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Audiophile
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Rhapsodies:
Music of Liszt, Enesco, Smetana and Wagner
Stokowski, RCA Victor SO, Symphony of the Air.
Sony BMG/RCA Living Stereo 82876-67903-2 Reviewed by RSF
Produced originally by Peter Dellheim with Robert Simpson and Lewis Layton
as recording engineers, this smorgasbord of fun is right up the alley
of that Wizard with a baton, Leopold Stokowski. The first track in this
multi-channel recording is Liszt’s Hungarian Rhapsody No. 2 in C-Sharp
Minor and this sets the tone for the remainder of the disk.
This performance gets the full-blown Stokowski treatment (fortunately,
not too over-blown). The engineers have given us spectacular, demonstration
quality sound of the highest order. Everything contained in this release
is music that is dramatic, fun, somewhat outlandish – at least in
Stokowski’s hands – with a riveting 75 minutes of WOW! If
you know anything about Stokowski, you know how he loved to embellish.
Not so much in re-writing the composer’s notes, but perhaps in over
dramatizing the score. He loved to experiment. While this may not be for
those who demand absolute adherence to the original, he certainly earned
that "Wizard at Work"reputation. Just wait until you hear his
interpretation of ‘The Moldau’ from Smetan’s Ma Vlast!
We’re also treated to some super exciting Wagner from Tristan und
Isolde and Tannhauser that only Stokowski can deliver. Under no circumstances
do you pass this disk by. You’ll be forever sorry. Absolutely the
highest recommendation and out of this world. |
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The
Edgar Winter Group - They Only Come Out at Night
Mobile Fidelity UDSACD 2011 Reviewed by TB
This is a stunningly good recording of an American classic (kudos to the
mastering team), and the red book version comes close to the SACD layer.
This is so good that I can easily imagine myself, front row center at
an Edgar Winter Group concert. I got goose bumps listening and this doesn’t
happen often chez Britt.
Originally released in ‘72, this album quickly became double platinum,
partly because of Winter’s use of synthesizer sound: He was the
first to actually put a neck strap on a keyboard and play whilst roaming
the stage. Wow! The two most famous songs on the album were ‘Free
Ride’ and ‘Frankenstein’. Winter’s work is relevant
even today, with lyrics from ‘Free Ride’ that go "All
over the country I’ve seen it the same, Nobody’s winnin’
at this kind of game, We’ve got to do better, it’s time to
begin, You know all the answers must come with within." And ‘Frankenstein’
is the musical equivalent of PRAT: If it doesn’t get your feet tapping
then you don’t have a pulse.
Rolling Stone noted at the time that "Only time will tell whether
this ambitious work is truly great, . . ." Well, I can assure you
it has withstood that test: Edgar Winter understands that rock & roll
is vaudeville. Highly recommended for your rock collection! |
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Mahler:
Symphony No. 4 in G.
Reiner, CSO. Lisa Della Casa, sop.
Sony BMG/RCA Living Stereo 82876-67901-2 Reviewed by RSF
This was the master-tape I heard on my visit to Sound/Mirror in Boston.
It’s every bit as exciting at home as it was in their studio. This
is taken from one of the RCA three-track stereo tapes, and if you have
the ability to playback multi-channel recordings, you may enjoy this in
either two or three-channel mode. The down converted CD layer is outstanding:
The SACD is an absolute stunner. The original recording was engineered
and produced by the team of Lewis Layton and Richard Mohr. I was impressed
with it in Boston and am still impressed with it in Toronto. Reiner has
a strong flare for Mahler and this is one of a handful of outstanding
performances everyone should have in their collections. The acoustics
of Orchestra Hall are present for all to hear. There is wonderful depth
and corner fill and quite frankly, this is as good as you’re ever
going to get from a digital recording, especially from tapes that are
getting close to being 50 years old. I’ve listened to this performance
several times since receiving this disk and I hope that you will get as
much pleasure from this as I am. Reiner is one of the great conductors
of the last century and I for one cannot get enough of his work. Highest
recommendation.
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Brahms:
Horn Trio in E flat major Opus 40. Sonata No. 2 in A major for violin
and piano, Opus 100.
Szigeti, Horszowski, Barrows
Speakers Corner/Mercury Living Presence SR90210 Reviewed by RSF
An exceptionally elusive recording, this is one really wonderful record
originally taped by Mercury. Joseph Szigeti was 67 when this album was
commissioned. While on several of his other performances for Mercury –
the Brahms violin concerto in particular – he was far below the
skill level he once enjoyed, there is no hint of that in these performances
whatsoever. For whatever reason this has always been a very difficult
record to find and mint copies with the proper stamper numbers definitely
exceed the £150 mark. Willem Makkee and Kai Seemann have delivered
another outstanding sonic release with fabulous surfaces by Pallas on
180 gram vinyl. Not often recorded, and while there are fine performances
in the EMI and RCA catalogues of the Horn Trio, nothing, in my opinion,
even comes close to this record for both performance and sound. The Sonata
No. 2, Opus 100 is also quite excellent, and again while there is much
competition for this work, I feel you will be very satisfied with this
performance.
For Mercury collectors, I’m sure that the rich, sonorous sound given
us will be a real treat, making this disc highly recommended.
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Shostakovitch
- Symphonies Nos. 5 & 9
Valery Gergiev, Kirov Orchestra
Philips 470 651-2 Reviewed by RSF
The Ninth Symphony, completed shortly after the end of World War Two was
not the popular, expansive or great patriotic and celebratory flag waver
many had expected. This concise, witty, relatively restrained and sparingly
scored work has a lightness of touch which rather than grandly basking
in the defeat of Nazism seems to be much more an expression of considered
relief. It is as if Shostakovich had weighed up and questioned the cost
to Mother Russia, including her prospects for the future, and let slip
a knowing smile. Valery Gergiev’s interpretation snugly dovetails
with this view. For the more conventionally structured Fifth Symphony,
Gergiev of course faces very stiff competition from both his Russian contemporaries
and Western performances like an outstanding Andre Previn LSO version
cut in the mid-1960s for RCA. However, this superb Philips recording,
with its wonderful dynamic range, transparency and vibrant presentation
of the varied instrumental orchestral colours, is not shamed when making
these comparison because, as with the finest of accounts, it amongst other
things fills that enormous sense of space created in the score with powerful
emotion.
The exhilarating and triumphant finale coming after the tension, desolation
and conflict of the earlier movements, is also particularly well handled
and adds to what is a wholly satisfying reading.
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Music
of Leroy Anderson: Frederick Fennell, cond. partially performed by the
Eastman-Rochester "Pops" Orchestra.
Mercury Living Presence 475 6942 Reviewed by RSF
Featuring selections from the first MLP LP of three performed by Fennell
featuring the music of Leroy Anderson, this offers an enjoyable cross-section
of Anderson’s sense of rhythm and style. It is very leisurely, light
‘classical’ fare and should suit just about anyone’s
taste. While Anderson may not enjoy the popularity in today’s music
place, those who ignore his works are missing out on one of the great
American composers. This was popular music. Anderson had a tremendous
flare for telling musical stories in a few short minutes. Many times these
stories incorporated clever ‘sound effects’ some, percussive
instruments of the orchestra we don’t often hear, but others were
unique. ‘The Typewriter’ for example actually incorporates
a real typewriter in the score with Fennell at the keyboard. However,
the ‘ding’ from this bell is definitely not from that typewriter.
I’ve always enjoyed the original releases on the US records (SR90009,
90043 and 90400) and while the sound of this SACD is not in the league
of the original LPs, it’s still a pleasure to have this music in
such a convenient format. If you’re not familiar with Leroy Anderson,
I don’t think you’re going to find a better selection anywhere
short of searching for the original Living Presence records. |
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Otis Spann
IS the Blues - Otis Spann, vocals and piano with Robert Lockwood Jr. vocals
and guitar.
Candid/Pure Pleasure Records Reviewed by RSF
Anyone who has the slightest knowledge about the blues knows how fabulous
Otis Spann really is. His repertoire is seriously diverse, his performances
ooze quality. He’s one of the greatest blues piano players of all
time and his skills shine on this album. Lockwood is the perfect match
for Spann and his experience is a welcome addition to this set. Spann
was just a little over 30 years old when this record was made and he was
already an accomplished star whose presence exudes confidence, style and
a sound that is truly his own. The sonic quality of the album is outstanding.
Beginning with ‘The Hard Way’ on side one, we move to a Lockwood
song and then into a great piano solo entitled ‘Otis in the Dark’.
Which makes it all the more amazing that this is Otis Spann’s first
album! While Lockwood hadn’t recorded for a number of years, he
really does compliment Spann wonderfully. Otis had been playing since
he first auditioned for Muddy Waters at the ripe old age of 17. This is
a very special album with exceptionally talented artists. A must own Blues
album. Highest recommendation!
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Beethoven:
Symphony No.7 & Leonore Overture No.3.
Bach: "Air" from Suite No.3 & "Arioso" from Cantata
No.156
Ormandy, Philadelphia Orchestra
Cisco/Scora Reviewed by RSF
Entitled "Ormandy in Russia" these works, which were recorded
live in the May of 1958, are the first set in a six disc series of Philadelphia
performances made in the Soviet Union. While it may not quite have captured
the imagination in the same way as those famous Mercury sessions did,
they do nevertheless represent vivid, highly evocative and beautifully
proportioned readings.
Of course the Seventh Symphony and Leonore Overture No.3 have those exceptionally
stirring climaxes but their roots are nourished by very different rhythmic
patterns. The Overture encapsulates the themes of a typical operatic drama
while the Symphony possesses that controlled and sustained intensity found
in a variety of dance forms. The audience is certainly appreciative of
both although they are surprisingly ill disciplined and noisy at the opening
of the Beethoven Seventh. It can be argued that these inner details give
it a large dose of the "you are there" realism and immediacy
to proceedings. The Bach-Ormandy transcriptions (quality encore pieces)
are nicely handled and played in a fashion that rightly leaves you hungry
for more. Steve Hoffman’s work on the master tapes is as always
sympathetically executed with an emphasis upon nuance and subtle interpretative
insights.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186 |
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Stevie
Ray Vaughan and Double Trouble - Couldn’t Stand the Weather
Epic Records/Pure Pleasure Records PPAN 39304 Reviewed by RSF
Before you go "ho-hum, this has been re-issued before", let
me tell you that what you may have thought you heard, is nothing compared
to what is on these two, that’s right, two records. Tony Hickmott
of PPR has mined the Epic vaults and has found for us previously unreleased
material.
Ray Staff at Alchemy has, once again, delivered a brilliant sounding all
analogue release. This is the finest sounding Stevie Ray Vaughan album
you will ever hear! While there are those who may snub their noses at
Vaughan, if they’re smart enough to buy this release and sit through
it, there is no doubt they will be converted by one superfine guitarist
and singer whose time here was nowhere near long enough. I have to admit
to being lukewarm when I heard this record was coming out. While I liked
the original, the sound was so-so. However, based upon some of the other
Pure Pleasure releases, I admit my curiosity was tweaked. Well, I’m
here to tell you this is another winner for PPR. It’s shockingly
good sonically and certainly does cement my feelings about just how good
Vaughan really was. This was his second album for Epic and it certainly
solidified his place in electric blues history. Not to be missed. Sheer
magic.
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