It is Lutoslawski’s last completed work, the Fourth Symphony (1993), which most fully embodies his highly personal reinterpretation of Polish music’s romantic past. But another late piece, Chantefleurs et Chantefables (1990), offers clear evidence of how satisfying that reinterpretation could be. These ‘songflowers and songfables’ represent a refinement rather than a dilution of Lutoslawski’s hard-won modernity, and they are all the more effective for their brevity – the longest lasts less than three minutes.

That ‘hard-won modernity’ did not imply a total rejection of such traditional genres as symphony and concerto – though some would say it should have done. Certainly Lutoslawski’s Symphony No. 2 (1966-7) remains a problem-piece, mainly because the material of its first movement seems designed precisely not to generate a traditional kind of symphonic argument. The second movement has far greater breadth, but it can hardly serve to ‘explain’ the first movement in retrospect; it would be better on its own.

Twenty years later, in his Piano Concerto, Lutoslawski was more alert to the possibilities of creating a viable symphonic style out of the interaction rather than separation of lyric and dramatic materials, and although the concerto’s range of stylistic allusions can be disconcerting, a good performance can turn such ambiguities to positive ends.

This is certainly a good performance. If the recording by Krystian Zimerman, the work’s dedicatee, summons up shades of Rachmaninov, Paul Crossley’s less forceful but no less well-characterized reading seems closer to Ravel. Esa-Pekka Salonen is a sensitive accompanist, and the Sony sound is consistent with what I described, reviewing Salonen’s earlier Lutoslawski recordings (11/94), as “spacious clarity as well as spatial depth”, even if it “may not bring the orchestra far enough forward for some tastes”.

This recording of Symphony No. 2 must rank as superior to either of the composer’s, and although Dawn Upshaw is occasionally rather shrill in Chantefleurs et Chantefables the performance as a whole is well judged. As for the brief Fanfare, it has a splendidly brassy exuberance.'

-- Arnold Whittall, Gramophone [6/1996]

2017 release. Nai Palm lead singer and composer of R&B future soul outfit Hiatus Kaiyote releases her first solo album Needle Paw. A two-time Grammy nominated singer, songwriter and musician from Melbourne, Australia, Nai Palm is a composer, instrumentalist, producer, vocalist and poet who approaches all of these self-taught disciplines with an intuitive, infectious grace. Comprised almost entirely of her guitar playing and vocal arrangements, Needle Paw is Nai Palm s self-imposed challenge to explore the potential for immortality and timelessness within her music by stripping away the produced layers to focus on the element that is closest to the source of the human soul, the voice. Needle Paw is the rawest glimpse into Nai Palm s musical world. It is dreamlike, honest, and beautifully transparent, revealing her musical ruminations to listeners with a courageous vulnerability and artistic generosity.

"Michael Tilson Thomas made some excellent records with the Philharmonia in the ’80s, and although I hadn’t come across this particular performance before, knowing this conductor’s flair for such music, I expected good things. I wasn’t disappointed.

The Nutcracker was the final ballet in Tchaikovsky’s great triptych, and was completed in 1891, a year during which the composer made a fatiguing concert tour of America and also suffered a nervous collapse. There is real justification in calling Tchaikovsky the father of the modern ballet score, and he effectively paved the way for dance-theatre music to be taken seriously. However, his first ballets were coolly received, and he was (as ever) wracked with self-doubt about this work, even after the premiere. This score has, of course, gone on to become one of his most popular scores.

Like Prokofiev’s Romeo and Juliet, The Nutcracker is most often heard in highlight form, but in fact works better when experienced complete. It’s just the right length, and has so many famous numbers that it seems ridiculous to condense it to 20 or 30 minutes. I do possess excerpt discs, but turn most frequently to my benchmark complete version, Ashkenazy’s Decca recording with the Royal Philharmonic. It has a spectacular sound, full, rich and wide-ranging, and a very useful fill-up is included, Glazunov’s masterpiece The Seasons. However, that set is at full price, so the real competition for this budget Sony release comes from Previn’s excellent LSO version (now on Classics for Pleasure, also without a filler), and Dorati’s marvellous Concertgebouw recording on a Philips Duo, which finds room for a substantial Sleeping Beauty selection (Fistoulari and the LSO).

The fact that Tilson Thomas can hold his own against anyone is immediately evident in the Overture, which has a Mendelssohnian lightness and graceful wit that is captivating. As a Bernstein protégé, MTT is a theatrical conductor through and through (listen to any of his Mahler or Copland records), so he is completely at home with the colour and drama of this great score. His pacing throughout is exemplary, on the fast side but with ensemble crisp and rhythms tight. All the famous dances of Act 2 are as infectious as one could wish for; listen to the delectable trumpet playing in the Spanish Dance, whilst the Russian Dance has tremendous weight and panache. The principals of the Philharmonia obviously relish the many solos that litter the score, and indeed the whole orchestra enjoy themselves enormously. I like the way Tilson Thomas gives due attention to Tchaikovsky’s exotic ‘special-effects’, including a child’s trumpet in C, children’s drums, a rattle and mechanisms suggesting cuckoos and quails. He even uses a ratchet and Irish whistle in the Grandfather’s Dance, while kazoos, toy snare drums and a children’s cap gun are used in The Battle. Marvellous fun!

The whole performance has a flair and feeling of ‘rightness’ that are very captivating. The conductor never loses sight of the famous adage that ‘there is a lot of ballet in Tchaikovsky’s symphonies, and a lot of the symphony in his ballets’. He gives everything its due place, so one feels an organic growth in the piece, rather than a succession of set-pieces. Listening to these discs was as satisfying as any of the competition I had to hand, and in many ways the short playing time ceases to be an issue in the face of a great performance. Recording quality is also well up to scratch, with a full-bodied richness that matches the playing...highly recommended."

-- Tony Haywood, MusicWeb International

Bach’s D minor Harpsichord Concerto BWV 1052 stands as a landmark both in Bach’s own output and in the history of the keyboard concerto. While J.S. Bach is often given credit for “inventing” the keyboard concerto, the fact is that during the period when he was in charge of the Leipzig Collegium Musicum, two of his oldest sons (W.F and C.P.E.) were also involved both as performers and composers. C.P.E. Bach’s Harpsichord Concerto Wq. 1 was likely composed for the Collegium, and it is in any event exactly contemporaneous with the elder Bach’s works in the form. The invention, then, of the keyboard concerto was very much a family affair, and it is probably correct to say that the two sons were at least as responsible for this innovation as was their father.

BWV 1052 held a special place in the heart of C.P.E. Bach, who knew it intimately and made his own manuscript copy. This disc, featuring the younger Bach’s D minor Concerto, composed at Potsdam in 1748, offers a splendid opportunity to compare the music of father and son. J.S. Bach’s concerto begins with a famously compact ritornello full of pregnant musical figures, lasting only about fifteen seconds. C.P.E.’s ritornello lasts more than a minute, and is full of those dissonant jagged phrases alternating with more lyrical ideas typical of this composer particularly, and of the Sturm und Drang ethos more generally. It sounds decidedly more modern, but the fact is that both works are masterpieces and it’s a joy to be able to hear them paired together.

Gustav Leonhardt recorded BWV 1052 at least three times, if not more, but this version from around 1981, featuring an unidentified string ensemble (The Cantus Germanicus Academica Anonymous?), remains perhaps his finest for the playing of the ensemble, the rich timbre of the harpsichord, and the warmth of the recorded sound. Leonhardt finds an especially natural, flowing pace in each movement, one that never turns mechanical. Hardly the most flamboyant of artists, he also doesn’t put on his monk’s robe of austerity here to the point where the music loses its natural brilliance. This is particularly important in the C.P.E. Bach concerto, with its strong contrasts between solo and orchestra.

This current reissue contains no notes, no recording information–in short, nothing but the disc. In fact, you’d be just as was well off downloading the performances for less money, but however you source them you owe it to yourself to listen, and listen often, to these two magnificent works as played here, so splendidly.

-- David Hurwitz, ClassicsToday.com

From the Masterworks vault, NBC’s television adaptation of Alice Through the Looking Glass featured a starry cast including Agnes Moorehead (Bewitched), Ricardo Montalban (Fantasy Island), Robert Coote (My Fair Lady), Nanette Fabray, Jack Palance, Jimmy Durante and even The Smothers Brothers – as Tweedle Dee and Tweedle Dum!  This loose adaptation of the Lewis Carroll story, featuring Judi Rolin as Alice, first brought its blend of music and whimsy to television on November 6, 1966.  The great Don Costa arranged the Simmons/Charlap songs.

For the complete Mandarin, Boulez is still the safest bet.

-- Gramophone [10/1993]

----------------------------------------------

It is nothing less than intriguing to find Pierre Boulez's whole interpretative personality significantly modified—at least on the evidence of this disc—by contact with the orchestra which for so many years Leonard Bernstein directed. Granted that two of Bartok's more abrasive works can never sound exactly gentle, these are interpretations that so far from following the pattern of diamond precision and emotional austerity we associate with Boulez in Britain, lean towards romantic expressiveness.

-- Edward Greenfield, Gramophone [1/1973, reviewing Miraculous Mandarin on LP, CBS 73031]

This selection contains both AAD and DDD recordings.
Christmastime is a season made for familiar traditions: food, decorations, and music. This collection of seasonal favorites is an anthology of some of the world's most popular performers. From legendary pops conductor Arthur Fiedler to the voice of Mario Lanza, these are artists recognized in homes across the country.
Timeless classics such as Morton Gould and the RCA Symphony Orchestra's 'Jingle Bells' and Robert Shaw Chorale's 'Deck the Halls' are the epitome of Christmas cheer. Performed with crowd-pleasing flair, the music is equally at home as the centerpiece of a listening experience, or in the background of a family gathering. So pleasant, so familiar, everyone will recognize this music.
As important to the holidays as a warm hearth in the home, these songs are seasonal essentials.

...an abundantly characterful, often exquisitely observant reading of the Enigma Variations set down at Walthamstow towards the end of 1954... Beecham sifts Elgar’s textures with rare mastery, and there are some delectable sounds throughout from his RPO wind principals (above all, Jack Brymer’s wonderfully hushed solos in the ‘Romanza’). Elsewhere, ‘Troyte’ fairly tears out of the blocks (distinctive, gun-shot timpani), and the finale struts with an irresistible physicality and unbuttoned thrust. By contrast, ‘Dorabella’ skips along in a more leisurely fashion than usual, and I love the tender intimacy Beecham imparts to ‘Ysobel’. A pity about the botched opening of ‘RPA’; otherwise, an Enigma to savour, if not quite ousting such legendary near-contemporaries as the evergreen Monteux or Barbirolli’s inspirational 1956 Halle account from the head of a very long list. It’s preceded by a terrific, swaggeringly exuberant Cockaigne (whose ripe coda heralds a startling change in both ambience and perspective) and a wholly disarming, gently affectionate reading of the Serenade for Strings.

-- Gramophone [8/2001]

One of the more disingenuous lines of ad copy attached to RCA's Kapell Edition has got to be that "[Kapell] was able to attract the finest artists to him." Well, sure, but it probably didn't hurt that the artists Kapell "attracted" were also under contract to RCA. And while no one would argue with a description of violinist Jascha Heifetz or violist William Primrose as being among the finest artists, cellist Edmund Kurtz might not rank among everybody's short list.

Be that as it may, the Kapell-Primrose collaboration on the Brahms Viola Sonata in F minor is beyond all argument, superb. Primrose plays the piece with a warm-hearted tone and open-hearted interpretation, and Kapell doesn't so much follow Primrose as wrap himself around him like a comfortable sweater. Less convincing is the Kapell-Heifetz performance of the Brahms Violin Sonata in D minor, especially if you have an antipathy toward Heifetz's playing in general and his Brahms playing in particular. Heifetz is simply too hard-hearted and unyielding for Brahms. And Kapell himself seems uncomfortable with Heifetz's interpretation: rather than a comfortable sweater, Kapell sounds like a too-tight straitjacket.

The surprise of this volume of the Kapell Edition is Edmund Kurtz. While not in the same league as RCA's house cellist Piatgorsky, Kurtz turns in a driven yet expansive performance of the Rachmaninov Cello Sonata. Together with Kapell's vigorous piano playing, Kurtz turns in nearly as fine a performance of the Rachmaninov as is imaginable. One of the more interesting volumes in the Kapell Edition.

-- James Leonard, AllMusic.com

Non-keyboardists increasingly lay claim to Bach's Goldberg Variations on disc, from string trios and cimbalom duos, to guitar renditions and synthesizer blowouts. The challenge to both performers and arrangers is to render Bach's keyboard-specific textures with results that are technically plausible and musically convincing. A brass quintet arrangement by Arthur Frackenpohl, newly recorded by the Canadian Brass, succeeds on both counts--for the most part. The slower variations acquire an attractive ceremonial dimension in this medium, benefiting from a brass player's ability to change dynamics on a single note (which of course you can't do on piano or harpsichord). I also like how the double keyboard cross-handed variations are deployed to splendid antiphonal effect although the neccesarily slower tempos weaken Bach's original bravura intentions. Repeats are observed in each half of the opening Aria and a few select "A" sections elsewhere. "A" and "B" section da capos are respectively assigned to higher and lower instruments. The Canadian Brass achieve a blend that's akin to the dark smoothness of aged Scotch whisky, purring out rounded legato lines in which no breath seems to transpire. An electric blanket of resonance reinforces the ensemble's slick perfectionism, which probably will appeal more to brass fanciers than Bach lovers.

--Jed Distler, ClassicsToday.com

“Peaceful Choir” by harpist Lavinia Meijer and chamber choir World Choir of Peace is a relaxing musical journey through the manifold colors and sounds of contemporary choral music. Renown international composers have contributed entirely new works or arrangements for this unique recording project, including Sir Karl Jenkins, Grammy-nominated composer and pianist Hauschka, San Fermin mastermind Ellis Ludwig-Leone, composer icon John Rutter, Estonian pop-violinist Maarja Nuut and German soundtrack composer David Reichelt (8 Days). The album includes 15 world-premiere recordings and music by house-hold names such as Ola Gjeilo, Eric Whitacre, Max Richter, Hans Zimmer and Arvo Pärt. Next to them, critically acclaimed composers of choral music have contributed to the album, such as Grammy-nominated Norwegian composer Kim André Arnesen and American composers Dan Forrest, Jake Runestand and Elaine Hagenberg.

For some pieces, the chamber choir is accompanied by an ensemble of additional instruments. Next to harpist Lavinia Meijer, violinist and influencer Esther Abrami, pianist Tim Allhoff or cellist Gereon Theis join the choir. The “World Choir for Peace” consists of 24 professional singers from 15 countries worldwide and was founded by conductor Nicol Matt. Matt has been involved in the production of more than 100 choral music recordings in his career. For this particular recording he collaborates with Grammy-winning sound engineer Gregor Zielinsky.

Mediterranean and Nordic Christmas music with Arianna Savall and her Baroque ensemble Hirundo MarisSince the founding of their ensemble in 2009, Hirundo Maris, the Catalan harpist and singer Arianna Savall, and the Norwegian tenor and violist Petter Udland Johansen have committed themselves to music from the Middle Ages up to the Baroque period. And a special emphasis has been Mediterranean and Nordic music. For their current album, “Silent Night – Early Christmas Music and Carols” both musicians and ensemble conductors have chosen traditional Christmas songs from the north and south. And in doing so, invite you along on a journey of sound into the magical world of centuries-old winter, Advent, and Christmas music.The German song “Silent Night” is laid out on the program alongside the Norwegian Christmas song “Mitt hjerte alltid vanker”, the Provençal “Ô nuit brillante” and the Catalonish, “El cant dels ocells”, which the legendary early music pioneer Jordi Savall, Arianna Savalls famous father, orchestrated for the recording.“Every country has its own Christmas traditions and its own treasure trove of Christmas songs” says the musician from the Hirundo Maris ensemble (the ensemble name is the Latin term for “sea swallow”). “Some of them, like “Silent Night” are known throughout the world and are translated in numerous languages, but many of these songs have remained hidden in their home countries like a national treasure. Hirundo Maris now showcases many such musical treasures in imaginative compositions that fuse the old with the present day.The expressive voices of Arianna Savall and Petter Udland Johansen give rise to an atmospheric dialogue with multifaceted instrumental parts. Such sounds emanate from cheerful bagpipes, an expertly played Cornetto, the poetic slide guitar “Dobro” and violins, flutes, harps and percussion. “Our music is based on four important elements: early music, folk music, our own composition, and improvisation. We all play different instruments, but the voices of Arianna and Petter are the main focus of our group.”The musicians of Hirundo Maris all come from many European countries: Norway, England, Germany, Poland, Spain, and Catalonia. And accordingly, the recording of beautiful melodies has become a kind of sound mirror reflecting the diverse musical traditions of European Christmas celebrations. “The singing of heavenly Christmas music brings everyone peace and hope” says Arianna Savall. “Singing is one of the best opportunities to bring people together. It is very spiritual. We cannot touch it, but we all feel it deep in our hearts.”TRACKLIST1.     The Holly and the Ivy & El Noi de la Mare 04:24(El noi de la mare) - trad, English/Catalan , arr. Arianna Savall /  Petter Udland Johansen2.     El Desembre Congelat 05:29trad. Catalan, arr. Arianna Savall / Petter Udland Johansen3.     ¡Ay, que me abraso! 04:43Juan García de Zéspedes, (17th century, Mexico) arr. Arianna Savall / Petter Udland Johansen4.     Mitt hjerte alltid vanker 05:21trad. Norwegen, arr. Arianna Savall / Petter Udland Johansen5.     Es ist ein Ros‘ entsprungen 03:27Michael Praetorius (1571 -1621), arr. Arianna Savall6.     Wexford Carol 07:44trad, Irland, arr. Arianna Savall / Petter Udland Johansen7.     Ô nuit brillante 07:17trad Noël Provençal arr. Joseph Bovet / Arianna Savall / Petter Udland Johansen8.     El cant dels ocells 06:08trad. Catalan, arr. Jordi Savall9.     Kling no, klokka 02:39trad. Norwegen10.   La salve 06:50Arianna Savall (1972 )11.   Rug Muire mac do Dhia 04:33(Mary bore a son to God) - trad. Ireland 18th century, arr. Arianna Savall12.   Stille Nacht 03:55​​​​​​​Franz Xaver Gruber (1787 - 1863) / Joseph Mohr 1792 - 1848), arr. Arianna Savall / Petter Udland Johansen