaneity, no such problems exist in the 8th Symphony; where Wand’s interpretation is overflowing with light-hearted humour. This performance also profits from some careful attention in the bass lines, especially during the opening Allegro vivace e con brio; supplying some additional authority. With such polished performances, as well as the increase to the original sound quality, those wanting these magnificent works on disc can consider this mid-priced re-issue with confidence.

Jacqueline Du Pre: The early BBC recordings 1961-1965
EMI 7243 5 86236 2 8 Reviewed by RP
These mono recordings of works from Bach, Britten and Falla to Brahms, Couperin and Handel were made for radio by the BBC and broadcast as part of their Home Service, Music and Third Programmes. All have been digitally re-mastered at Abbey Road by Andrew Walter. The second Brahms Cello Sonata is an Edinburgh Festival live performance and it, together with the Couperin Treizieme Concert for two cellos, has the most natural sounding balance even though the soloists Jacqueline Du Pre, Ernest Lush (piano) and William Pleeth (cello) are a little distant. The Brahms, passionate and rhetorical early on and more carefree in its finale, is one of his finest chamber pieces and Du Pre gives us a solid and enjoyable account.
While the Treizieme Concert, idiomatically French in style, has many likeable colourful moments it is quite inconsequential by comparison. Falla’s Suite Populaire Espagnole, also with Lush on piano, although conceived as a collection of folk songs for keyboard and voice does transfer quite successfully and with Du Pre’s cello taking up the lead role, it too has plenty of native flavour. Another rearrangement for cello and piano is the Handel Sonata in G which was originally one of his youthful oboe concertos. Again both parties capably address this piece and Du Pre clearly revels in the freedom afforded by such an attractive ten minute bauble. She plays with a delightful enthusiasm and even though it is a less precise performance than heard elsewhere on these CDs it is hard to be critical of a 1961 recital that comes from so early in her development as a musician. Four years later in the short Scherzo Pizzicato and Marcia of Britten’s Cello Sonata in C OP.65 we are treated to a gripping reading – one which is brimming over with maturity and authority. This devilishly difficult Sonata is indeed a strange piece and unlike anything previously written by the composer.
It was dedicated to master cellist Mstislav Rostropovitch and its spiky nature is strongly reminiscent of Soviet compositional forms.
The soloist is very exposed but Du Pre wrestles these problems to the ground and tames the score. Her relationship here with pianist Stephen Kovacevich is critical to that end.
For precocious playing and instinctive lyricism though, look no further than the opening Bach Cello Suites 1&2 that were broadcast on January 7th 1962. Bold flowing strokes from a prominently positioned instrument reveal the kind of emotional depth and range, romance, spontaneity and capricious brilliance for which Jacqueline Du Pre was to become renown. Wonderfully melodic music and an attention grabbing and truthful reading even though she doesn’t have total command or technical mastery of these sublime suites.

Maxwell Davies: Naxos Quartets Nos. 1 & 2
Maggini Quartet
Naxos 8.557396 Reviewed by SG
It is rare to find a patronage as generous as the one granted by Naxos to Peter Maxwell Davies, when they commissioned ten string quartets, to be written over a five-year period. The fifth has now received its premiere, but this disc features the first two, which I first heard at their première performance at the Wigmore Hall. This release commemorates the 70th birthday of the composer, but also marks one of the high-points of his career. These two quartets are rather difficult to categorise; with abrupt and explosive changes of character, under-pinned by haunting melodies that evoke the landscape of the composer’s home on the Orkney Islands. There is the sense that the actual emotion is just beginning: as if the later works in the series will complete their growing maturity. But their musical integrity is never in doubt, and the Maggini Quartet come up trumps in terms of supplying the required confidence and insight to make true sense of both pieces. Neither quartet can be classed as easy listening, but perseverance allows one to recognise Maxwell Davies’ perception of melody and rhythm; and so be fully rewarded by his distinctive and emotive intensity.

Péteris Vasks: Violin Concerto “Distant Light” / Musica Dolorosa / Viatore
Swedish Chamber Ensemble / Andreasson
BIS-CD-1150 Reviewed by SG
Latvian composer, Péteris Vasks’ work supplies us with music of striking melancholia; with ghostly melodies interspersed with an incredible intensity. Katarina Andreasson handles all this with utmost command and tenderness: both as violinist and leader of the Swedish Chamber Orchestra. With the exception of Viatore (Wanderer), which receives its world première here, these works appeared on disc previously, but this release is a clear winner for Vasks’ music; both in terms of the clear and resonant sonics, and the performances. Andreasson simply eclipses all her rivals in the single-movement Violin Concerto; including those far more illustrious, such as Gidon Kremer (Nonesuch) who was the work’s inspiration and first performer. Her performance here is both notable for the way she manipulates the shape of the composer’s phrasing, as well as her ability to not allow the submerged chaos within the musical structure to take control. This is also evident in the Musica Dolorosa and Viatore, which are also beautifully written, with poignant string tones and evocative textures, each performed with the same authority and confidence. The results are beautiful and incredibly moving, and anyone wanting to hear Vasks’ stunning work should look no further than this breathtaking disc.

Nathan Milstein - The Last Recital: Beethoven, Bach, Handel, Sarasate, Prokofiev, Tchaikovsky, Paganini etc
0927-49563-2 Reviewed by RP
For an understanding of the phenomenal technique, dexterity and musicianship displayed throughout a playing career spanning eight decades look no further than Nathan Milstein’s final recorded performances made for Swedish television in June 1986. On the morning before the first of two recitals he suffered pain and stiffness in the first finger of his left hand and so began to revise all the fingerings for the entire programme. This was only possible because he had regularly changed fingerings in the past to combat complacency and routine. The first rendition on June 16th was disappointing, with the pain adversely affecting Milstein’s bow work. But on the evening of June 17th having continued to revise and practise throughout the day he gave a captivating and virtuoso account alongside his close friend the pianist Georges Pludermacher. The Beethoven Violin Sonata No.9 and Handel Sonata in A OP.1 No.3 are elegantly crafted. Vignettes taken from Sarasate’s Introduction et Taratelle; a Bach excerpt in the Allegro assai No.3 and the Paganini Caprice for violin solo OP.1 No.13 fully express the passion and excitement present in these scores. The Bach Partita No.2 Chaconne No.5 offers a stunningly beautiful and perceptive view. A terrific and musically compelling £2.99 budget label release.

Liszt: Annes De Pelerinage-Premiere Annee (Suisse)
Yoram Ish-Hurwitz, piano
Turtle Records TRSA 0020 Reviewed by RP
Franz Liszt’ s years of pilgrimage began in 1835 after he scandalised Europe through an unrestrained and impassioned relationship with the already married countess Marie d’Agoult. They eloped to Switzerland and there began one of the happiest and most productive passages in the composer’s life. Although this nine-part work depicts all the key ingredients and experiences one would expect to find in a Swiss mountain idyll, we should banish those images of awe-inspiring scenery to the very back of our minds.
Instead, try to concentrate upon the feelings generated by being in the presence of a goodnatured farmer or if trapped by a raging storm. Yoram Ish-Hurwitz’s impeccable playing, emotional command and tenacious understanding of this music develops those sensations that this composer so skilfully embedded within the score. To think of panoramic vistas is to diminish Liszt’s art. Our hearts must always soar with elation, miss a beat with apprehension or quicken with that sickening sense of fear developed by Yoram’s fantastic keyboard work.
He transmits all this and more through immaculate phrases, perfect timing, inspired virtuoso passage or that simple decay of a note. The recording of his Steinway D-274, which has tremendous clarity and presence, helps to sustain the tension between powerful explosions of notes and contrasting softly evocative passages.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Telemann: Paris Quartets, Vol. 2
Florilegium
Channel Classics CSS SA 20604 Reviewed by SG
Despite my not actually hearing Floilegium’s first disc of Telemann’s Paris Quartets until well after its initial release in 1998 (CCS 13598), there have still been a few years of eager anticipation for a second helping. I have since experienced them live, on numerous occasions at the Wigmore Hall, as well as becoming the proud owner of each recording they have produced. With each and every performance I have been seduced by their gracious interpretations. Now that second volume is here, and it has been well worth the wait. While these works are already particularly well represented on disc, this new SACD beats all others in terms of both sound and performance. Ashley Solomon’s flute playing is most enchanting, and his playing combines seamlessly with Kati Debretzini’s tender violin. Along with the remaining members, they provide such captivating music that it is just about the ideal illustration of Telemann’s wonderful chamber work in the current catalogue. With engineering that supplies a wonderfully real acoustic space as well as a great clarity and natural presence, the beauty of this disc may even be good enough to interest those who ordinarily avoid baroque chamber music.
And I cannot give higher praise than that.

Chopin: Four Scherzos / Four Ballades
Arthur Rubinstein
RCA “Living Stereo” 82876 61396 2 Reviewed by SG
I read with interest JMH’s Home Truths article in Issue 34, in which he discussed the differences in certain performer’s recorded sounds to those produced in the concert hall. One such pianist was Arthur Rubinstein, and I concur that his “big” concert hall playing was often not the most conducive to engineering techniques: a fact not helped by mixing down a recording from three track tapes to stereo. This new SACD may not be a full-blown multi-channel release, but it does allow the listener to hear Rubinstein performing in the original master tape perspective, with the left, right and centre channels utilised. We still get those wonderfully clear and concise renditions of Chopin’s Ballades and Scherzos, performed with respect and controlled freedom, but without the contrived individualism stamped on many of the more modern examples by youngsters struggling on the road to fame and fortune. But now we can hear Rubinstein’s performances without the intrusion of the mix down: this SACD revealing a more natural ambience, even when listening in stereo; with Rubinstein’s playing more articulate, more animated, and with greater presence. Simply put, we acquire a greater appreciation of his legendary concert hall tones: and with Rubinstein that is crucial.

Holst: The Planets
Susskind / Saint Louis Symphony
Mobile Fidelity MFSL UDSACD 4005 Reviewed by RP
Holst’s Music of the Gods is scored for a supercharged orchestra and has wide ranging dynamic contrasts and many brightly shining instrumental moments culminating in the ethereal chorale of female singers at the end of Neptune. The shock and awe of Mars, The Warbringer; a pensive nobility in Saturn; infectious Jupiter’s ripe, full-bodied and quite jaunty gait; that fleet-footed clarity of each mercurial step and the smooth benedictions from Venus are all convincingly realised in these crisp performances from the Saint Louis Symphony Orchestra players. A clear-headed Susskind is also thoroughly even-handed with his vigorous use of trombones and tubas which alongside the timpani imaginatively develops those grandiose articulated rhythmic figures that announce the arrival of Uranus, The Magician. This disciplined approach and the splendour and sensuousness of the SACD transfer creates a nicely balanced account. One that holds opulence, expansiveness and no little electricity in one hand and sensible speeds, purposefulness and solidity in the other. True, the climactic sonic eruptions are startling, but elsewhere in his subtle direction from the podium Susskind will reward a careful listener in other ways through understated and satisfying strategies which do not unduly draw attention to themselves with elaborate and unnecessary gestures.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Grieg: Piano Concerto / Symphonic Dances / In Autumn
Gimse / Royal Scottish National Orchestra / Engeset
Naxos 6.110060 Reviewed by SG
While some dismiss Grieg’s work as lacking substance, this disc is able to encompass an enjoyable concert of his music, while demonstrating just how much essence its composer’s work can actually reveal. At the heart of this release is Harvard Gimse’s rather fine performance of Grieg’s Piano Concerto.
It exhibits brisk, yet not too fast tempos, and is played with enough bravura not to let the more lyrical moments to ever sound dull or lifeless, emphasising Grieg’s love of the vibrant and vigorous. In fact, despite Gimse adding the odd dynamic effect to try and emphasis a point, the overall performance is thrilling enough on its own and does not require them. The remainder of this SACD exhibits similar enthusiastic playing, with a Symphonic Dances that, while not quite in the class of Kristian Ruud and the Bergen Philharmonic’s captivating performance (BIS-SACD-1291), is one of the best renditions available, especially in the long Andante finale.
The opening Concert Overture: In Autumn makes an effect introduction; and with performances by all being aptly spirited, this release can wholeheartedly be recommended, despite Naxos’ sound that lacks absolute clarity and much in the way of soundstage width.

The Polyphonic Spree: Together We’re Heavy
Hollywood Records 2061-62423-1 Reviewed by RP
Powerful psychedelic choral rock music has never sounded bigger, bolder or more bombastic. The Polyphonic Spree’s songs are an aural experience laced with soaring trumpets, French horn and trombones. Unearthly chords produced by theremin, synthesiser and harp gel with the ten piece choir and an array of instruments that include viola, violin upright bass, flute, piano, organ, guitars, pedal steel and a whole host of whistles, clicks and pops: Sometimes the vinyl cut does struggle to decipher a congested and instrument filled stage. The band unreservedly enjoys the theatre and pageantry surrounding every wildly bohemian gesture, simply loving their cult status and the attention that it and their colourfully flowing robes brings. There is an undisguised majesty within much of what they do. An anthem like ‘Hold Me Now’ echoes ‘A Day In The Life’ while elsewhere there’s plenty of drama, chanting and the surging instrumental storm crashing over the finale of a ten-minute ‘When The Fool Becomes A King’. For such a big cast the Spree are also eminently capable of trembling and quite intimate moments as well as glimpses of dark melancholy in numbers like ‘Diamonds/Devotion To Majesty’. But the smiling faces, high spirits and undisguised enthusiasm always leave on an optimistic note.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Greg Brown - The Poet Game
Red House Records, RHR 68 Reviewed by RSF
While in Salina, Kansas for the outrageously wonderful Blues Festival put on at Blue Heaven Studios last October, I had an opportunity to listen to some artists I’d never heard before. For the most part, there’s probably a good reason I’d never come across of them. Then Chad put this album on the turntable. It blew my socks off!
I’d never heard of Greg Brown and only later did I find out he’s been around for approximately twenty odd years and has a couple dozen albums to his credit. Having said that, he’s also written songs for some of the biggies in the business including Willie Nelson and Carlos Santana to name but a couple.
This 1994 album is a sonic spectacular. I’m not sure who’s behind the LP version (perhaps it is Red House) but they’ve issued a spectacular album on RTI’s ever dead silent 180gram vinyl. Two cuts on side one that will really grab your attention are ‘Brand New ‘64 Dodge’ and ‘One Wrong Turn’. This record will set you back in your chair and cause your mouth to hit the floor.
Hopefully your local retailer can obtain a copy for you but it’s also available at Acoustic Sounds. Great acoustic blues/folk that gets my Absolute Highest Recommendation!
Supplier: http://www.gregbrown.org.

Sarah McLachlan - Afterglow
Classic RTH-2013 Reviewed by RP
After a six year hiatus Mclachlan returned to the studio and in many respects has delivered an album that feels very little different from 1997’s Surfacing.
The dreamy, immaculately produced and tuneful alternative pop songs heard here strike an accord somewhere between melancholy and euphoria with her softly atmospheric and languidly paced vocals beautifully caressing the ears throughout. Its dedication to her dead mother and young daughter adds a degree of poignancy to proceedings. But sometimes this genteel style of singing almost completely insulates you from the intense and intelligently framed message found on tracks like ‘Dirty Little Secret’ or ‘Stupid’. A grimy theme or moment of realisation occasionally needs more punch behind it and the abrasive rub of a voice that peels away at the lyrics until the grain of truth at the song’s core is revealed. McLachlan’s voice tends to bathe proceedings in that warm half-light suggested by the album’s title, which is fine when handling those lightweight romantic entanglements played out in ‘Push’, ‘Perfect Girl’ and ‘Train Wreck’, but elsewhere it carries insufficient conviction. The step up to 200g vinyl is handled with great care and this LP is a sonically translucent and wide-ranging triumph that captures the essence of the McLachlan vocals and supporting piano, keyboards, strings and guitars.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Roger Sessions - The Black Maskers
Colin McPhee - Tabuh-Tabuhan
Hanson, Eastman-Rochester Orchestra
Speakers Corner/Mercury SR90103 Reviewed by RSF
Definitely one of the top sounding Mercury Living Presence recordings, SR90103 also has the distinction of being one of the most elusive to find. A long term resident on HP’s Super Duper list, this truly is a sonic masterpiece. The exceptionally wide dynamic range of this recording is captured quite naturally in the re-issue and will certainly offer those whose tastes are wide and varied an aural treat and a true system workout. The recording is a ‘see-into-the-orchestra’ production. There is also some bass information in this re-issue that will shake the very foundation of your house. Remember, you’ve been warned!
Colin McPhee’s Tabuh-Tabuhan offers an orchestral pallette based upon exotic Balinese themes and folkore. There is a wealth of unusual colours painted by the Eastman-Rochester Orchestra with an equally diverse make-up of instruments including marimba, xylophone and glockenspeil to delight the senses of most every listener.
Speakers Corner has delivered another winner in the sonic category as they continue to bring forth the great and unusual recordings from the Mercury catalogue. I do so hope they delve further into the American repertoire as these two performances are quite simply unmatched to my knowledge anywhere else. I like ‘em both... but the edge goes to Sessions. Highest recommendation.

Allanbrook - Ethan Frome
Cambridge Chamber Orchestra
Mapleshade07182 Reviewed by RP
This World Premiere disc of Douglas Allanbrook’s Lyric Opera composed in the early 1950s was recorded live to two track over three January days in 1999 at the Sanders Theatre in Cambridge. It is based upon the Edith Wharton drama about Ethan Frome (S. Mark Aliapoulis, baritone) and his wife who are joined at their isolated farmhouse by their young cousin Mattie Silver (Leanne Gonzalez, lyric soprano) who is to nurse an ailing Zeena played by mezzo soprano Anita Costanzo. A classic triangle develops and the jealousy and sexual tension is palpable in the love duets. When Mattie is forced to leave because Zeena needs proper care a sense of misery and imminent catastrophe descends. The breaking up of the lovers is pre-echoed in the second scene of Act Two when Ethan as he reaches to embrace Mattie knocks a red pickle dish to the floor where it shatters. The opera closes with a return to the Frome farmhouse some fifteen years later. The roles are reversed.
Zeena is now physical fit and it’s Mattie who sits crippled in a wheelchair. A lame Ethan returns from town, places a piece of wood on the fire that has nearly gone out and as in the opening of the opera gazes out of the window and sings of what might have been.
Filled with motifs and striking symbolism throughout all three of its acts, this opera takes upon itself the virtues of the Nineteenth Century European tradition and places them firmly within a mid-Twentieth Century New England context.
Yes, it is thematically threadbare, but name an opera from any era that isn’t. The plain storytelling drives our attention towards the quality in the singing and in the instrumental score. All the set pieces are there to hear with the arias, duets and trios moving the action ever onwards, during which the composer’s music closely mirrors the emotional turmoil felt by the vocal soloists. So much so that shortly after Mattie’s arrival the instrumentation consciously soars with Ethan’s hopes for a better life and a landscape free of winter’s harsh grip. Elsewhere the Cambridge Chamber Orchestra musicians under John Allanbrook’s direction offer suitably subdued textures beneath the singing when it contemplates moments of resignation and despair.
Mapleshade’s engineer Pierre Sprey gives us a clean sounding and nicely balanced CD that establishes fine instrumental and vocal separation. There’s vocal clarity at its core with firm and rich orchestral tones filling in behind, between and around the singers.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Johanna Martzy - Favourite Short Works
Coup d’Archet COUP CD 006 Reviewed by RP
Glenn Armstrong’s single-minded pursuit of recordings by Johanna Martzy was a labour of love which has given us seven inspiring LPs, all of which have rightly received glowing reports in the early days of this publication. Nor should this CD of Falla’s Danza Espanola, the Handel Sonatas in A & F, her much adored Beethoven Rondino and some delicious vignettes by Fiocco, Ravel Martinu and Milhaud found here be missed.
While these transfers together with those six atmospheric Bartok Romanian Folk Dances lack the tactile quality of a record and perhaps the last ounce of presence heard from recordings lodged within the analogue domain they do reveal the poise, assurance and beguiling musicianship of Martzy. An empathic understanding developed with pianist Jean Antonietti helps make these virtuoso performances especially memorable and while some of the cuts like Martinu’s Etude Rhythmique-Arabesque No.1 show their age, their musical significance remains undiminished by the technical frailty of their source. The level of emotional and intellectual engagement through these readings is more than palpable. It starts at the extremities and reaches deep inside you to fill the void with satisfying insights, gentle cadences and incisive interplay.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Liszt & Chopin: Piano Sonatas in B minor
Alan Gampel, piano
Mapleshade 07382 Reviewed by RP
Alan Gampel plays these two contrasting but quite brilliantly conceived Sonatas in B minor with passion and intelligence.This finely etched, bold and natural sounding recording of his Fazioli Model 278 concert grand piano at St. James Episcopal Church, Leesburg captures the essence of both pieces. The Chopin No.3 OP.58 is a magnificent series of emotional statements true to the four movement classical sonata form and yet at the same time deeply affected by the composer’s own deteriorating health, the ending of a seven-year love affair and the death of his father. The tension builds throughout culminating in a truly heroic ending. Liszt’s extrovert single movement work is propelled by his imaginative preoccupation with Faustian themes. Musically, it juxtaposes frenzied and demonic displays with sensitive and delicately sculpted images and in the process gives ample opportunity for virtuoso flamboyance. Gampel traverses these situations with appropriately weighted and exquisitely melodic performances. His poise, the control, dignity and fluency is captivating, as are these rich and voluminous notes cast by the Italian Spruce soundboards that dominate a spacious and dry acoustic where the vibrant piano image has terrific solidity, presence and intensity.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Carmen Lundy - Old Devil Moon
JVC JVCXR-0037-2 Reviewed by RP
Great jazz singers are like the very best sportsmen and women. They possess a delicacy of touch, perform tremendous feats effortlessly and seem to have much more time than their less gifted peers.
Carmen Lundy the Fifty-year-old Miami-born diva has these abilities to burn. Her timing, emphasis, phrasing and the appropriately weighted thrust given to the lyrics of classic material like ‘In A Sentimental Mood’, ‘Just One More Chance’ or ‘Flying Easy’ are exquisitely managed. Elsewhere with her own songs ‘You’re Not In Love’, ‘I’m Worried About You Baby’, ‘At The End Of My Rope’ and in ‘Love Me Forever’ she swings, improvises and teases out an unimaginably rich tapestry.
The vocal range and variety of textures spun throughout these skilfully crafted numbers about fragile loves and the tenuous grip that we hold over them is a reflection of her artist’s eye for colour and depth perception. An exceptionally fine relationship also exists with pianist Billy Childs and her acoustic bass player Santi Debriano who are beautifully captured by the transparency of Joe Ferla’s New York recording. It clearly reproduces that finely tuned sense of ensemble generated by this exciting and tightly knitted group of musicians. A CD to place at the very top of your wish list.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Prokofiev: Romeo and Juliet; Ballet Suites 1 and 2.
Skrowaczewski, Minneapolis Symphony Orchestra.
Speakers corner/Mercury SR90315 Reviewed by RSF
This is one great record in its original form and I felt this would be a real test for SCR, but they’ve come through with another sonic blockbuster. Keep in mind please that there are definite differences between the original - a 35MM recording - and this re-issue. Having said that, this is orchestral classical music for everyone. If you’re even the least bit shy about ‘jumping into the world of classical’, look no further.
Prokofiev was one of the great geniuses of the 20th century and these suites offer a wide cross section of melodies from the complete ballet. Those who might scoff at Skrowaczewski and the Minneapolis, would be well warned to listen before you offer your opinion. The playing is first class as well as that famous Mercury sound quality - an absolutely winning combination.
Is this release better than an original? Quite frankly, it really doesn’t matter because this record will garner lots of playtime on your turntable, of that I can assure you. This is extremely musical and highly involving repertoire.
I’m beginning to feel a bit like a broken record myself because I just keep heaping praise on this ever so important project from Speakers Corner Records, but there is no doubting what I’m hearing. I really like these records and I guarantee you will also.

An Evening with Belafonte / Makeba;
Speakers Corner/RCA LSP 3420 Reviewed by RSF
At first I wasn’t quite sure why this album was brought back from the archives by SCR, but after listening to several tracks, I can fully understand. There is an infectious quality to the rhythms of these African songs.
Having never heard the original, I’ll bet you that the re-issue will be far superior to another of RCA’s Dynagroove travesties. The sound on this record is natural, open and airy. The arrangements of these songs, although I am unfamiliar with this genre, should delight those who are interested in World Music.
Makeba and Belafonte of course need no introduction and a variety of superb backup singers make this a really entertaining album. The album is well put together, starting with the ‘Train Song’ and by the time you’re finished and begin side two with ‘Gone are my Children’, you really get hooked into the mood Makeba and Belafonte are trying to offer. Keep in mind the political environment of the segregated-mid ‘60’s and you’ll have a greater understanding as to what this album was trying to say. Had Belafonte not been such a big star with RCA, and had Makeba not exposed him to the music of Africa, we would not have had this document. A very entertaining album recommended for listeners who enjoy great sound and the unusual.

John Coltrane and Johnny Hartman
Speakers Corner/Impulse AS-40 Reviewed by RSF
Well those who know me will have a good laugh over this because this is the only John Coltrane album I own and they know I’m not a big fan - he’s generally a little too out there for me. But, teamed with Hartman’s great baritone voice, McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums, this makes a great record. Engineered by the legendary Rudy Van Gelder, the sound is absolutely stunning.
Hartman is right at home with these timeless ballads and the band accompany him perfectly. This is another one of those grab your favorite lady, turn the lights down low (after also pouring your favorite beverage) and just sitting back and enjoying the flow of Hartman and the solos by these artists.
Really quiet 180 gram vinyl is characterized by Jones’ soft brushes coming through ever so gently from the right rear of the recording venue. There are three cuts on each side, not the most generous of offerings by Impulse, but the sound quality as well as the quality of the work contained on this record more than make up for any concerns you might have. Starting off with, ‘They Say It’s Wonderful’ and ending with ‘Autumn Serenade,’ you get some absolutely gorgeous solos by Coltrane that are simply excellent.
Top Recommendation.

Sarah Vaughan
Speakers Corner / EmArcy Records MG36004 Reviewed by RSF
Wowza... that’s all I have to say. This is one heck of a stunning album. With the likes of the great Clifford Brown on trumpet and some other fine accompanists, this record just blew me away when I first heard it. Now to be fair, I’ve not heard a Sarah Vaughan album in many years, but this one is a real grabber. Such wonderful standards as, ‘Lullaby of Birdland’, ‘April in Paris’ and so many more make this a definite must own album.
This is, sonically, an excellent studio recording and you’d never know - much less believe – that this tape is 50 years old! We’re dealing with A+ musicians in Paul Quinichette, Tenor Sax; Herbie Mann on Flute; Jimmy Jones on Piano; Joe Benjamin on Bass and Roy Haynes on Drums.
The vinyl is dead quiet and listening to this with a mono cartridge is a real aural treat. Vaughan is in your room as are the musicians. There is absolutely nothing you can do but devote your complete attention to the artists once your stylus hits the groove. No doubt for me, ‘Lullaby of Birdland’ just grabbed my attention and it was over for the next couple of hours as I played and replayed the album several times. A first class treat!

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