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Classical
Music
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Mahler:
Symphony No. 9
Schubert: Symphony No 8 'Unfinished'
Carlo Maria Guilini, CSO
DG The Originals 463 609-2 (rec 1976/78) Reviewed
by JMH
Over the years there have been so many great recordings of Mahler 9, it's
perhaps reckless to claim that one in particular stands above all others.
But, for me, Guilini's is just that; the very finest account of this work
ever recorded. I've known it for over twenty years, on LP and CD, and
have listened to it many many times. It's a performance of searing intensity
and painstaking attention to detail, with orchestral playing both beautiful
yet unflinchingly stark and uncompromising. Tempi are slow, giving the
conductor ample time to shape and phrase the music. Yet for all the care
over detail, there's nothing self-conscious or mannered about the playing,
which has an engrossing ebb and flow. Truthful, honest, moving, deeply
sincere; it's a performance faithful to the spirit of Mahler's vision
in all its bitter-sweet nihilistic glory. This new remastering sounds
cleaner and more vividly focused than DG's old Galleria edition, and the
curious throbbing 'tremolo' effect on the strings (very noticeable on
the original LPs) has virtually been eliminated. The Chicago brass remain
forwardly balanced, and climaxes have considerable impact. The coupling,
Schubert's 'Unfinished' recorded two years later, is equally impressive;
a dark glowering reading, all pathos and suffering. Like his Mahler, Guilini's
Schubert offers no easy ride but a rich deeply fulfilling journey.
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Tchaikovsky:
Symphony No 1 'Winter Daydreams'
Debussy: Images pour orchestre
Michael Tilson Thomas, BSO
DG The Originals 463 615-2 (rec 1970/71) Reviewed
by JMH
These were among the first recordings Michael Tilson Thomas made as a
conductor, as well as some of the earliest made by DG in Boston. Engineer
Gunter Hermanns captured Boston Symphony Hall's beautifully sweet spacious
acoustic more successfully than anyone past or present, and the LP of
Tchaikovsky's Winter Dreams has long been a treasure. It's nice to welcome
the performance to CD at last, and the transfer is a good one that maintains
the LP's ambience and depth - listen to the way the timps excite the hall
reverberation at the close of the scherzo. The performance is fine too,
mixing youthful exuberance with a sensitive feel for atmosphere. Debussy's
Images is (for a DG/Boston) quite closely balanced, and the sound is highly
detailed. Clarity is excellent, and you'll hear things in this recording
that even modern digital versions obscure - a tribute to Tilson Thomas'
immaculate sense of orchestral balance, and the DG recording team. The
close sound suits the performance, which is brilliantly executed and phrased
with great panache - almost jazzy in places - but there's atmosphere too
in the sultry languid Les parfums de la nuit section of Iberia. Images
has been issued on CD before, but the new transfer sounds more vivid and
detailed than the earlier one. At nearly 81 minutes the disc offers good
value too!
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Mahler:
Des Knaben Wunderhorn
Anne Sofie von Otter, Thomas Quasthoff Claudio Abbado, BPO
DG 459 646-2 Reviewed
by JMH
The key to these songs is atmosphere - Mahler's evocation in sound of
a fantasy world, half fairy tale, half folk legend, that recreates the
strange, simple, commonplace, sometimes disturbing, characters that populate
its shifting twilight landscape. Abbado is certainly sensitive to the
detail in Mahler's score, and the Berliners play beautifully. Yet there's
a curious facelessness about the whole thing despite some good singing
and playing. Abbado begins with 'Revelge' - a macabre tale of ghostly
soldiers - but there's little sense of menace or foreboding here, nothing
of the night. Phrasing is supple and articulate, but there's no atmosphere.
The distant trumpet fanfares that punctuate 'Der Schidwache Nachtlied'
can (in the right hands) evoke a bitter-sweet sadness and regret; ditto
the magical shift from major to minor that seem to say - all is not well;
all is not as it seems. Here the effect is bland and matter of fact, and
Mahler's scoring goes for nothing. The playing is clean and tidily executed,
but one never feels drawn into the world of make-believe created by the
composer. Bernstein (DG) or Barenboim (Sony) are each vastly more successful,
with Bernstein especially catching the mood of each song in ways that
Abbado doesn't even hint at. The sound is nothing to rave over, though
it is very natural
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Romantic
Russia: Music by Glinka, Borodin, Mussorgsky, and Tchaikovsky*
Sir Georg Solti, LSO / Paris Conservatoire*
Decca Legends 460 977-2 (rec 1956* and 1966) Reviewed
by JMH
God knows what Solti was on when he made his famous Romantic Russia LP
in London's Kingsway Hall in 1966, but he certainly succeeded in lifting
the LSO out of their chairs. To this day there has never been a performance
of the Russian and Ludmilla overture like Solti's; it bristles with raw
nervous energy. It's not just that tempi are fast; it's the cracking pace
and manic tension of the playing. Mussorgsky's Night on a Bare Mountain,
and the Overture and Polovtsian dances (with chorus) from Borodin's Prince
Igor get similar treatment. Not everyone will respond positively to such
driven playing, but it's undeniably exciting in a rough physical sense.
Hearing it, you understand why some orchestral players said it took months
to get the 'Solti sound' out of their fingers after they'd played under
Sir Georg. Romantic Russia was a favourite hi-fi demonstration LP in its
day, and the recording still sounds vivid today. The Tchaikovsky second
symphony was taped in 1956 in genuine stereo, though fm not certain it
ever reached LP in this guise. Drawbacks include whinnying horns, but
the playing and conducting are vivid, and the recording wears its years
surprisingly lightly. It must've been one of the first uncut performances
ever recorded, and sounds well in Decca's new 96kHz/24bit remastered transfer.
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Prokofiev:
Symphony No 5
Stravinsky: Le Sacre du Printemps
Herbert von Karajan, BPO
DG The Originals 463 613-2 (rec 1968/1975 - 77) Reviewed
by JMH
Even those not particularly attuned to Karajan's style of music-making
have to admit that his recording of Prokofiev's fifth symphony is particularly
fine. A trenchant yet beautifully paced performance of refined passion,
it demonstrates Karajan's gift for building inexorable climaxes, and his
superb rhythmic control. A famous much-prized LP in its day (lovely cover
art, reproduced for the CD booklet), the recording was technically among
the best DGs from the late '60s. True, the tonal balance is rather bright,
and the sound is not especially rich or warm. But detail abounds, and
the massive tam-tam strokes near the end of the first movement exude ear-lacerating
presence! The new coupling is Karajan's impressive 1977 interpretation
of Stravinsky's Rite of Spring; a meticulous refined performance of considerable
power and agility. The orchestral playing is very precise, and even the
most cataclysmic sections never descend into noise -poise and control
are never sacrificed for cheap excitement. Rhythms are crisply defined,
with dynamics scrupulously terraced to ensure excellent clarity. The remastered
recording sounds slightly cleaner and more detailed than DG's previous
CD issue, and wears its years lightly.
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J
S Bach: Sonatas and Partitas for solo violin
Nathan Milstein, violin
DG The Originals 457 701-2 (rec 1973) Reviewed
by JMH
Over the past twenty-five years or so, performances of baroque music have
become highly specialised; often the domain of scholarmusicians playing
on original instruments or authentic copies. As a consequence, the great
works of Bach and Handel have almost become something of a no-go area
for non-specialists though there are signs the pendulum is starting to
swing back the other way. Among the few exceptions to this rule are the
Sonatas and Partitas for solo violin by Bach; the yardstick for performances
of this music remain with greats of the past like Heifetz, Grumiaux, and
of course Nathan Milstein. His 1975 set for DG has long been regarded
as a classic. He brings secure technique and artistic maturity to a strongly
focussed interpretation of the music. The playing is sensitive yet muscular,
with rhythms strongly portrayed and a supple yet virile tone. He's equal
to the artistic and spiritual challenges of these great works, and the
playing carries great conviction. In 1975, DG's recording was state -of-the-art
technically, and it still sounds well rich, powerful, clean - with the
violin set at middle distance in a bright spacious acoustic. Many regard
this set as Milstein's crowning glory, and it's a great pity that he recorded
so little after it was released.
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Audiophile
Recordings
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Laverne
Butler - No looking Back
CHESKY JD 91 Reviewed
by RP
As she caressed, 'I Cover The Waterfront', I just knew I wanted this women
to gently whisper to me "I've been very naughty and I want to be spanked"
in that same rich, rhythmic and completely seductive night club style
of hers. In spontaneously teasing out such thoughts through an easy, unforced,
vocal simplicity she goes on to prove that Laverne Butler and jazz were
made for one another. Their bodies intertwine with an intimacy of old
lovers and Mike Renzi's sympathetic arrangements touchingly enhance that
sense of sexual chemistry that has always existed between this medium
and its divas. The Bosa Nova of 'Speak low', swinging renditions of 'Make
Me A Rainbow' and 'Come Fly With Me', and of course that sultry sway of
the hips along 'The Waterfront', shows off her versatility as a singer.
Plenty of attractive improvisation and imaginative scats reveal what a
fine car Laverne possesses for ensemble work. Tracks with Renzi on piano
and Joe Henderson, drawing deep from his tenor sax, deliver classic moments
of interaction as Butler's phrasing accentuates the beautiful melodies
of these songs. This, and the warmth and hour-glass accuracy of Bob Katz's
recording are good reasons not to let this CD slip through your fingers.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Tchaikovsky:
Symphony No. 4
George Szell / LSO
King Super Analogue KIJC 9170 Reviewed
by RP
Availability of King LPs is the Achilles' heel. Frustratingly, demand
often outstrips supply, but this should not be used as an excuse to neglect
releases of immense musical significance. An electrifying reading of the
F Minor Symphony is a case in point. Though taped for DECCA in 1962, it
was only released some nine years later after Szell's death. Generally,
the clarinet error of the First Movement is thought responsible for this
hiatus. No, it is more an instance of pique and the power of the conductor
coming to the fore. Performed in concert the previous evening, this scheduled
Walthamstow recording was dominated by a furious George Szell, who discovered
that because of the deputy system many of those LSO musicians were replaced
by session players. His humour was not improved as a mischievous John
Culshaw kept the controls modestly low at the first playback. A lacklustre
sound propelled him to the podium. His unflinching control, in this now
highly-charged atmosphere, is remarkable. It certainly transmitted itself
to an orchestra whose virtuosity and shear dynamism reveals a delicacy
of touch and degree of beauty rarely developed in an interpretation with
this momentum. Excellent production values complement a record full of
personality.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Burt
Bacharach - Casino Royale OST
Classic Records/Colgems COSO-5005 Reviewed
by RG
Of all the collectible LPs whose status (and price) have been elevated
by inclusion not just in HP's TAS list, but in the holy of holys, his
baker's dozen of the 13 best records of all time, none is as contentious
as Casino Royale. The detractors howl at the musically light-weight nature
of this (and you'd better believe them!!) one track wonder. They also
balk at the astronomical prices asked for second-hand copies. On the other
hand, that one track, Dusty's 'The Look Of Love' is undoubtedly one of
the finest recordings of female vocal ever. She stands in front of you,
that fabulous voice so smooth and liquid that you sink right into it,
the accompaniment perfectly played (why is it that you see so many Herb
Alpert albums in junk shops but you never see this?). Is it worth spending
E20 on a 1809 LP for just a single track, let alone the hundreds you'd
have to pay for an original? I'd have to say yes, if only the re-issue
could match those originals. Unfortunately this one doesn't come close.
This isn't Classic's first attempt at 'The Look Of Love'. Their earlier
33/45 single got no closer than this, which suggests the problem lies
with the tapes. Neither version has the uncanny presence of the original,
and without that, this is a waste of time.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Carole
King - Tapestry
CLASSIC/SONY ODE SP77009 Reviewed
by RG
Probably, like me, you've strolled into town on a Friday night and seen
coming towards you an oliveskinned beauty on the arm of one of God's more
hapless looking creatures and had cause to wonder at those bizarre hormonal
hiccups that defy all known laws of human physiognomy, yet continue to
throw couples together. Tapestry, too, is one of these seemingly disparate
couplings that will, especially in the uninitiated, provoke similar wideeyed
expressions of astonishment at its ultimate chemistry. Exquisite songwriting.
Imperfect sonics. Superb musicianship. Unremarkably chirpy lead vocals.
Here, they are combined in famously funky and sexy seventies ballads like
'A Natural Woman', 'It's Too Late' and 'I Feel The Earth Move', that may
not replace the deed of love, but do intimately toy with the listener
for a very long time. The sound, in strictly subjective terms, does improve
upon Absolute Analogue's recut of three years ago. Here, Classic teases
out James Taylor's acoustic guitar, which had previously barely been audible
on 'So Far Away: Boomy electric bass notes and drum whacks make a bigger
impact, though they lack precision. Cleaning up the tapes also reveals
more of King's stretched voice - exposing her frailties but adding little
to the substance of the music that we didn't already know. In a case of
more is less, I prefer the Absolute Analogue.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Das
Mikrofon Vol. 11
Reviewed
by RG
Tacet is a new label to me, and hails from Germany. Their records, as
well as their intrinsic musical merit, are intended to serve as technology
demonstrators (ironically, for equipment which is in many cases considered
obsolete). In this instance, the object of their scrutiny is microphones,
and they set about demonstrating the sonic character of no fewer than
24 different types, arranged in three broad categories; omni-directional,
cardioid, and figure-eight. Side A of the album consists of four tracks
played by the Georg Rox Quartet, a top German jazz ensemble. Both playing
and recording are to exceptional standards, and the four tracks serve
as an introduction to, or familiarisation programme for the series of
comparative recordings that appear on side two. These consist of the band
playing the same short excerpt, but recorded through different miss. Thankfully,
they vary the music for each sub-group, otherwise this could get really
tedious. Instead it's a fascinating insight into the influence of the
microphone over what we hear; just as big an influence as our choice of
CD player, cartridge or loudspeaker. Collectors of vintage LPs will have
a high old time playing pick the house sound of the various labels they
covet! And once you've completed your tour of this unique collection of
sonic insights, you can always go back and enjoy side A.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Die
Rohre - The Tube. Works by Corelli, Vivaldi, Boccherini etc.
Stuttgarter Kammerorchester
Tacet L74 Reviewed
by RG
This is the second of the Tacet LPs (see Das Mikrophon) and is subtitled
"No conductor, no semi-conductor". As a collection of chamber music, the
lack of a conductor needs little explanation, however, the absence of
semiconductors is extremely unusual. What Tacet have done is assembled
an entire purist recording and cutting chain which relies exclusively
on valve technology. To this end they enlisted the aid of our old friend
Wilfried Zahn, responsible for cutting the fabulous Analogue Audio Association
records (see Issue 2). The results this time round exceed even his earlier
efforts, presumably helped by Tacet's insistence on a single layer plating
process in production (most stampers are plated with three layers). Of
course all this would be irrelevant if the record was musically worthless,
but that couldn't be further from the truth. Stuttgarter Kammerorchester's
performance is fantastic; lively and full of colour. The Corelli and Boccherini
are particular highlights, and whilst I'm predisposed to chamber music,
1 can't see anybody being anything but spellbound by this recording. Whether
you are a tube advocate or not, you should certainly hear this, if only
to come to the sobering realisation of just how abysmal most recordings
really are. Buy it while you still can.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Coleman
Hawkins and Clark Terry - Back in Bean's Bag
Columbia/Classic CS8791 Reviewed
by DD
Pairing these two greets of the tenor and trumpet was pretty much bound
to result in a fine session, and this 'six-eye' re-pressing by Classic
was well worth the effort. Supported by Tommy Flanagan, Dave Bailey and
Major Holley this is a fine wellrecorded session. Nobody's trying too
hard, just relaxing into the music and having a great time. Although the
two headliners dominate, with fine playing throughout, the support is
equally strong. In the first number 'A Tune Far The Tutor' Flanagan's
piano work really drives the number ahead. A bonus for me is Holley's
'sing-along' bass playing on 'Just Squeeze Me (But Don't Tease Me)' where
he mirrors his fast plucked notes with what I can only describe as nasal
humming. Distinctive is probably the right description, or perhaps weird,
but it gets me every time! Most of the 6 numbers are fast paced, but there
are a couple of ballads, with 'Michelle' (no, not that one), standing
out as a solo set for Hawkins, emphasising his fine, breathy tones. Recording
quality is excellent, just a little soft in the low end, with good staging,
real character coming across from each well-defined player, and plenty
of attack. The pressing quality is up to Classics best standards.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Johanna
Martzy / Jean Antonietti - Favorite Short Works
Coup d'Archet COUP 006 Reviewed
by RG
Another disc of previously unreleased material from the fabulous Johanna
Martzy. Like the previous issues from Coup d'Archet, this is culled from
live broadcast tapes discovered at European radio stations, dating in
this instance from 1966, '62,'55 and 'S1. Despite the varied recording
dates, sound is surprisingly consistent within the two sides, although
for me side one (from Deutschland Radio, Berlin) shades it in terms of
overall sound and programme. The Handel Sonata in A Major, op. l no.3
is supported by short pieces from Falla, Beethoven/Kreisler, Fiocco and
Ravel. The standout is Falla's Danza Espognola, but the repertoire is
varied enough to catch anybody's attention. The playing is classical Martzy;
direct, purposeful and beautifully poised, yet always putting the music
first. The whole performance is refreshingly devoid of obvious pyrotechnics,
and long time accompanist Antonietti provides a nicely weighted and balanced
foundation. With side two providing another Handel Sonata alongside works
from Martinu, Milhaud and Bartok/Szjgeti in a closer and more immediate
recording style, this disc serves as the perfect introduction to both
Martzy and Coup d'Archet. Brilliant stuff, but where next for our intrepid
archaeologist?
Supplier: Coup d'Archet www.coupdarchet.com Tel (44)(0)121-440-8616
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Jimmy
Smith - 'The Cat'
Speakers Corner Verve V6-8587 Reviewed
by DD
Welcome to the '60's. Forget Austin Powers, this album absolutely reeks
of authentic (US) '60's atmosphere. Why it doesn't feature James Coburn
or maybe George Peppard on the sleeve escapes me 'cos it sounds an awful
lot like their kind of soundtrack. In fact the album does include two
authentic movie numbers: the title track which is from 'Joy House' (remember
that anyone?), and the main theme from 'The Carpetbaggers' which will
be immediately familiar to anyone who knows The Money Programme. That
said, and assuming you're into lounge rather than jazz, the playing can't
be faulted. Backed by 'swingin" arrangements, which are, it has to be
admitted, great examples of their kind, Smith's Hammond dominates, and
boy can he play it well! It's just that it's enjoyable but it 'aintjazz
and I prefer my Jimmy Smith a bit earthier. Try Back at the Chicken Shack
for instance. The recording quality is good, given proper emphasis to
the rounded tones and percussive keystrokes of Smith's organ, and with
plenty of headroom for the frequent brass crescendos. Don't let my jazz
snobbery put you off, if you're as old as me, get those flares out and
settle down for 33 minutes of cheesy nostalgia.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Beethoven:
Violin Concerto
Jascha Heifetz - Violin, Charles Munch, BSO
Classic Records LSC-1992 Reviewed
by RP
Mendelsohn:
Violin Concerto in E,
Prokofiev: Violin Concerto No. 2
Jascha Heifetz - Violin, Charles Munch, BSO
Classic Records LSC-2314 Reviewed
by RP
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
Each Concerto is unmistakably a Heifetz, Only a violinist possessing his
impeccable technique, supreme self-confidence and elasticity of phrasing
could hope to approach Beethoven, Mendelssohn and Prokofiev at these breathtaking
(almost break-neck) speeds, and still demonstrate the richly emotional
moments integral to any truly great performances of these works. Brilliant
interpretations from our soloist are accompanied try three of Munch's
strongest Boston performances that display such quality they must be heard
to be believed. Tile BSO strings (renown for their tonal beauty) excel
themselves in terms of warmth and transparency, while the overall orchestral
presence is never short of commanding, Sonically Lewis Layton's (?) two-track
recording of Beethoven's Concerto in D is marginally the weaker of these
LPs. Bright, and dynamic, especially to the midrange, where a larger-than-life
solo fiddle has delicacy and detail to burn„ it delivers less bottom-end
punch when compared to the deep, dynamic bass achieved by John Crawford
an the Prokofiev However, mast will be too preoccupied with Heifetz's
vivid treatment of both works to even notice or care about perceived niceties
dawn in the engine roam. His sublime playing in the Second Violin Concerto,
including a finely etched finale, is one you should own ahead of most
others - not least because of the historical context: it was Heifetz (also
with the BSO, but under a Koussevitzky baton) who fleet recorded this
piece back in the Thirties. A pressure-cooker account„ like no other;
of the Felix Mendelssohn E Minor Concerto also gives palpitations every
time you hear it The infected, bitten by these rabid cat-gut melting tempos
(even the song-like contrasting melodies of the slaw movement are taken
at a rare lick) will rant about the fabulous violin ,playing, while' those
of a conservative disposition will seek out an immediate antidote through
more comfortable and less dynamic readings. Heifetz is simply not for
the faint-hearted and music director, John Pfeiffer, with Crawford's spirited
technical assistance, keep pace (barely) with all that, fleet-footedness.'
These Classic Bernie Grundman reeves, solidly pressed over at RTI in California,
are exceptionally good bearing in mind the age of those stereo masters.
Yes, the Beethoven definitely shows audibly more tape noise than the three-track
Prokofiev / Mendelssohn LP„ but if that proves to be anything other than
a passing distraction then you are being needlessly picky The convincing
reproduction of tonal naturalness, instrumental state and accuracy stylishly
deflects criticism.
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Mendelssohn
Prokofiev
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