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Classical
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Mozart
& Forster: Piano Concertos No.20 & No.25, Ariette Variee
Krips, Philharmonia Orchestra, Fischer, pno
Testament SBT 1218 Reviewed by RP
Edwin Fischer belonged to a school of classical piano playing which pursued
musical truths not through uninspired note perfect readings but with performances
of interpretative genius that strive to reveal those elusive emotional,
often contradictory attributes underpinning the human experience. His
Mozart piano recordings are spontaneous, spirited, wonderfully open and
generous accounts in which the many beautiful opportunities buried within
the written score are fully explored. Fischer’s visionary approach
comes as close as is possible to both encompassing and unpicking those
elusive thematic riches. A lightness of touch, charm, piquancy and the
delicate balance between keyboard technique and creativity makes for a
hugely enjoyable disc.
And the re-masters (including that affectionately played and previously
unreleased Forster encore piece Ariette Variee dating from October1947)
barely show their age. Anyway, when performances are this captivating
there is always a willingness to accommodate any slight engineering frailties.
Fischer’s style throughout has an exceptional fluency and it is
this quality that generates an unforced natural momentum to propel you
from idea to idea and through a range of feelings until the end of each
movement brings us to a fulfilling conclusion.
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Johann
Sebastian Bach: The Keyboard Concertos Volumes 1 and 2
Angela Hewitt, piano. Tognetti, Australian Chamber Orchestra
Hyperion SACD 67307/8 Reviewed by RSF
Listening to Angela Hewitt play Bach is one of the great joys. I own every
Bach recording she’s ever made (including a rare DGG digital LP).
Hyperion has released well over a dozen recordings of Hewitt, and in my
mind, there is only one person today who comes remotely close to her skill
level and that is Murray Perahia (who recorded the seven concertos only,
with the Academy of St. Martin (Sony SK89245 & SK89690-on CD)).
The liner notes tell us that “On this recording we have done something
slightly unusual (although certainly it has been done before). To better
distinguish between the solo and tutti passages, we have decided to use
a harpsichord in its traditional role as a continuo. The baroque orchestra
is not complete without it, and there is no reason why it shouldn’t
be part of a modern-day recording, even when the piano is used as the
solo instrument....”
These are sumptuous performances that are so involving, time stands still.
There is absolutely nothing not to like here. The CD layers of both discs
are excellent, and I would presume that they are probably down-converted
from the DSD layers. These performances are the cornerstone for any classical
music enthusiast. Do not pass them by.
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Paganini:
Twenty Four Caprices
Michael Rabin
EMI 7243 5 67986 2 5 Reviewed by RP
This technically brilliant, astutely and affectionately observed stereo
version of Paganini’s devilishly tricky Twenty Four Caprices for
Solo Violin OP.1 was recorded in late 1958 at the New York Capitol 46th
Street Studios. Michael Rabin, with remarkable dexterity, fluency and
superbly controlled pitch, gives a sympathetic performance that traverses
and goes well beyond the dazzling intricacies of this music to develop
much deeper understandings of each individual vignette. He is at the very
peak of his powers.
The display pieces are handled with spectacular virtuosity and fully satisfy
these demanding scores, while elsewhere the intensity, eloquence and undeniable
splendour even in those passages that require breakneck speeds or an iron
grip reveals the amazing range and expressive power of the violin when
placed in the hands of such a maestro. The original tapes re-mastered
by Simon Gibson at Abbey Road have a wonderfully fresh, beautifully detailed
and dynamic sound that keeps pace with the fleet footed Rabin while presenting
a truly life sized violin. It also accurately picks out those subtle nuances,
rich tonal qualities and that sense of vitality that enhance what is already
an emotion filled and emotionally draining performance.
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Audiophile
Recordings |
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Mitty
Collier - Shades of a Genius
Speakers Corner/Chess Records LPS 1492. Reviewed by RSF
This has been sitting in my “to listen” pile for the last
four months. I kept putting it off because of nothing more than sheer
ignorance. Who is Mitty Collier?
Well, I’m here to tell you that she is one fabulous vocalist with
a stunning husky-voiced rhythm and blues style that will absolutely knock
your socks off. I remember when Kai Seemann mentioned this to me, I said,
“Who? Why are you releasing that?” Boy, was I way off on this
one! This woman has a great vocal range and this is another one of those,
‘grab your baby and a bottle of wine and shut the lights down low’
kind of albums. Collier’s first love is singing Gospel and in 1972
she left secular music behind.
Later in Chicago in the 1990’s, she became a minister. We are extraordinarily
lucky to have this document. Collier was under contract to Chess as of
1960. She was just 19 years old. She had some singles hit the charts in
1963, but this is her only album. The arrangements by Riley Hampton, Bert
Keyes and Phil Wright are wonderful and this is a treat you won’t
easily forget. It’s too bad this is all that’s available,
but it’s a solid gold effort and I’m glad to have learned
about her. You will be too. |
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The
Art of Galina Barinova - Performances recorded between 1940 and 1960.
Melodiya CD 10 00997. Reviewed by RSF
I’m fortunate to own most of Barinova’s records (there aren’t
many) and with this issue, both her compact discs. These recordings include
works by Schubert, Massenet, Brahms, Delius and others, mainly short encore
pieces. Born in October 1910, she came from a very creative family. Her
father, a lawyer, had studied the violin and was an amateur of some standing.
Her mother was a pianist who studied with Josef Hoffman, Frederico Busoni
and Rimsky-Korsakov. Galina started playing early in her life and at the
age of 14 was sent to France to study with Jacques Thibaud. Her career
began to evolve but then WWII came and she gave up traditional concerts
to entertain the troops. After the war she again toured extensively in
the East and in 1956 also began an illustrious career teaching at the
Tchaikovsky Conservatory. Barinova had a vast repertoire of over twenty-five
concertos she played at various times. Aside from her schedule of teaching,
she also transcribed over one hundred compositions for the violin. She’s
recorded Bach with Richter as well as a fabulous Sibelius Concerto.
Barinova is one of too many artists we here in the West should spend some
time researching and getting to know. This is a performer of the highest
caliber and this compact disc offers both fabulous playing and excellent
sound.
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Greig:
Peer Gynt Suites Nos. 1and 2; Lyric Suite
Eileen Farrell(S), Fiedler, Boston Pops Orchestra
Cisco/RCA LSC 2125. Reviewed by RSF
Arthur Fiedler and the Boston Pops were very popular half a century ago.
They recorded some wonderful encore orchestral pieces and of course the
(in)famous early Living Stereo of Offenbach’s Gaite Parisienne.
This, in the right pressing has always been regarded as a sonic spectacular.
However, whether or not the music is your cup of tea is another matter
entirely. I’d always dismissed Fiedler as a serious conductor. The
man was a great talent but because I’m so familiar with his ‘wallpaper’
recordings, having him record say a Beethoven symphony would be quite
a shock to me. I don’t have, and didn’t want, an original
of this recording so have nothing to compare and my feelings about this
issue are mixed.
I find the sound quality excellent. If only all Living Stereo re-issues
were given this treatment! But I find Suite No. 1 frankly boring. Suite
No. 2 is much more interesting. The second side finishes with quite a
lovely Lyric Suite which is comprised of four movements: Shepherd Boy,
Norwegian Rustic March, Nocturne, March of the Dwarfs. You’ll have
to decide if the performances are for you, but I can assure you that you
won’t be disappointed in the sound quality.
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Rheinberger,
Strauss & Elgar: The Trumpets That Time Forgot
John Wallace & Jonathan Freeman-Attwood, trumpets; Colm Carey, Organ
Linn Records CKD 242 Reviewed by RP
This Hereford Cathedral recording has a lovely tactile quality. The space
and ambience found in such an atmospheric location allows the brass to
reach out to the very limit of its range without ever becoming overextended,
while ripening organ notes so plump and resonant apply that attractive
and quite dignified juxtaposition to the soaring brilliance heard in the
trumpet music. Of course in a forty minute composition like Rheinberger’s
Suite for two trumpets and organ, OP.149 only Colm Carey pulling out all
the contrapuntal stops (both physical and metaphorically) can sustain
a four movement work of this scale. Flashes of brilliance in darting solos
and flourishes from the Jonathan Freeman-Attwood piccolo trumpet and John
Wallace trumpet in b flat providing a vocal quality in this chamber piece.
The three Richard Strauss vignettes taken from his Le Bourgeois Gentilhomme
Suite also have many moments of virtuosity running through them in a recital
peppered with fine exchanges and engaging dialogues between the differing
instrumental registers. In their last transcription, a reworking of the
Elgar Organ sonata No.2, the players achieve surprising heights of passion
and majesty especially in an expressive fugue. Overall, these trumpets
that time has forgotten deserve to be remembered and the Philip Hobbs
engineering and this ecclesiastical backdrop provide a superb setting.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186 |
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Prokofiev:
Alexander Nevsky; Lieutenant Kije
Carlson(MS); Voketaitis(B); Slatkin; SLSO and Chorus.
Mobile Fidelity UDSACD 4009 Reviewed by RSF
I’m a big Prokofiev fan, and Nevsky and Kije are right up there
with some of my favorites. While they evoke similar emotions, they are
actually at almost opposite ends of the dramatic spectrum. It’s
nice to have them both on one SACD. I’m not set up for multi-channel
replay so I cannot offer you any insight into how these performances fare
in that medium, and while the CD layer is excellent, it is the SACD that
really shines. While the Nevsky is not the complete film score, it gives
you enough to want to explore the work further (try Temirkanov and the
St. Petersburg on BMG 09026-61926-2 if it’s still available). Slatkin
does a fine job with the St. Louis and I’m sure you’re going
to enjoy his performance. Before Prokofiev was commissioned by Serge Eisenstein
to compose the music for the films Ivan the Terrible and Alexander Nevsky,
the Russian producer/director Alexandre Feinzimmer asked him to score
the film Lieutenant Kije. While this is a suite, made up of five movements,
and is only about nineteen minutes long, it’s delightful.
I’ve saved the best for last: the Kije is just spectacular... especially
spectacular. I’d never heard this performance before and was immediately
captured not only by the outrageously great sound, but the subtle control
and excitement Slatkin is able to coax from his orchestra. Superb.
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Anton
Dvorak: Concerto for Violin and Orchestra, Op. 53.
Johanna Martzy, Ferenc Fricsay, RIAS S.O.
Clearaudio/DGG 18152 LPM Reviewed by RSF
My original DGG has dates on the stitched, gatefold jacket of September
1954. Clearaudio’s jacket says 9/53. Damn... if this came out in
‘53 I’m looking for an earlier copy. The only bad Johanna
Martzy is no Johanna Martzy. There is a sonority and richness to her tone,
playing from another era and I absolutely love it. Make no bones about
it, this lady can play the fiddle. Her touch is ever so delicate with
passionate finesse when this is called for and as fast, strong and fiery
as a lightning bolt when the score demands.
She has a style that is technically near perfect but I feel, because of
the tone of her instrument, she tends to be a little on the romantic side.
What I really like about her playing is that she doesn’t interpret
– she plays what the composer wrote. I like this record for both
performance and sound. I hope Clearaudio gets into the DGG catalogue and
releases the other two Martzy recordings: her Mozart/Beethoven sonatas
and another LP with short, encore pieces. Considering the original of
this recording sells for upwards of £200, this is a bargain purchase.
This is one of the great performances of a wonderful violin concerto and
I applaud Clearaudio for releasing it. I’m looking for more great
historical releases from them.
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