Neeme Järvi
Conductor
b. 1937. Estonian conductor.
Highly prolific Estonian conductor with extensive discography especially on Chandos; known for championing Russian and Scandinavian repertoire.
128 products
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Saint-Saens: Cello Concertos, Carnival of the Animals / Jarvi, Bergen Philharmonic
Chandos · Jan 2016SACD$21.99 -
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Wagner: Two Symphonies, Marches, Rienzi Overture / Jarvi, Royal Scottish National Orchestra
Chandos · Mar 2012SACD$21.99 -
Wagner: The Ring - An Orchestral Adventure / Jarvi, Royal Scottish NO
Chandos · Feb 2008SACD$21.99 -
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Neeme Jarvi Conducts Saint-Saens / Jarvi, Royal Scottish National Orchestra
Chandos · Jun 2012SACD$21.99 -
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Prokofiev: Ivan The Terrible / Neeme Jarvi, Philharmonia Orchestra, Et Al
Chandos · Aug 2009CD$13.99
Saint-Saens: Cello Concertos, Carnival of the Animals / Jarvi, Bergen Philharmonic

The Bergen Philharmonic Orchestra and Neeme Järvi present this unusual collection of popular works by Saint-Saëns, for orchestra and piano or cello. Truls Mork, this season’s Artist in Residence with the Orchestre Philharmonique de Radio France, is the soloist in the two contrasted cello concertos. His ‘seemingly flawless technical command’ is tested in the suave, expressive, famous No. 1 as well as in the many taxing solo passages, huge leaps, and double-stopping flourishes of No. 2. The indefatigable duo Louis Lortie and Hélène Mercier join in the posthumously published Carnival of the Animals, after a highly successful recording of Concertos by Poulenc with Edward Gardner, Disc of the Week in The Sunday Times. They offer the original version, which features a glass harmonica (normally substituted by a glockenspiel). Louis Lortie is also the soloist in the entertaining fantasia Africa, which incorporates folk tunes of the different countries in which it was composed and which is brought off with consummate zest, as well as in the most characteristic and probably challenging of the composer’s keyboard pieces, the Caprice-Valse Wedding-cake, written for the second wedding of the composer’s virtuosic pianist friend Caroline Montigny-Rémaury.
Review:
This is one of those recordings where it seems invidious to look for faults and which just encourages you to sit back, relax, listen and wallow. Mørk brings his characteristic incisiveness and mountain-spring tone to the concertos.
The Grande fantaisie zoologique receives one of its most successful performances on disc (sans narrator) with just the right balance of instrumental virtuosity, sensitive musicianship and, where the opportunity presents itself, fun. ‘Le cygne’ is elegantly phrased and gracefully paced.
Lovely program. Lovely recording. What’s not to like?
– Gramophone
Eugen Suchon: Symfonietta Rustica; Baladicka Suita; Metamorfozy
Weber: Overtures / Neeme Järvi, The Philharmonia
Recorded in: St Jude on the Hill, Hampstead, London 29-20 April 1989 and 30 April 1990 Recorded in: All Saints' Church, Tooting, London 19 October 1990 Producer(s) Brian Couzens Sound Engineer(s) Ralph Couzens Ben Connellan (Assistant) Jeffrey Ginn (Assistant) Peter Newble (Assistant)
Suppe: Overtures, Marches / Jarvi, Royal Scottish NO
SUPPÉ Overtures: Leichte Kavallerie; Boccaccio; Pique-Dame; Dichter und Bauer; Das Modell; Isabella; Die schöne Galathée; Ein Morgen, ein Mittag und ein Aband in Wien. Boccaccio-Marsch. Humoristische Variationen. Marziale nach Motiven aus der Operette “Fatinitza.” Über Berg, über Thal. Juanita-Marsch • Neeme Järvi, cond; Royal Scottish Natl O • CHANDOS 5110 (SACD: 79: 42)
If your familiarity with Francesco Ezechiele Ermenegildo Cavaliere Suppé Demelli (Franz von Suppé to most of us) is limited to the Overtures to Light Cavalry and Poet and Peasant , then this disc is for you. It can be summed up in two words: GREAT FUN! Thirteen numbers spanning half a century (1844-1895) make up this 80-minute program, and few will disappoint. Right from the opening trumpet fanfare of Light Cavalry —bright, boisterous, splendidly assured—one senses that this disc is going to be a total delight. Tight rhythms, crisp articulation, immense verve, and Chandos’s vividly brilliant sound inform every number.
Unless you are already a die-hard Suppé fan, there are bound to be joyful surprises at every turn. The coda to the Queen of Spades Overture will have you positively jumping out of your seat and cheering with exhilaration. The March after Motifs from Fatinitza (arranged by the 20th-century Max Schönherr) is curiously reminiscent of the March from Beethoven’s Ruins of Athens . Listeners who know Brahms’s Academic Festival Overture will recognize one of its themes in the Humorous Variations , although it should be remembered that Suppé’s overture preceded Brahms’s by more than 30 years. And make no mistake, there is humor aplenty in Suppé’s work.
Exclusively Suppé discs are not common. Those that exist are almost all devoted only to the overtures, and I haven’t found any released since 2001, when Marco Polo issued Vol. 6 of its Suppé Overtures series (Volumes 1, 2, 4, and 5 have been reviewed in Fanfare 18:4, 18:6, 19:4, and 22:6). That makes the present item under consideration all the more welcome as it includes four marches and a variation set in addition to eight overtures, some well known, others not.
Extensive program notes by Calum MacDonald about each work add further sparkle to this outstanding release. Definitely a Want List candidate.
FANFARE: Robert Markow
Neeme Jarvi Conducts Chabrier
The orchestral works of Emmanuel Chabrier (1841-1894) have always made a neat program for an LP or CD. Most of us got to know this high-spirited music through the recordings of Ernest Ansermet; now Neeme Järvi returns to Ansermet territory with the same band, L’Orchestre de la Suisse Romande, although I daresay today’s orchestra contains none of the same personnel. (Ansermet’s final recording sessions took place in 1969.)
Järvi’s brisk, energetic style suits this music perfectly. He brings exuberance to the Joyeuse marche , which the composer himself described as “crazy,” finds all the myriad colors in the popular masterwork España , and paces the “Féte polonaise” from Le Roi malgré lui with such brio that it sounds like a freshly refurbished carousel.
As with several French composers of his generation, Chabrier was overwhelmed by the music of Wagner. He spent six years working on a Wagnerian opera, Gwendoline , and the overture clearly displays that influence. (The sleeve note likens it to Die Meistersinger but to my ears it is early Wagner, particularly Der fliegende Holländer , that informs this particular piece.) Järvi takes this work no more seriously than the rest of his program; he launches into it with exhilarating gusto and never lets up. It is an exciting performance that definitely surpasses Ansermet, whose rendition has always struck me as too sluggish.
Chabrier, a native of the Auvergne region, proved to be a strong influence on the French composers who followed him. His music was admired by Debussy, Poulenc and, especially, Ravel. The latter was devoted to Chabrier’s opera Le Roi malgré lui , a work full of marvelous set pieces, saddled with a virtually incoherent libretto. Ravel’s piano style was influenced by Chabrier’s Dix piéces pittoresques of 1880, and Chabrier himself orchestrated four of these piano pieces eight years later to create the Suite pastorale. In this work the composer’s sunny disposition encompasses an added vein of nostalgia—Chabrier looking back through rose-colored glasses at his Auvergne boyhood—and Järvi conveys the tender atmosphere sympathetically without romantic over-indulgence.
The late piano piece Bourée fantasque (1891) is played here in the usual orchestration, made by the composer’s conductor friend Felix Mottl in 1897. Mottl’s hand is heavier than Chabrier’s, though the scoring sounds less muddy in this performance than in some others, thanks to Järvi’s clarity. An interesting and much quirkier orchestration by Charles Koechlin recently appeared on a Hänssler disc (along with Koechlin’s orchestrations of Debussy’s Khamma and Fauré’s incidental music for Pelléas et Melisande ). In the Bourée fantasque , Mottl gives the opening motif quite sensibly to the cellos, whereas Koechlin gives it to the timpani! Needless to say I prefer Koechlin, and can recommend the Hänssler recording, which was reviewed in Fanfare 36:2 by Adrian Corleonis. About Koechlin’s scoring of Bourée fantasque , Corleonis commented: “Hearing this after the frequently performed rule-of-thumb orchestration by Felix Mottl is to grasp the distance between workmanlike utility and genius.” Extra works in Järvi’s program that are not usually included are the Overture and two brief interludes from the comic opera L’Étoile (1877), and the even earlier Lamento for orchestra. The latter piece is more conventional and less identifiable as Chabrier, but a pleasant interlude nonetheless.
The new disc is certainly recommendable on its own terms, but how does it stand up to the competition? Järvi maintains the authority of Ansermet in this repertoire, and it must be admitted that the latter’s recordings are sounding a little elderly these days. For a still great sounding old disc and vital performances, Paul Paray is one to hear (recently reissued in the Mercury Collection Vol. 2), though his program does not include the selections from L’Étoile, Lamento , or the Habanera . (Paray’s performance of the Gwendoline Overture is even brisker than Järvi’s: 8:44 as opposed to 9:23!) A 1996 DG disc from John Eliot Gardiner and the Vienna Philharmonic Orchestra is also competitive: it has been reissued recently in a cheap series, and includes a beautifully played Larghetto for French Horn and Orchestra that does not appear in other collections. Gardiner’s program is more cleanly recorded than the new Chandos disc, which, despite its spectacular range and Super Audio sound, places the Suisse Romande orchestra in a somewhat reverberant acoustic. Michel Plasson’s Chabrier recordings with L’Orchestre du Capitole de Toulouse have been reissued many times by EMI, but how often we will see them in future is in doubt. EMI’s extensive catalog has been purchased by Warner Music, whose classical reissue policy has been inconsistent and piecemeal in the past. Plasson’s performances are authentically French and vibrant, and his program uniquely contains Chabrier’s vocal works with orchestra. The big EMI box of his recordings of French orchestral music (including his Chabrier) is highly recommended: see my review in Fanfare ’s Hall of Fame (34:6). However, if it’s just one disc you require, then the new Järvi program is worth the outlay, and you definitely won’t find yourself straining to hear the bass drum.
FANFARE: Phillip Scott
Wagner: Two Symphonies, Marches, Rienzi Overture / Jarvi, Royal Scottish National Orchestra
WAGNER Symphonies: in C, WWV 29; in E, WWV 35. Huldigungsmarsch. Rienzi: Overture. Kaisermarsch • Neeme Järvi, cond; Royal Scottish Natl O • CHANDOS 5097 (SACD: 79:14)
Here’s a milestone of sorts for me. In my nearly 10 years with Fanfare , this is my first time reviewing anything by Wagner. Mainly, the reason, I suppose, is that I don’t do opera, and what else is there, really, by Wagner that isn’t opera? Well, quite a lot, actually. Prior to his earliest completed stage works dating from between 1833 and 1838— Die Feen, Das Liebesverbot , and Die hohe Braut —Wagner wrote a goodly number of works, including several piano sonatas, a string quartet, concert overtures and overtures to plays, study fugues, songs, a considerable volume of miscellaneous piano pieces, and the two symphonies on this disc. And even after he threw himself into music drama with a passion, he continued to compose in other genres throughout his life.
Thus, the Huldigungsmarsch of 1864 was written right smack in the middle of Wagner’s work on Die Meistersinger , and the Kaisermarsch of 1871 comes dead-center during work on Parsifal . Still, the composer’s non-operatic music on record—I count the large numbers of collections of just the orchestral overtures, excerpts, and fragments from the operas as operatic music—seems to be an endangered species.
Wagner’s two symphonies have received one review each in these pages. The more recent appeared in Fanfare 31:2. That review by James Miller dealt with a two-CD Decca Eloquence Wagner collection of opera overtures and preludes performed by a host of orchestras and conductors. Buried among the familiar nuggets was the C-Major Symphony with Edo de Waart leading the San Francisco Symphony. Miller hears influences of Beethoven and, even more strongly, strains of Schubert in the work, and I wouldn’t disagree with him. Wagner was 19 when he wrote the piece in 1832, so it can’t be said that he was a precocious genius on the order of Mozart, Schubert, or Mendelssohn. It’s a pretty formulaic score, strongly redolent of some of Beethoven’s overtures and, curiously, Schubert’s Ninth, which Wagner could not have heard, since its first public performance was given by Mendelssohn in 1839.
A review of the E-Major Symphony goes back even further, to issue 20:4. Submitted by William Youngren, it covers an EMI recording by Wolfgang Sawallisch conducting the Philadelphia Orchestra. Wagner’s second attempt at a symphony dates from 1834, but he never completed it. An Allegro con spirito first movement and 30 bars of an Adagio cantabile second movement are all he wrote. Moreover, Wagner didn’t orchestrate it. That task fell to the conductor Felix Mottl when Cosima Wagner enlisted him for the job. The symphony opens with a gesture startlingly reminiscent of the overture to Beethoven’s Fidelio.
Those recordings are still available. I’m afraid I don’t have either of them, but I do have a fine 1992 Denon CD containing both scores with Hiroshi Wakasugi leading the Tokyo Metropolitan Symphony, a disc you’ll find listed by Amazon but not by ArkivMusic. This new Chandos SACD, however, with Neeme Järvi’s tight grip on the reins and the recording’s deep stage and phenomenal spotting of instruments, is definitely the way to go, if these early works by Wagner interest you.
The Huldigungsmarsch is another item Wagner didn’t orchestrate himself, at least not completely. Purely out of a need for money, Wagner wrote the piece to pleasure the mad king of Bavaria, Ludwig II, originally scoring it for military band. He then began orchestrating the march for symphony orchestra but deferred to the advice of conductor Hans von Bülow to allow Joachim Raff to complete the task. One can’t help but wonder what this says about von Bülow’s opinion of Wagner’s abilities. Raff, you will recall, is the composer who also assisted Liszt with orchestrating some of his works.
Genesis of the Kaisermarsch is a little more complicated. In 1871, the Peters publishing house commissioned Wagner to write something upbeat and patriotic to cheer the troops and boost German morale during the Franco-Prussian war. Like the Huldigungsmarsch , the Kaisermarsch was originally scored for military band, but barely two months later, to celebrate the German victory and the coronation of the Prussian king as emperor of the newly founded German Reich, Wagner rescored the piece for symphony orchestra and added to the end of it a kind of community sing-along set to a sacred text for a strictly secular ceremonial occasion. As note author Emanuel Overbecke points out, “Wagner proved himself ever the political pragmatist, for only four years earlier he had dismissed the same monarch as feeble and ineffectual.” The choral finale is not included on the current recording.
Rienzi, der Letzte der Tribunen , or just Rienzi as it’s commonly known, was Wagner’s first real stage hit after a string of operatic works that were either left unfinished or that were completed and mounted but with little success. First produced in Dresden in 1842, Rienzi would also be Wagner’s last opera in which the Italian influence is strongly felt. Even before Rienzi premiered, Wagner had completed his next opera, The Flying Dutchman , in 1841. Rienzi’s overture is a staple of recorded collections featuring the overtures, preludes, and orchestral music from Wagner’s operas. Beginning at around 2:45, the slow-moving, chorale-like intoning of the brass, overlaid by striding, leaping figurations in the strings, anticipates the same technique Wagner used for similar effect in the overture to Tannhäuser two years later.
All of the works on this disc, with the exception of the Rienzi overture, have relatively few recorded listings and, to my knowledge, this is their first in surround sound. If you’re a Wagner fan, and your interest in his music extends beyond his operas, I can think of no reason for you not to be thrilled by this release. Neeme Järvi, the Royal Scottish National Orchestra, and Chandos have teamed up countless times over the years to bring us many truly outstanding recordings, and this is another of them.
FANFARE: Jerry Dubins
Wagner: The Ring - An Orchestral Adventure / Jarvi, Royal Scottish NO
It is over 15 years since Neeme Järvi and the RSNO made a new recording for Chandos. So it is with great pleasure that we announce this recording which marks Järvi's return to Scotland in his capacity as Conductor Laureate at the Royal Scottish National Orchestra. This 67-minute, orchestra-only version of Wagner's famous opera cycle, 'Der Ring des Nibelungen' is arranged by Henk de Vlieger, arranger, composer and percussionist in the Netherlands Radio Philharmonic. The work was commissioned by the orchestra ad the result is a 14-section fiery musical spectacle entitled 'The Ring, an orchestral adventure'. this symphonic 'compilation' compresses Wagner's four might Ring operas, yet includes all the major themes and 'leitmotifs'. The result is an overwhelming experience and a must for anyone who loves blazing orchestral colours. The Minneapolis Tribune wrote, 'The way that De Vlieger has created transitions between scenes and acts is quite ingenious...' 'Bits of Rheingold, Walkure, Siegfried and Gotterdammerung floated past, melded together as if some Wagnerian superman who understood the whole and articulated it in particular. Highlights were everywhere. Horns, sounded offstage and on, reminded listeners of the great arias, without the singers to sing it...Toward the end, it actually seemed like we had experienced the entire Ring cycle - a tribute to the orchestrator's talents,' wrote the Boston Herald following a performance of the work. Coupled to this mighty work is 'Siegfried Idyll', which is thematically related to the Ring, and although with quite a different subject matter, complements the 'Orchestral Adventure' perfectly.
A Lifetime on Chandos / Neeme Järvi
Almost forty years after his first recording on Chandos, this unique limited-edition release gathers some of the best and most-awarded recordings on the label by one of the most prolific conductors of all time: Neeme Järvi. It highlights a 200+ discography that explores an astonishingly wide repertoire, with selections from the legendary complete series of Prokofiev’s symphonies and Tchaikovsky’s ballets to the groundbreaking discoveries of composers such as Atterberg or Suchon. It features nearly a dozen of the numerous orchestras with which he has collaborated, including the RSNO, Chicago Symphony, Orchestre de la Suisse Romande, and Royal Concertgebouw Orchestra, all here celebrated at their best. Offered at a very special price and retaining the original covers, this product also includes very special notes by James Jolly, Editor in Chief of Gramophone, as well as exclusive photos and interviews with figures central to Järvi’s extraordinary musical life.
Past praise of previously released material included in this set:
Prokofiev: Symphony No 6, Waltzes Suite / Järvi, SNO
As in all of his Prokofiev symphony recordings–this was the first, by the way–Järvi really digs into the music. The engineering is as big and bold as the performances. This recording deserves classic status.
– ClassicsToday
Smetana: Má Vlast / Järvi, Detroit Symphony
Järvi and the Detroit Symphony Orchestra deliver an expansive reading of the complete work, and their feeling for the music's vivid imagery and richly Romantic expression is spot on.
– All Music Guide
Neeme Jarvi Conducts Saint-Saens / Jarvi, Royal Scottish National Orchestra
SAINT-SAËNS Samson et Dalila: Bacchanale. Le Rouet d’Omphale. Phaëton. Danse macabre. La Jeunesse d’Hercule. Suite algérienne: Marche militaire française. La Princesse jaune: Overture. Une nuit à Lisbonne. Spartacus. Marche du couronnement • Neeme Järvi, cond; Royal Scottish Nat’l O • CHANDOS 5104 (SACD: 77:40)
Here in spectacular multichannel surround sound is a brand-new recording of all four Saint-Saëns tone poems plus a stewpot of shorter orchestral works, some of them popular favorites, others, less widely known.
Over the course of five years, between 1872 and 1877, Saint-Saëns composed four tone poems, three of them drawn from Greek mythology: Le Rouet d’Omphale, Phaëton , and La Jeunesse d’Hercule . The fourth, though third in order of composition, and most famous is Danse macabre , a romantic horror that trades Greek gods for gamboling ghouls.
Omphale’s Spinning Wheel is often said to be the very first French tone poem, though note author Roger Nichols points out that Franck beat Saint-Saëns to the punch by almost a quarter of a century with his symphonic poem Ce qu’on entend sur la montagne of 1848. According to Saint-Saëns’s own preface to the score, the subject of the story is feminine seduction and the triumphant struggle of weakness against strength. To atone for a murder Hercules is ordered by the goddess Hera to serve as a slave to the Lydian Queen, Omphale. Nichols spares the reader the more indelicate description of the emasculated and feminized Hercules kneeling and spinning at the Queen’s feet clad in women’s clothing. In light of Saint-Saëns’s fetish for hosting lavish parties dressed in drag, one has to wonder if the legend of Hercules and Omphale didn’t hold some special fascination for him.
Phaëton , Saint-Saëns’s second tone poem, flirts with the subject of father-son relationships and the sometimes tragic consequences that result when the boy grows old enough to challenge the paternal authority figure. Phaëton , son of Helios the sun god, seeks to prove his manhood by piloting the sun chariot across the heavens. So, in effect, he takes the family Ford out for a spin. But he’s not yet the man he thinks he is. Losing control of the chariot’s horses, he draws the sun too close to the earth. To prevent the solar express from crashing and wreaking further catastrophe, Zeus strikes it with a thunderbolt, incinerating the vehicle and killing Phaëton in the process. A sidebar to the story is that the chariot’s near-miss trajectory across the Sahara scorched the land and explains why the Ethiopians are black.
Next we have Saint-Saëns’s answer to Berlioz’s witches, Mussorgsky’s demons, and Liszt’s diableries, the Danse macabre . But leave it to Saint-Saëns to paint his portrait of the dancing dead, to paraphrase Ogden Nash’s verse, as skeletons in the museum hall gathering at midnight for a ball. The scordatura-tuned violin, xylophone, contorted Dies irae , and android-like rhythmic repetitions caused quite a stir, prompting Debussy, one of Saint-Saëns’s most outspoken critics, to declare years later that the piece gave him hope that Saint-Saëns was a very great composer after all.
The three foregoing tone poems are among Saint-Saëns’s more frequently heard and recorded works and, in fact, a number of recordings, some more recent than others, have included two of them in one combination or another on the same disc. Less often does one find all three, and only one other recording I’m familiar with—a composite Saint-Saëns collection assembled from one or more other releases featuring Charles Dutoit leading the Philharmonia and Royal Philharmonic orchestras—includes the composer’s fourth and final tone poem as well. Having stripped Hercules of his manhood in Omphale’s Spinning Wheel , Saint-Saëns rehabilitates him in La Jeunesse d’Hercule . Both dramatically and musically, the work is the weakest of the four, which no doubt explains its poor showing in the listings. The story, if it can be called that, involves no action but is rather a depiction of the young hero’s internal philosophical struggle in choosing between a life of pleasure-seeking and a life of virtue. He chooses the latter. It has been noted that the Lisztian tone poem model was a strong influence on Saint-Saëns’s score.
The remaining pieces that fill out the disc are, in some cases quite well known, like the Bacchanal from the composer’s opera Samson et Dalila and the Marche militaire française , which comes from the Suite algérienne . Other pieces are not well known at all but are hardly insubstantial. The Spartacus overture, for example, is a 13-minute score that was written in 1863 but remained unpublished until 1900. It’s a stand-alone grand concert overture that contains some of Saint-Saëns’s most dramatically urgent music.
On a trip to Portugal in 1880, Saint-Saëns dashed off a one-act comic opera with a title that would no doubt offend today’s politically correct sensibilities, La Princesse jaune , about a Japanese princess transplanted through opera magic to the Netherlands. The Lisbon audience apparently loved it, and back in Paris the Opéra-Comique gave four performances of it before the curtain came down on it for good. I note a single recording of the work listed by ArkivMusic, a 1996 live performance from Lugano. Heard here is the six-minute overture to the opera, which provides a taste of what Saint-Saëns must have thought Japanese music sounded like. Don’t expect Puccini.
During the same visit that produced La Princesse jaune , Saint-Saëns scribbled out the three-and-a-half-minute musical watercolor Une nuit à Lisbonne , which he dedicated to Portuguese King Luiz.
The story behind the Marche du couronnement put me in mind of Thomas Beecham’s plaint about British orchestras employing so many third-rate conductors when there were so many second-rate English ones to choose from. Which raises the question, why would the Brits choose a French composer, Saint-Saëns, to write a march for the coronation of Edward VII? Apparently, they didn’t. Saint-Saëns took it entirely upon himself to compose the piece, which, according to the program note, caused a flurry of diplomatic activity at the ambassadorial level between the two countries. For the march, Saint-Saëns borrowed a tune from his opera Henry VIII . If you shouldn’t expect Puccini in Saint-Saëns’s La Princesse jaune , don’t expect Elgar in his Coronation March.
This is mainly a fun disc, but a useful one as well in gathering together all four of Saint-Saëns’s tone poems, plus a generous selection of some of his less familiar orchestral works. It’s also distinguished by outstanding playing from the Royal Scottish National Orchestra brilliantly led by veteran conductor Neeme Järvi, and as an added bonus, it’s recorded in stunning multichannel sound. Enthusiastically recommended.
FANFARE: Jerry Dubins
Ibert: Orchestral Works / Jarvi, Orchestre de la Suisse Romande

This fourth album from Neeme Jarvi and the Orchestre de la Suisse Romande explores the music of Jacques Ibert. Although Ibert’s work is starkly contrasting from piece to piece, all of his compositions show his deftness with their strong melodic lines and vigorous ostinato patterns. These recordings were taken in Geneva’s Victoria Hall, and the outstanding acoustics are easily heard on this recording.
Review:
Järvi gives us a darker Divertissement than usual. The humor is mordant rather than breezy, the tone at times acerbic. But the shimmering Nocturne, with its poised piano solo, transports us into a sensual world more fully explored in Escales…, and the latter gets one of its finest performances on disc, superbly nuanced, and quite exquisitely played.
It’s the rest of the CD, though, that makes it special. The Suite symphonique, ‘Paris’ swerves garishly between the mechanism of Pacific 231 and the classiest of foxtrots and waltzes. The sad, haunting Sarabande pour Dulcinée comes from the soundtrack for George Pabst’s 1933 film Don Quichotte. Ibert was also a master of the pièce d’occasion, and Järvi includes the riotous Bacchanale and the grandiose Ouverture de fête.
Ibert emerges from it all as a fine composer, whose unity lies in his almost impudent diversity, and who is often far from frivolous as some have maintained. And the disc allows Järvi to show off his Swiss orchestra to perfection. Very fine.
– Gramophone
Martinu: Suites from Spalicek & Rhapsody-Concerto / Jarvi
The Estonian strings sing their hearts out…the woodwind solos are very lovely, too. Viola-player Mikhail Zemtsov impresses with the sheer beauty of tone.
– BBC Music Magazine
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This album with the Estonian National Symphony Orchestra and its artistic director, Neeme Järvi, features two mature works by Bohuslav Martinu, recorded in the splendid acoustic of the Estonia Concert Hall in Tallinn.
One of the most wide-ranging composers of music for the stage, Martinu was also enthusiastic about the theatrical possibilities of including new media in his operas. Špalícek in many ways belongs to this experimental tendency. Although it was published and billed at its first performance as a ballet, it might best be described as an opera-ballet, as alongside the many dances there are extensive roles for chorus as well as tenor, soprano, and bass soloists. Martinu described the work on his manuscript as deriving from folk games, customs, and fairytales.
The lyrical Rhapsody-Concerto was written in 1952, at a time when Martinu was fighting homesickness and depression, worsened by the political situation in his native Czechoslovakia. The work is a marked move toward a more romantic sound world. The soloist here is Mikhail Zemtsov, principal violist of the Residentie Orchestra The Hague since 2001 and a prize winner at the first International Viola Competition (Vienna) and the Elisa Meyer String Competition (Hamburg).
The exploration by Järvi and the ENSO of hidden gems from the late nineteenth and early twentieth centuries has proved highly successful, their recent recording of works by Suchon awarded the Choc de Classica
Halvorsen: Orchestral Works, Vol. 2 / Jarvi, Bergen Philharmonic

Johan Halvorsen spent most of his career writing for the theater, which is probably why his music sounds so effortless, colorful, and well, efficient. This isn't meant to be disparaging. Rather, all of these pieces get right to the point, and none outstays its welcome, not even the Second Symphony, which clocks in at a bit under half an hour. It's conservative, harmonically and formally, but the music really works--it's a pleasure from beginning to end, and wholly convincing. This performance also is the first to correct the zillion errors in the printed score that have gone a long way to preventing the work from entering the repertoire, where it surely belongs.
The other pieces are all, in one way or another, ostensibly Norwegian in sound in a manner quite similar to Grieg. Again, there's nothing wrong with that. What sane person dislikes Grieg? The Suite ancienne, to the memory of Holberg, has every bit as much charm and freshness as Grieg's Holberg Suite, while the other three pieces all feature solo violin. Marianne Thorsen plays splendidly, while Neeme Järvi leads his Bergen forces in performances that are graceful, vibrant, and in the Suite and the Symphony, the last word in impetuosity and excitement. With terrific sound, if you don't know this music, you're missing something special.
--David Hurwitz, ClassicsToday.com
Brahms: Complete Hungarian Dances / Neeme Järvi, London So
Järvi's performances of Brahm's popular 'Hungarian Dances' are now available at Mid-Price. The combination of the London Symphony Orchestra, Neeme Järvi and Chandos has ensured that these are amongst the best performances available. Recorded in: St Jude on the Hill, Hampstead, London 11-13 July 1988 and 13 October 1989 Producer(s) Brian Couzens Sound Engineer(s) Ralph Couzens Janet Middlebrook (Assistant) Peter Newble (Assistant)
Prokofiev: Ivan The Terrible / Neeme Jarvi, Philharmonia Orchestra, Et Al
Neeme Jarvi conducts Christopher Palmer's version, preserving the film music to Ivan the Terrible. This re-issue offers this praised recording at Classics price. 'Christopher Palmer strikes again! It is undoubtedly one of the great film scores, and Jarvi more than does it justice with the help of impassioned singing and playing from all concerned.' CD Review