Faith in God was for Dvorák the cornerstone on which he built his own life and work, hence it comes as no surprise that a number of his seminal pieces are within the domain of sacred music, and frequently linked with a strong personal story.
The first version of the oratorio Stabat Mater came into being after the death of his first-born daughter. In the wake of the triumph of its London premiere, Dvorák received more commissions from the UK, which gave rise to other paramount compositions: The Spectre's Bride, Requiem and Saint Ludmila.
The instigation for Te Deum came from New York, where following the premiere of the New World Symphony Dvorák wrote the Biblical Songs, the apex of his oeuvre of this genre. The set also contains pieces that have been seldom performed (the cantata The Heirs of the White Mountain, Psalm 149 in the previously unreleased recording made by the conductor Václav Neumann.).
At the same time, this 8-disc collection within the Dvorák series, featuring gems from the Supraphon archive, showcases superlative artists and performances in sensitively re-mastered sound.
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Dvorak: Sacred Works & Cantatas
$75.99
$56.99
CD
Supraphon
Aug 14, 2015
SU4187-2
BONGO JOE
ARHOOLIE RECORDS
Available as
CD
$18.49
Nov 30, 1993
BONGO JOE
BONGO JOE
$18.49
CD
ARHOOLIE RECORDS
Nov 30, 1993
ARH1040.2
Dvorak: Symphonic Works / Neumann, Czech
Supraphon
Available as
CD
$75.99
$56.99
Jan 29, 2013
This is a set that no one who cares about Dvorák’s symphonies can afford to ignore. These performances really do belong in every serious collection.
Supraphon has finally released Václav Neumann’s 1970s Dvorák symphony cycle, and what a wonderful event it is. These performances are, on the whole, fresher and freer than his digital remakes, fine though those are, and more warmly recorded. The only exception is the somewhat shrill engineering in the First Symphony, but in general the sonics are comparable to other cycles of the period—Kertész, Kubelik, and Rowicki—and this is unquestionably the best played of them all. It’s difficult to overestimate the value of having the Czech Philharmonic in top form in this music, but the sound of the ensemble really does speak for itself. Kubelik’s Berlin Philharmonic might have the best strings, and the London Symphony for Kertész and Rowicki the boldest horns, but the Czech Philharmonic has the best ensemble, top to bottom, at least in Dvorák.
Consider one example: the climax of the first movement of the Seventh Symphony, a work that shows both the orchestra and Neumann at their very best. If you imprinted on this performance, nothing else can match it in power and intensity. The passionate lyricism of the strings, the thrilling low timpani roll that propels the trombones’ upward arpeggio, and those bright, sforzando trumpets combine to make an unforgettable impression (sound clip below), and it’s all exactly as Dvorák wrote it. Interestingly, where Neumann deviates from the printed page, as in the main theme’s fortissimo counterstatement in the first movement, or in the work’s concluding chorale, he gives the doubling parts to the trumpets rather than the horns, as in most other performances, and this too proves the better decision.
This brings us to Neumann’s own contribution. Traditionally he has gotten short shrift compared to the competition. Some of this was politics. In the 1960s and ’70s the British naturally preferred anything featuring the LSO, and Kubelik was a symbol of democratic resistance to Communist rule. He also had the superb Berlin Philharmonic at his disposal, rather than his usual Bavarian Radio forces, and Deutsche Grammophon behind him. Neumann, on LP at least, was spottily available on generally horrible pressings, and he had the disadvantage to be taking over from Ancerl, an indisputably great conductor who wound up on the right side of Cold War politics. Then Neumann remade all the symphonies in digital sound, a set that Supraphon promoted intensely, and this earlier effort simply disappeared from sight.
In general, Neumann’s approach might sound a touch “old fashioned”—quick movements move at moderate speeds, slow movements flow without ever dragging. Although not quite so slow in the allegros, conductors like Otto Klemperer come to mind. And yet, Neumann is by no means lacking in energy. His Eighth Symphony is as fresh (and swift) as any in the catalog. He whips up quite a frenzy in the finale of the Fifth, and this Third Symphony might just be the best on disc. Its first movement is as energetic as can be, the central funeral march is gorgeous and never stiff, while the finale actually sounds less mechanical at this moderate speed than it does when taken more quickly. The Sixth seldom has been paced more naturally, and as Dvorák fans all know, Ancerl’s benchmark performance is a tough act to follow. Neumann has nothing to fear from the comparison, especially in the coda of the finale, which is stunning.
Neumann always did well by the “New World” Symphony, and in only a few spots in the first two symphonies does Neumann sound less than fully engaged (though in the former, he’s still more effective than in his digital remake). The third movement of the Second, particularly, needs to be crisper. Suitner on Berlin Classics is unmatched here. For the most part, though, Neumann’s performances have held up extremely well. In particular, he offers an object lesson in phrasing and, especially, the correct use of legato in lyrical passages. So many performances today, perhaps encouraged by the perpetual staccato of the early music movement, break up Dvorák’s melodies into fragments, whereas Neumann conducts in whole paragraphs.
The couplings add greatly to this set’s attractions. They are uniformly excellent. The Symphonic Variations overflows with character; the three concert overtures belong together (they share a theme, heard at the outset of In Nature’s Realm), and these versions of the four late symphonic poems rank with the best available. They are also very well recorded. So to summarize, this is a set that no one who cares about Dvorák’s symphonies can afford to ignore. Even if you have the versions just mentioned, these performances really do belong in every serious collection.
-- David Hurwitz, ClassicsToday.com
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Dvorak: Symphonic Works / Neumann, Czech
$75.99
$56.99
CD
Supraphon
Jan 29, 2013
SU4090-2
The Art of Fritz Reiner, Vol. 1 (1942-1952)
West Hill Radio Archives
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$64.99
$48.99
Jun 01, 2009
Classical Music
On Sale
The Art of Fritz Reiner, Vol. 1 (1942-1952)
$64.99
$48.99
CD
West Hill Radio Archives
Jun 01, 2009
WHRA6024
FIRE MUSIC
IMPULSE RECORDS
Available as
Vinyl
$44.49
Aug 23, 2019
Vinyl LP pressing. The tenor firebrand and avant-garde hero's second Impulse! Album, released in 1965, was an ensemble masterpiece featuring an original tune dedicated to Malcolm X ("Malcom, Malcolm Semper Malcolm") plus unique takes on Antonio Carlos Jobim ("The Girl From Ipanema") and Duke Ellington ("Prelude To A Kiss").
FIRE MUSIC
$44.49
Vinyl
IMPULSE RECORDS
Aug 23, 2019
IMP7757384.1
SOMETHING'S BURNIN
CRISS CROSS
Available as
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$19.99
Apr 06, 1994
Impressive young guitarist playing w. swing, logic, feeling and taste w. drummer Jimmy Cobb.
SOMETHING'S BURNIN
$19.99
CD
CRISS CROSS
Apr 06, 1994
CSS1079.2
ULTIMATE NAT KING COLE
CAPITOL
Available as
Vinyl
$41.49
Jun 14, 2019
Double vinyl LP pressing. Career spanning collection celebrating Nat King Cole's 100th birthday, featuring his most well-loved signature songs, including "Unforgettable," "L-O-V-E," "Mona Lisa" and featuring a newly recorded duet of "The Girl from Ipanema" duet with Grammy-winning artist Gregory Porter.
ULTIMATE NAT KING COLE
$41.49
Vinyl
CAPITOL
Jun 14, 2019
CAPB002961101.1
DOUBLE TIME
JUSTIN TIME RECORDS
Available as
CD
$14.99
Sep 25, 1994
DOUBLE TIME
DOUBLE TIME
$14.99
CD
JUSTIN TIME RECORDS
Sep 25, 1994
JUT58.2
PRESENTING CHRIS POTTER
CRISS CROSS
Available as
CD
$19.99
Apr 06, 1994
Saxophonist's quintet w. John Swana, Kevin Hays, Christian McBride and Lewis Nash, recorded Dec. 29, 1992.
PRESENTING CHRIS POTTER
$19.99
CD
CRISS CROSS
Apr 06, 1994
CSS1067.2
Martha Argerich: The Complete Sony Classical Recordings
Sony Masterworks
Available as
CD
$34.98
$26.99
Jun 03, 2016
To celebrate the 75th birthday of the Argentinean pianist Martha Argerich, Sony have released this 5 CD box of her complete commercial discography on RCA, Columbia and Sony. Each card sleeve is adorned with the original jacket. The recordings date from 1975-1992.
What attracts me to this set is that it presents the many faces of Argerich – as soloist, chamber musician and concerto collaborator. The Beethoven and Haydn concertos provide the only instance of the pianist directing from the keyboard, and the Scriabin Prométhée is the only example of this composer’s work she has recorded to date.
Argerich was born in 1941 in Buenos Aires, Argentina. She started piano lessons at the age of three and played her debut concert at only eight. In 1955 her parents took up diplomatic posts in Vienna and the family travelled to Europe. Here Argerich was exposed to some of the greatest pianists of the time, studying with the likes of Friedrich Gulda, Stefan Askenase, Nikita Magaloff and later Arturo Benedetti Michelangeli. Within the space of three weeks in 1957 she won the Geneva International Music Competition and the Ferruccio Busoni International Competition. In 1965, at the age of twenty-four, she won the Seventh International Chopin Competition in Warsaw. Since then her career has taken a stratospheric leap and she now has a secure place among the firmament of the foremost pianists of our age.
James Galway left his Berlin Philharmonic post in 1975 and embarked on a solo career. His first RCA solo release was this one with Argerich. For me, it is a highlight of the set, with a tangible rapport existing between the two players. The Prokofiev is the jewel. Completed in the summer of 1943, it was premiered in Moscow in December of that year by Nikolai Kharkovsky (flute) and Sviatoslav Richter (piano). A year later the composer, with the help of David Oistrakh, transcribed it for violin. Galway’s luscious tone and unforced brilliance are compelling. The Franck Sonata, originally for violin and piano, is here transcribed for flute. It works very well, and it is a pleasure to hear it in this unfamiliar guise. I have misgivings about the Argerich/Gitlis collaboration disc. My problem lies with the violinist. I don’t particularly care for the idiosyncratic rubato in the Debussy Sonata, and neither do I find Gitlis’ habit of arbitrary on-off vibrato to my taste.
Directing from the keyboard, the Beethoven and Haydn concertos were taped in London in 1980. They sound so fresh and vital, informed by grace, elegance and charm. Tempi are just right, and an ideal balance has been struck by the recording engineers between the piano and orchestra. The Beethoven is every bit as fine as her later traversal with Abbado on DG. The Schumann Op. 17 is impassioned and eloquent, and Argerich’s stunning technique fully does justice to the first two movements, with plenty of fantasy adding to the allure. The third movement, by contrast, is thoughtful and probing. The Fantasiestücke, Op.12 is no less convincing. I love the way she expressively phrases Des Abends, but I felt Aufschwung a little too frenetic. These Schumann recordings are the same as those released by EMI in 1990.
Dazzling virtuosity is the name of the game in the Strauss Burleske. The performance, which I have to say is the finest I’ve heard of this youthful showpiece, is fiery, capricious and volatile. Both players inject plenty of zest into the more energetic moments, whilst savouring the glorious melodies of the more lyrical sections. The Scriabin Prométhée is a gripping reading of this lushly orchestrated opus, with Abbado highlighting the richly varied pastels of the score. Argerich’s febrile delivery has passion, drama and intensity. It’s regrettable that she hasn’t recorded any more of the composer’s music. I’m pleased that the optional wordless chorus has been included.
This is a worthy tribute to a great pianist, and a must-have for pianophiles. The booklet notes, in English, German and French have been written by Jed Distler and include some interesting photographs.
– MusicWeb International (Stephen Greenbank)
On Sale
Martha Argerich: The Complete Sony Classical Recordings
$34.98
$26.99
CD
Sony Masterworks
Jun 03, 2016
88985320352
BROWN BEATNIK TOMES - LIVE AT BRIC HOUSE
BLUE NOTE RECORDS
Available as
CD
$15.99
Jun 07, 2019
2019 release. A unique and powerful collaboration between the artist and poet Danny Simmons and legendary jazz bassist Ron Carter. This live recording from BRIC House in Brooklyn captured Simmons reading poetry from his collection of prose The Brown Beatnik Tomes with projections of his own striking Abstract Expressionist paintings providing the stage backdrop while Carter performed solo accompaniment along with instrumental interludes from his fleet trio.
BROWN BEATNIK TOMES - LIVE AT BRIC HOUSE
$15.99
CD
BLUE NOTE RECORDS
Jun 07, 2019
BLUNB002998802.2
BROWN RICE
A&M
Available as
Vinyl
$32.99
Mar 15, 2019
Vinyl LP pressing. On vinyl in the U.S. for the first time since 1977, this 1975 release includes African, Indian, Arabic and 70's era Miles Davis style electric rock fusions. Featuring contributions from former Ornette Coleman bandmates Charlie Haden and Billy Higgins, and liner notes from Stanley Crouch.
BROWN RICE
$32.99
Vinyl
A&M
Mar 15, 2019
AMB002942001.1
GUITAR QNT
AUDIOPHILE
Available as
CD
$16.99
Aug 11, 1994
Arr. By Bill Challis also 8 pieces by Kress / McDonough.
GUITAR QNT
$16.99
CD
AUDIOPHILE
Aug 11, 1994
AUD238.2
CHRONOLOGICAL BUD POWELL 1945 - 1947
MELODIE JAZZ CLASSIC
Available as
CD
$21.99
Oct 06, 1998
CHRONOLOGICAL BUD POWELL 1945 - 1947
CHRONOLOGICAL BUD POWELL 1945 - 1947
$21.99
CD
MELODIE JAZZ CLASSIC
Oct 06, 1998
CLS1003.2
BUT BEAUTIFUL
CRISS CROSS
Available as
CD
$19.99
Apr 06, 1994
Recorded December 5, 1990, guitarist's trio with G Mraz on bass and Lewis Nash on drums.
BUT BEAUTIFUL
$19.99
CD
CRISS CROSS
Apr 06, 1994
CSS1065.2
Munch in Boston: The Early Years
West Hill Radio Archives
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$80.99
$60.99
Dec 01, 2007
Classical Music
On Sale
Munch in Boston: The Early Years
$80.99
$60.99
CD
West Hill Radio Archives
Dec 01, 2007
WHRA6015
WHEN WILL THE BLUES LEAVE
ECM RECORDS
Available as
CD
$17.99
Jun 07, 2019
In 1999, a year after recording the splendid reunion album Not Two, Not One, Paul Bley's highly innovative trio with Gary Peacock and Paul Motian took to the road with concerts on both sides of the Atlantic. When Will The Blues Leave documents a terrific performance at the Aula Magna di Trevano in Switzerland. Included here, alongside the angular freebop Ornette Coleman title track, are Paul Bley's Mazatlan, brimming over with energy, Gary Peacock's evergreen Moor, Gershwin s tender 'I Loves You Porgy" and much more... All played with the subtlety of master improvisers, recasting the music in every moment.
WHEN WILL THE BLUES LEAVE
$17.99
CD
ECM RECORDS
Jun 07, 2019
ECMB003029302.2
NEW BOTTLE OLD WINE
BLUE NOTE RECORDS
Available as
Vinyl
$43.49
May 17, 2019
Limited 180gm audiophile vinyl LP pressing in deluxe gatefold packaging. The album, recorded in 1958 and originally released via World Pacific, by Gil Evans - one of the most innovative arrangers in jazz. Evans' orchestra on this session is packed with a superb set of players, including Cannonball Adderley Art Blakey, Paul Chambers and Johnny Coles. Sourced from a previously unknown analog stereo master, the incredible session comes in the highest fidelity on this Tone Poet LP. Blue Note Records' Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tape.
NEW BOTTLE OLD WINE
$43.49
Vinyl
BLUE NOTE RECORDS
May 17, 2019
BLUNB002947301.1
WEBB CHALLIS & HERMAN
GHB JAZZ FOUNDATION
Available as
CD
$13.99
Aug 12, 1994
Chick Webb w. Ella Fitzgerald, Del Thomas, Nat Story, Mario Bauza+; Bill Challis w. Bea Wain, Charlie Margulis, Manny Klein, Artie Shaw+; Woody Herman w. Clarence Willard, Kermit Simmons, Joe Bishop, Neal Reid+, (companion disk to CIR 71 CD)
WEBB CHALLIS & HERMAN
$13.99
CD
GHB JAZZ FOUNDATION
Aug 12, 1994
GHJF72.2
DANCE OF THE OCTOPUS
HEP RECORDS
Available as
CD
$15.99
Sep 05, 1995
The first, 1934 recordings of Red's orchestra up through 1936! Includes I Surrender, Dear; Honeysuckle Rose; Bughouse; I Got Rhythm; Oh, Lady Be Good; Misty Islands of the Highlands; If You Love Me, and more. 26 tracks.
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