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Classical
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Borodin
- Symphonies Nos. 1-3
National Philharmonic Orchestra / Tjeknavorian
RCA "Classics Library" 82876 62321 2 Reviewed by SG
While Borodin’s First Symphony, let alone his Third, may not be
the most interesting of symphonies, his Second is a masterpiece. It is
wonderfully constructed, with the some of the most brilliant orchestration
of its period. In fact, only Tchaikovsky’s better symphonies, and
perhaps Balakirev’s First, come even close. It is a pure delight
from beginning to end, with the most delightful melodies combining with
tight and dense structuring, and Loris Tjeknavorian’s reading of
it is one of the most stupendous on disc.
Actually, all three symphonies are handled with the utmost understanding
and passion. He lets the National Philharmonic’s players free; leaving
them to inject the music with undoubted energy, and in so doing has permitted
the excitement and vigour to flow. While the Scherzo is full of vitality
and incredible drive, the slow movement is all seduction and sultriness.
Then there is the most amazing of finales. The performances of the other
two symphonies are no less successful; it’s just that their compositional
form is just less interesting.
But then if you add in the production of Charles Gerhardt and engineering
by Kenneth Wilkinson and Martin Atkinson, you still have a disc of Borodin
that cannot be beaten.
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Bréville
– Violin Sonata No. 1
Canteloube – Suite: Dans la montagne
Graffin / Devouyon
Hyperion CDA67427 Reviewed by SG
During the early part of the Twentieth Century, the world of the avant-garde
was gripping both France and Germany. The schools of late Romantic composition
were being virtually dismissed, regarded as too conservative; yet this
disc shows just how much the French in particular were missing. Pierre
de Bréville is best known as a songwriter, but his epic Violin
Sonata no. 1 puts him in the same compositional class as either Chausson
or Franck. Its four capacious movements reveal tremendous weight and body;
yet there are also those ingredients typical to French instrumental writing:
namely fluency and melodic charm. Canteloube’s early work Suite:
Dans la montagne clearly hints at the Songs of the Auvergne, but there
is also some pure Debussy in the opening of the last movement that is
rather reminiscent of the Préludes. With both works sublimely performed
by Philippe Graffin and Pascal Devoyon, in a particularly intimate presentation,
there is little to criticise here, although the recording balance just
favours the violin, which in turn enhances the more delicate music of
Canteloube over the richer sound of Bréville. In fact, this beautiful
release can simply be regarded as a most welcome addition to the French
music catalogue.
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Messiaen:
Visions de l’Amen/Pièce pour le tombeau de Paul Dukas/Fantasie
burlesque/Rondeau
Osbourne / Roscoe
Hyperion CDA67366 Reviewed by SG
Following on from Steven Osbourne’s previous Messiaen release, this
CD goes one step further in regard to technique. Both Osbourne and Martin
Roscoe tackle the seven movement Visions de l’Amen head on, producing
dynamic themes and musical structures the like of which has rarely been
heard before. Messiaen’s trademark chords are produced with exceptional
variation and particular harmonisation. The loudest passages emerge with
terrific weight, yet there is also a wonderful transparency and subtle
elegance when required, and this is helped by Hyperion’s atmospheric
recording. Other duos may have performed certain parts more dramatically,
or add a little more playfulness here and there, but no one has produced
such a balanced rendition on disc before. It is just a pity that the trio
of solo works performed by Osbourne that follow are not quite up to the
same standard. The work composed in memory of Paul Dukas is too slow,
in the Fantasie burlesque others have certainly furnished it with more
life and dance-like rhythms, and his Rondeau is simply too understated.
But the real problem is that they appear insignificant after the monumental
opening piece. It’s a bit like The Phantom Menace following the
original Star Wars Trilogy.
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Paganini
– Caprices Nos. 1, 2, 5, 9, 13, & 14; Sonata in E min No. 12
Baker - Ethnic Variations on a Theme of Paganini
Pavel Sporcl / Petr Jiríkovsk
Supraphon SU 3772-2 Reviewed by SG
Having already made a considerable impression with his sensational debut,
Pavel Sporcl, surpasses that first release, seizing the virtuosic moment
with playing of utmost brilliance and élan. But this is not simply
a recital of flamboyant violin playing. He also manages to add a sense
of refinement, performing Paganini's Cantabile in D a little steadier,
with a firmer tone than many others, revealing a depth of lyric beauty
in the melody. The same holds true of the Sonata in E minor Op. 12, which
sounds far richer in content.
Even the Le Streghe variations and the Perpetual Motion Op. 11 appear
to have more substance than the usual physical exhilaration they often
simply emphasize. With obvious intelligence, musicality, and virtuosity,
as well as a healthy female following, Sporcl has it all. This recital
also offers an inspired treat: the premier recording of David N. Baker's
Ethnic Variations on a Theme of Paganini. This splendid work takes the
famous 24th Caprice through an unruly assortment of popular and contemporary
styles, but also supplies a refreshing stylistic contrast. With Petr Jiríkovsk
most ably accompanying him, and very good engineering, this notable release
brings to mind the thoughtful virtuosity of Milstein.
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The Origin
of Fire - Music & Visions of Hildegard von Bingen
Anonymous 4
Harmonia Mundi 907327 Reviewed by SG
In the early 1990s, four unknown women decided to establish a group to
sing medieval chant and polyphony. With this last recording, we have to
bid farewell to Anonymous 4. They may be one of the most stylish and beautiful
sounding groups around, exhibiting wonderful diligence, personal devotion
and great sincerity, but praise should also go to their staunchly committed
label Harmonia Mundi and its engineers, who have constantly permitted
us to appreciate the ethereal purity of their heavenly singing. While
Anonymous 4 meticulously researched and intelligently programmed each
performance, above all they enthralled their listeners by conveying a
joyous pleasure, rather than the detached and emotionless, yet totally
authentic interpretations of many others. All these qualities are again
evident here, with a return to the chants of Hildegard von Bingen. In
1997, their disc 11,000 Virgins, introduced many to her music. This time
the theme is the Holy Spirit, particularly the visions of fire and light,
with Hildegard's own chants combined with selected excerpts of these visions.
While this review has turned out to be more of a tribute, any group who
has delivered and maintained such a distinguished body of work for the
last eighteen years, deserves it. |
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Vaughan
Williams: Symphony No. 4 / Norfolk; Rhapsody No. 1 / Flos Campi
Silverthorne / BSO & Chorus / Daniel
Naxos 8.557276 Reviewed by SG
Naxos continues its excellent Vaughan Williams cycle, one which already
features a number of exhilarating performances. This latest example is
certainly no exception, and Paul Daniel dispatches the Fourth Symphony
with plenty of drive and attack: particularly in the last two movements
where he manages to reveal prodigious detail, without destroying the music’s
soul. The Bournemouth players don't quite possess the ideal weight in
the brass and lower strings demanded of the composition, but that is a
minor quibble when this Symphony rarely experiences an extraordinary performance
on disc. The couplings are exceedingly well done, with the Norfolk Rhapsody
comprehensively poetic throughout its introspective passages, while also
projecting impressive climaxes. Flos Campi, a rarity in concert and certainly
one of the composer's most sensual and delicate creations, gets a much
grander, more thrilling reading than usual, with the intensity of its
more opulent and energetic sections tremendously impressive. The wordless
chorus is distinctly atmospheric, and the engineers have not made the
mistake of placing the microphones too close to the singers. In fact,
the warm but clear sonics complement each piece of music more than adequately,
resulting in a really very good all-round release. |
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Achron:
Violin Concerto No.1; Two Tableaux from Belshazzar
Silverstein & Schwarz cond.Czech Phil, Berlin Radio & Barcelona
S.O.s,Oliveira, violin
Naxos 8.559408 Reviewed by RP
White Russian Jewish émigré Joseph Achron was an accomplished
violinist and a composer of exceptionally lush, almost cinematic, music.
The two movements of his First Violin Concerto are an intense and rhapsodic
journey towards religious ecstasy. Oliveira’s playing creates a
perfect sense of the excitement and mysteriousness that lies at the centre
of Achron’s broadly romantic score.
A thought provoking and expanded Suite is an equally pictorial and rhythmically
innovative piece. It is a vividly atmospheric and sometimes abrasively
written examination of the creation myth where a creature, the Golem,
is moulded from clay and brought to life by man - a disconcerting tale
which bristles with moral dilemmas from beginning to end. The Two Tableaux,
with their mix of ethnic Hungarian-like melodies, impressionistic images
and good natured dances, are lighter and far less cerebral pieces emboldened
by some lively scoring for brass instruments which is very much in keeping
with a Russian music tradition. The orchestral playing is excellent throughout.
There’s a nice balance struck between the brilliance of the Berlin
Radio Symphony musicians and the individual needs of the Oliveira solo
violin. All three Orchestras are capably and sympathetically directed
from the podium. Yet another unusual release for which Naxos are to be
commended.
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Beethoven
& Brahms: Triple & Double Concertos
Karajan, BPO & Szell, Cleveland Orchestra Oistrakh, Rostropovich &
Richter
EMI 7243 5 66902 2 6 Reviewed by RP
Karajan’s expansive and muscular Berlin Philharmonic version of
the Triple Concerto with its three stellar Russian soloists is a compelling
one full of intelligence, charm and warmth. It also remains true to Beethoven’s
indication that the cello part played by an immaculate Rostropovich should
take priority over the other soloists.
Although their contributions are telling, we hear his cello first of all
in each movement. However, Sviatoslav Richter’s incredible display
of conviction and integrity, and a charismatic David Oistrakh master class
in violin artistry are both intrinsic aspects of this fine and intuitive
performance.
The Brahms Double Concerto (also taped in 1969) features the Rostropovich/Oistrakh
partnership but was conducted in Cleveland, Ohio by that old martinet
George Szell. An understandably disciplined orchestral account here allows
the individual quality of its virtuoso sections to shine through –
especially when a transparent and perfectly balanced recording such as
this smoothly reveals that vibrancy and richness of their string tones.
Great music, strong interpretations, exceptional soloists and some excellent
engineering make these re-mastered concertos an essential and really satisfying
addition to any collection. |
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Burleigh:
Music for Violin and Piano
Zina Schiff, Violin & Mary Barranger, Piano
Naxos 8.559061 Reviewed by RP
Cecil Burleigh (1885-1980) was a capable violinist, a little known composer
and a professor of music who learnt much of his art abroad at the Klindworth-
Scharwenka Conservatory in Berlin. Later, back in New York, he took up
composition under Ernest Bloch, yet despite being a prolific and accomplished
writer Burleigh has basked in relative anonymity.
From the evidence here it is hard to understand why so few of his works
have been recorded. This is an album of elegantly crafted and highly descriptive
miniatures dominated by beautifully textures and pastoral themes. On this
disc there are seven evocatively named collections with titles such as
Plantation Sketches, Nature’s Voices and Boyhood Recollections (all
penned between 1910 and 1925) which then sub divide into vignettes –
some barely a minute in length – that paint a lush picture of American
life. Pieces like In Cotton Fields, Reapers and Hushed Woods speak for
themselves, as do the Five Indian Sketches. The longest work, an opening
Impromptu, is a shining example of the delicacy, sincerity and accessibility
underpinning Burleigh’s music. For this and the closing Cradle Song
Zina Schiff (a protege of Heifetz) is joined by her daughter the sixteen-year-old
pianist Cherina Carmel. These recordings with Mary Barranger on piano,
are sensitively and sympathetically played throughout.
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Audiophile
Recordings |
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Blues
Jam at Chess - Featuring Fleetwood Mac, Otis Spann, Willie Dixon, Shakey
Horton, J.T. Brown, Guitar Buddy, Honey Boy Edwards and S. P. Leary.
Pure Pleasure Records / Blue Horizon 7-66227 Reviewed by RSF
At the time of this recording, January 1969, this two record set reads
like a who’s who of electric blues. The legendary Blue Horizon ‘Blues’
records have always had a large cult following.
Unfortunately the U. S. issues have never been known for outstanding sonics
when compared to their U.K. counterparts. Even then, and the Johnny Shines
is an example for me personally, there was always something missing. Well
there is nothing missing anymore. This two record set is an outstanding
bargain for those interested in some great music, great playing and just
a ‘you are there’ jam session. Fleetwood Mac’s Peter
Green does a bang up job on a variety of tunes and when he’s not
singing, one of the other greats mentioned above is wailing. I’d
once heard this set at a friend’s house and kind of walked away
with a ho-hum feeling. Ray Staff has done a great job of remastering these
sessions and Pallas in Germany has provided us with their excellent 180
gram product. The records are a treat and I’m delighted to have
them in my collection. For those interested in the collectible marketplace,
if you could find clean U.K. copies, even if they don’t sound as
good as these, be prepared to part with over £100. Highly recommended.
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Debussy
& Ravel: La Boite a Jououx and Children’s Corner, Le Tombeau
de Couperin and Valses Nobles et Sentimentales
Andre Cluytens, ONRF
Testament SBT 1236 Reviewed by RP
Andre Cluytens was one of the great conductors of the French classical
repertoire and his performances from the mid 1950s forged on the back
of a long association with these Orchestre National de la Radiodiffusion
Francaise players must rank alongside those of Monteux, Ansermet and Paray.
Interestingly all the pieces here were originally written for piano, but
it is in these orchestrated forms that more of the musical depth and sophistication
is heard. Cluytens regards them with an intuitive and penetrating gaze.
The approach to both Debussy works which explore childhood in some depth
provides many telling insights as this beautiful music overflowing with
piquant flavours and pastel colours vibrantly teases out an imaginative,
sometimes carefree and innocent world with subtle wit and affection. In
Le Tombeau de Couperin which was written as a tribute for those killed
in the First World War he displays true understanding in a sensitive handling
of this thematic material that extends to the exploration of the emotional
void that was left behind after the conflict was over. The closing Valses
Nobles, which was also recorded in mono, has characteristically engaging
and radiant textures as well.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Gershwin:
An American in Paris, Catfish Row, Promenade, Rhapsody in Blue, Cuban
Overture.
SLSO, Slatkin. Jeffrey Siegel, pno
Mobile Fidelity UPSACD 4007- Surround Series Reviewed by RSF
MOFI has given us a fabulous re-issue filled with a wealth of solid Gershwin
performances by Slatkin and his St. Louis Symphony with wonderful piano
accompaniment by Jeffrey Siegel. Originally released in the mid 1970's,
by Vox, for whatever reason - and definitely not because of the performance
- this VOX BOX became difficult to find. I’ve had my set (the stereo,
not the quad) for many years and I’ve enjoyed it immensely. In a
conversation with MOFI’s Coleman Brice, he indicated that the strategy
with their ‘Surround Series’ is to very subtlety add ‘ambient’
information to the rear-channels, not to play ping-pong games. It’s
an approach we should all commend. There are some great sonic effects
used by Slatkin in the Catfish Row suite that I shan’t spoil for
you, other than to let you know you’re in for a treat. This is really
first-class music making and the remastering is absolutely top drawer.
The SACD and CD layers of this release are truly spectacular offering
the music lover and audiophile that rare combination of first class sound
with an A-1 performance. This is the type of release I am hoping to see
more of from MOFI.
If you are remotely interested in the music of George Gershwin, you must
have this release. Highest recommendation.
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Last
Night’s Dream - Johnny Shines with Walter "Shakey" Horton
(harmonica), Willie Dixon (bass), Clifton James (drums) and Otis Spann
(piano on "Pipeline Blues")
Pure Pleasure Records / Blue Horizon 7-63212 Reviewed by RSF
Here’s another case of one of the greatest Delta bluesmen ever,
Johnny Shines, almost getting the treatment he justly deserved when this
record was first released. When I heard the original release, I hunted
high and low to find a copy. There wasn’t a soft track on the album.
I’m a huge fan of Shines and when I finally succeeded in obtaining
my copy I somehow felt I’d gotten caught up in the moment. I didn’t
bother to obtain a U.S. pressing as I knew the U.K. issue would be better...
but maybe that’s my own bias showing through. The record was just
not as exciting as I remembered and actually just a few months ago, after
another listening session, I decided to sell it. Well lo and behold, here
comes Pure Pleasure Records and what do they release? And it’s a
honey. I’ve listened and enjoyed this album just the way I first
remembered it to be. Another excellent job and I’m beginning to
get a little soppy! Here’s a hint: These records can be enjoyed
in either mono or stereo and I wouldn’t be surprised if you go the
mono route. Great music, great sound. What’s left? Top recommendation.
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David
Chesky – Violin & Flute Concertos, The Girl from Guatemala,
Area 31
Chesky Records SACD 288 Reviewed by RP
David Chesky is a well-respected jazz composer, pianist and record producer.
Naturally enough this foray into the realm of classical music, whilst
largely founded upon the European concerto form, does employ extensive
jazz figurations and Latin or South American rhythmic undercurrents much
favoured by modernist American composers. This stylistic collision is
not always a comfortable one.
The violin part (Tom Chiu) is cleverly written to give many passionate
and romantic threads from which the counterpoint darker moods and urban
themes are woven. However, sometimes Chesky’s overwritten percussive
scoring undermines it all as he strives hard for a dazzlingly and energetic
metropolitan feeling. Too fragmented is my verdict, although I understand
the deconstructionist ideas he has put forward here. The Flute Concerto
finds soloist Jeffrey Khaner adopting a traditional pastoral posture that
is once again set alongside Brazilian and Argentine rhythmic and melodic
patterns in another complex fusion of genres. This like The Girl from
Guatemala, intelligently marries orchestral and in this instance flamenco
textures to draw a sensual landscape. These smartly performed (Area 31)
and enthusiastically conducted (Anthony Aibel) renditions are superbly
engineered through a Barry Wolifson recording that appropriately dissects
these conflicting structures.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186 |
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Little
Walter - The Best of Little Walter.
Speakers Corner / Chess Records LP1428. Reviewed by RSF
Now we’re talking... now we’re talking! This IS the BLUES.
Little Walter Jacobs is one of my all time favourite bluesers. While called
a "The Best of..." album, this is a first LP release of material
only available previously on 45's and the sound quality is going to vary
for sure. I’ve got a couple of copies of the original at home and
they’re scarcer than hen’s teeth. The problem with both is
nothing more than the less than fine quality vinyl Chess Records used.
It’s a great pleasure to have this stunning album on quiet, 180
gram vinyl. It starts off with a Walter classic, ‘My Babe’
and just keeps on going. Let me whet your appetite with some of the folks
Walter is using on these tracks: Robert Lockwood Jr., Willie Dixon and
Jimmy Rogers to mention but a few. Jacobs was one of the greatest blues
harp players who ever lived. He died when he was not quite 38 years old.
What a huge talent. These recordings are drenched in melancholy and a
wailing harmonica like nothing you’ve ever heard before. The sound,
in glorious mono, is to die for. There is nothing I can say other than
buy it! You won’t be sorry you did and I guarantee you’ll
get plenty of hours of enjoyment from this master bluesman.
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Dvorák:
‘Cello Concerto in B minor, opus 104.
Bruch: Kol Nidre, opus 47
Starker, LSO, Dorati.
Speakers Corner/Mercury Reviewed by RSF
There is probably no Classical Music enthusiast on the Planet who hasn’t
heard of this performance. It’s one a small handful of masterly
crafted recordings which all offer near ‘definitive’ readings
of Dvorák’s masterpiece. (Others to look for might be Fournier/Szell
on U.S. Epic (gold label, not UK SAX which has ‘squeezed’
the sound with two Strauss works on one LP; and/or Rostropovich/Karajan
on Deutsche Grammophon).
Regardless of which performance you may love, nothing will come close
to the sound Mercury has captured at Wembley with this recording.
Originally a 35mm recording, Willem Makkee, utilizing Wilma Cozart Fine’s
1960 two-track mix downs, has once again, delivered a recording we all
should treasure, and in by far the best, readily available sound. You
will not find a better sounding issue of this unless you are willing to
start shelling out substantially over £200 +... and even then you’ve
got that whole Mercury stamper number minefield to traverse. My suggestion
is to not waste your time but to order this today... I’m willing
to bet you that your local reseller does not have it in stock! Top Recommendation
and a must own recording!
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June Christy
- Something Cool
Cisco Records T 516 Reviewed by RP
While it is widely acknowledged that June Christy’s singing had
its limitations, her albums for Capitol Records during the 1950s and early
1960s successfully maximised a talent for delivering both the up-tempo
swingers and those attractively framed and heart-warming ballads of the
style found here. Something Cool, released in 1954 as a ten-inch LP, was
one of Christy’s most polished recordings. Perhaps its greatest
strength is the sympathetic and imaginative approach brought to these
arrangements by Pete Rugolo. He provided the best possible orchestral
settings for a voice that had a limited range but could still, under the
right circumstances, beautifully encapsulate all the possible emotional
outcomes from a romantic entanglement. She sings tracks like ‘The
Night We Called It A Day’, ‘It Could Happen To You’
or ‘I’m Thrilled’ with that truly deceptive ease of
a real pro. They are so deftly and smoothly handled that it is hard not
to be impressed by the delightful phrasing and exquisite timing of this
B-list performer. The Cisco re-master is a revelation too. Detailed, richly
textured and, like these songs, simmering nicely just below the surface
until another misty-eyed moment breaks cover.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186 |
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Ravel
- Daphnis et Chloé Valse nobles et sentimentales
Minnesota Orchestra, Skrowaczewski.
Mobile Fidelity UPSACD 4008- Surround Series Reviewed by RSF
Another disc jammed with (almost 79 minutes of) wonderful music offered
in rich, sonorous sound by Mobile Fidelity. This one disc contains some
of Ravel’s most exotic works and they are played sublimely by Skrowaczewski
and his Minnesota Orchestra. As was the Gershwin release, this too is
a 1975 VOX BOX issue and to my ears, the finest version of these performances
ever released on SACD/CD/Surround. There is a delicacy in style portrayed
by the conductor and his orchestra that is rare to hear unless one listens
to the performances of Monteux, Cluytens, Paray or even Martinon in the
stereo era. Not having much Ravel in the digital domain in my collection,
this disc is a very welcome addition. I’ve mentioned in other writings
my fondness for Ravel’s Mother Goose and while a tiny bit short
of complete, I am captivated with this version. There again, before you
turn your nose up at the fact the Mother Goose is incomplete, most people
don’t realise how very few complete versions are actually available.
This is another fine offering from MOFI that will totally seduce the listener,
be they audiophile, music lover or both. The disc has it all and is another
very highly recommended release you should have in your library. |
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