ArkivMusic

HOLLYWOOD

WARNER CLASSICS

Available as Vinyl

$46.91

Dec 20, 2024

Hollywood, the new album of German pianist Sebastian Knauer is centred around the music and family story of legendary American film music composer Alfred Newman. He recorded it with the son of Alfred Newman, conductor and composer David Newman and the Deutsches Symphonie-Orchester Berlin. Alfred Newman, the founding father of the Hollywood sound, composer of the world's most famous fanfare, the 20th Century Fox logo, winner of nine Academy Awards, nominated for 45, friend of Gershwin, Copland, Bernard Herrmann, mentor of Alex North, Elmer Bernstein, Jerry Goldsmith and founder of the most successful film music dynasty: his younger brothers Emil and Lionel Newman ("Hello, Dolly!"), his older son David Newman ("Ice Age", "Anastasia"), the younger son Thomas Newman ("American Beauty", "James Bond: Skyfall"), his nephew Randy Newman... and his grandchildren are already starting their careers... George Gershwin or Aaron Copland, Alex North or Elmer Bernstein, Bernard Herrmann or Jerry Goldsmith - all the composers on Sebastian Knauer's new album have three things in common: they come from the USA, they have naturally intertwined classical composition and film music and they are closely associated with Alfred Newman.

The Romantic Piano Concerto Vol 2 / Michael Ponti

Vox

Available as CD

$29.99

Jan 01, 1992

This is one of seven volumes that represent the art some of the performing virtuoso-playing composers of the Romantic tradition. The notes tell us that each volume attempts stylistically to integrate composers who belonged to the same milieu and enjoyed professional relationships with each other.

Moscheles' Concerto, Op. 58 is said to be one of his finest works, showing the classical influences of Beethoven, Schubert and Chopin. From the opening of the Allegro moderato one can be forgiven for thinking you are listening to an orchestral score composed by Mendelssohn. However the piano lines have more of a Saint-Saëns ring about them. Bold statements punctuate gently-flowing passages with lightweight orchestral involvement. The Adagio contains recitative-like figures with background tremolos that eventually lead into an Allegro agitato. This movement skips along with a bright theme that is extemporised and builds to a suitable coda and rousing close.

Hiller's compositions are largely forgotten now but in his day his works reached the concert hall. His piano impromptu Zur Gitarre was played by Clara Schumann. His Concerto, Op. 69 contains some lovely melodies and has for too long been neglected, a point the CD notes confirm. Hiller premiered the work as soloist in Amsterdam (1856). It was performed in the presence of royalty nine years later, so we must assume that the work enjoyed a certain degree of popularity. This was one of the first piano concertos to utilise the key of F-sharp Minor and is full of ideas also original for the time. A Moderato movement opens the piece with an energetic main theme (without introduction) and use of alternating octaves - a device copied by d'Albert 28 years later. The emotional Andante espressivo is filled with ravishingly romantic melodies. It has a feeling of Liszt about it. A purposeful Allegro con fuoco closes the concerto.

Henry Litolff was taken as a pupil for the composer Moscheles. The older man declared Litolff so good that a public performance was arranged which he gave at the age of fourteen. Later as a proficient pianist, Litolff undertook concert tours on the continent and wrote his Concerto Sinfonique about 1846. Berlioz monitored his progress and referred to Litolff "as one of our best composers", praising his knowledge, inspiration, mobility of melodic style, and excellence of orchestration. At 39 minutes it is a long concerto and with a four movement structure broke new ground. There is freshness to this composition that gives me the impression of sprightly youthful eagerness. Why this amazing work is not better known I can't guess, but it would be ideal for part of a Proms programme.

An Allegro provides a majestic opening, with accelerating energy and an introduction of two principal ideas. In the Scherzo a Beethovenian hunting scene comes to mind, with echoes of the Ninth. The piano part complements the orchestra-dominated main theme. A peaceful Andante conveys a lyrical mood of relaxing charm, the piano syncopating a flowing horn melody. A bold Furioso moves with urgency before it breaks into a trumpet-led rendering of the Dutch National song "Wein Neerlands". The song weaves in and out of the movement before virtuosity brings the piece to an energetic close.

Carl Reinecke is usually remembered for the cadenzas he wrote to other composers' classic concertos rather than for his own compositions. This is despite the fact that he was a prolific writer of around 300 works. His writing is not as demonstrative as the other composers in this set: there is more of a relaxed feel to this concerto. Reinecke made his debut as a violinist at 11 but toured Europe as a pianist, before turning to the education of others. Reinecke settled in Leipzig where he became professor of piano and composition at the Conservatorium.

In Reinecke's Concerto the Allegro is a good vehicle for virtuosity, but there is practically no partnership with the orchestra. In the Adagio, sincerity of purpose is given with its meandering theme. A bold statement from the strings opens the Finale Allegro and rippling measures maintain momentum throughout the movement.

Mendelssohn's Capriccio brilliant is well known and needs little introduction. Written as a fantasia for piano and orchestra it is constructed on four themes - introductory theme, fortissimo theme, pianissimo theme, and piano theme. It is here played with sensitivity and purpose.

Rheinberger is better known for his organ compositions rather than the writing of orchestral works. He studied under Lachner and became an intimate friend of Schubert, yet his music is often linked with Brahms.

His Concerto deviates in its opening Moderato from the Beethoven pattern by dispensing with the orchestral exposition and replacing it with a short preludial statement; the piano entering with the main idea and acting as a dominant force. An Adagio follows with lyrical delicacy and appealing musical ideas. The orchestra contributes with important thematic and colouristic contributions throughout. A piano solo opens the Allegro energico with a flourishing statement and running into a fast-flowing theme before returning to the heroic idea of the first movement.

This set contains rarely recorded works of the lesser-known composers who provided a valuable contribution to the development of music through the 19th Century. The notes make interesting reading and give useful historical information. Descriptions of the works could have been fuller and more detailed.

Michael Ponti plays with considerable dexterity, and handles both powerful and sensitive passages with considerable skill. The orchestras play competently under knowledgeable conductors.

The analogue recordings of the '70s are clear without the extraneous noise that can show up in CD transfers of this period. They are pleasantly balanced for concerto recording with the piano placed nicely forward on the sound-stage. In the Reinecke concerto, a slight metallic timbre is noticed with the piano. A slight lack of dynamic range causes some detail of the orchestra to be hidden but this is not an obtrusive problem. There is no obvious mismatching in the acoustics or microphone placements between the different venues (not given).

-- Raymond Walker, MusicWeb International

Karl Böhm - The SWR Recordings

SWR

Available as CD

~~$48.99~~ $36.99

Apr 14, 2023

The lasting fame of conductor Karl Böhm is based on qualities that were praised by listeners, musicians and critics throughout his long career: his discipline and meticulousness when rehearsing compositions as well as his modesty, his willingness to take second place to work and composer. After many years serving as principal conductor in several opera houses he left his administrative duties behind and embarked on an international career as an acclaimed guest, concert and opera conductor. He was regularly invited by the New York Met and the Deutsche Oper Berlin, to the festivals in Salzburg (as of 1938) and Bayreuth (as of 1962), he gave guest performances from Tokyo to Moscow, from Milan to Buenos Aires, and at the broadcasting corporations in Berlin, Munich, Cologne, Frankfurt and Stuttgart where he was invited whenever there was something important to celebrate.

The Radio Sinfonieorchester Stuttgart (formerly known under a few different names and since 2016 merged with its sister from Baden-Baden and Freiburg to form the SWR Symphonieorchester) not only played in its home region, the Southwest of Germany, but toured extensively all over Europe. It has a catalogue of several hundreds of recordings and accompanied during its history many famous soloists. Branka Musulin was an extraordinary pianist who worked with some of the most important conductors of her time, among them Willem Mengelberg, Hermann Abendroth, Franz Konwitschny, Georg Solti and Sergiu Celibidache.

Rachmaninov: The Bells & Symphonic Dances / Jansons, Bavarian Radio Symphony

BR Klassik

Available as CD

$19.99

Feb 02, 2018

For its latest release on BR Klassik the Symphonieorchester des Bayerischen Rundfunk under its chief conductor Mariss Jansons has turned its attention to Rachmaninov with two masterworks that Rachmaninov himself regarded as his finest compositions: the choral symphony The Bells and the Symphonic Dances, his last completed orchestral score. Both were recorded live in concert at Munich.

Very much a Cinderella work, The Bells, which the composer described at different times as a choral symphony and also as a cantata, deserves wider circulation and certainly rewards repeated hearing. Rachmaninov was fired up to write the work following receipt of an anonymous text in Rome which he assumed was an original work by the Russian poet Konstantin Balmont. The text was in fact Balmont’s own free adaptation of the poem ‘The Bells’ by Edgar Allan Poe. Bells have a special significance for Russian people and one might imagine that for Rachmaninov the sound of bells in his Russian homeland evoked a bittersweet range of emotions, from intense joy to mourning. Various bell sounds are contained in Rachmaninov’s scoring: sleigh-bells, church bells, alarm bells, marriage and funeral bells. This is a striking live performance by the Chor und Symphonieorchester des Bayerischen Rundfunks under Jansons, supported by a fine trio of Russian soloists. In the opening movement - ‘The Silver Sleigh Bells’ - the playing conveys a crisp, wintry chill together with commitment and urgency. Singing with vitality and clarity, tenor Oleg Dolgov makes a considerable impression. In the movement ‘The Mellow Wedding Bells’, the music takes on a mysterious, rather sensuous quality with soprano Tatiana Pavlovskaya displaying clarity and an unswerving approach to the text. In ‘The Loud Alarum Bells’, marked presto, the chorus and orchestra convey a heavy sense of tension and near-angst before a more positive tone develops. The baritone Alexey Markov, in the Finale, entitled ‘The Mournful Iron Bells’, intones splendidly and convincingly the grave yet hauntingly affecting text. In the substantial part for the cor anglais, there is some lovely playing - warm and mellifluous. Inspiring and powerful are the two words that best describe this reading from Jansons and his Bavarian players. Worthy of praise, too, is Simon Rattle’s outstanding live 2012 Philharmonie, Berlin account with the Rundfunkchor Berlin and the Berliner Philharmoniker and a satisfying trio of soloists on Warner. As with Jansons’ account, Rattle’s coupling is also the Symphonic Dances. Admirable, also, is the exciting and committed 1979 account from the RSFSR Yurlov Academic Russian Choir and USSR Academic Symphony Orchestra under Yevgeni Svetlanov. Originally released on Melodiya, I have the Regis reissue. Worthy of consideration, too, is the finely judged 2000 Moscow account from the Moscow State Chamber Choir and Russian National Orchestra conducted by Mikhail Pletnev on Deutsche Grammophon.

After finally settling in the USA in 1939, Rachmaninov completed the Symphonic Dances, his final orchestral, work at Long Island, New York in 1940. Delighted with the score, the composer commented, “I don’t know how it happened, it must have been my last spark.” Rachmaninov was certainly in a highly reflective mood, citing quotations from some of his earlier works as well as including the Dies irae motif in the finale. Jansons and his players clearly revel in the brilliant orchestration. In the opening movement, Non Allegro, Jansons provides playing of potent drama as well as strong rhythmic impetus and a weighty percussion section. The affecting lyrical middle section is beautifully played, with the solo saxophone part especially notable. It is marked Andante con Moto (Tempo di valse) and, in Jansons’ hands, the waltz rhythms are imbued with an undertow of melancholy and a sense of near despair. The colourful woodwind and brass figures and pleasingly unified strings are a constant delight. In the Finale, the sumptuous playing from the Bavarians is quite outstanding, conveying a strong element of brooding and struggle. Jansons’ control of dynamics and transitions is striking here, together with strong and committed playing in the concluding section. Jansons’ conducts a riveting account of the Symphonic Dances, then, convincingly performed with character, passion and compelling momentum. It can stand comparison with the best recordings and probably even surpasses them. Simon Rattle’s powerful 2010 Philharmonie, Berlin recording with the Berliner Philharmoniker on Warner is certainly equal to Eugene Ormandy’s passionate and powerful 1960 Cleveland Hall, Philadelphia account with the Philadelphia Orchestra on Sony Classical. Other recordings to consider are headed by the excellent 2008/09 recording, full of character, played by the Royal Liverpool Philharmonic Orchestra under Vasily Petrenko on Avie. There is much to enjoy in the recordings by the Berliner Philharmoniker under Lorin Maazel from 1983 on Deutsche Grammophon and by André Previn conducting the London Symphony Orchestra in 1974 on EMI Classics, both of which are splendidly performed and recorded.

Jansons has recorded both works at live concerts in the renowned acoustic of Herkulessaal, Munich, which the sound engineers have utilised to stunning effect, providing first class clarity and balance. Audience applause has been taken out and there is no extraneous noise to worry about. In the booklet the essay ‘Legacy of a Lost Homeland’ written by Larissa Kowal-Wolk is both readable and informative.

– MusicWeb International (Michael Cookson)

Schubert: Symphonies Nos. 8 "Unfinished" & 9 "The Great"

Wiener Symphoniker

Available as CD

$20.99

Oct 09, 2015

New on Wiener Symphoniker this release comprises Schubert’s two greatest and much loved symphonies: Nos 8 and 9. It is worth pointing out that the cover of this release describes the symphonies as No. 7 Unfinished and No. 8 The Great using the numbering of the revised Deutsch catalogue and the Neue Schubert-Ausgabe (New Schubert Edition) complete catalogue of works mainly used today in Austria and Germany.

With regard to the universally esteemed Symphony No. 8 Unfinished its history continues to be a matter of much debate. Schubert authority Nikolaus Harnoncourt recognises the symphony was intended as a four movement score although he is convinced there must have been a point when Schubert decided the two completed movements were perfect on their own. In the first movement Allegro moderato chief conductor Philippe Jordan ushers the listener into Schubert’s enthralling and dramatic sound-world with a reading that maintains a remarkable inner tension. Marked in the Andante con moto is the bitter-sweet quality of drama and breathtaking allure that Jordan imparts. The woodwind playing is top drawer.

Harnoncourt firmly believes that the ‘Great’ C Major is “a colossal edifice in which Schubert remakes the symphony … anyone who has experienced this masterpiece is no longer the same as before.” Schubert’s final symphony is a work the composer described in his personal letters as “a grand symphony.” Here maestro Jordan gives a disarming reading that in turn combines magnificent drama and deep compassion. It is hard to ignore the Beethovenian/Wagnerian influence on the opening horn calls. The resolute playing of the expansive opening movement is tinged with a dark hue. Jordan excels in the Andante con moto maintaining an exemplary pulse throughout. I savour the encounter between the primarily pastoral quality of the fresh outdoors and the dramatic squally extremes. The dignified march theme on the oboe is a highlight. The spirited dance melodies of the Scherzo receive polished playing and resolute bite. Jordan exercises judicious control of the bold and courageous Finale: Allegro Vivace a movement full of colourful incident that feels both compelling and expressive.

Despite its excellence this Wiener Symphoniker coupling has to compete with a wealth of rival accounts. My first choice recording for the Unfinished is from the Berliner Philharmoniker under Günter Wand: raptly beautiful playing engages the listener from start to finish. Wand was recorded live in 1995 from the Philharmonie, Berlin on RCA Victor Red Seal. My single standout recording of the ‘Great’ C Major is from Claudio Abbado with the Orchestra Mozart assembled at live concerts in 2011 at Bologna Auditorium Manzoni and Bolzano Auditorium, Italy. Recently released Abbado’s captivating DG account with a wealth of orchestral detail is quite superbly played and recorded.

On the other hand it may be more sensible to buy a complete set of the Schubert symphonies. Although the competition is extremely fierce I can suggest four recommendable boxes. My first choice is conducted by Karl Böhm and the Berliner Philharmoniker recorded in 1963/71 in the exceptional acoustic of Jesus-Christus-Kirche, Berlin. As a Schubert conductor Böhm has few peers. He conducts typically warm and polished performances on Deutsche Grammophon. On Decca there is an excellently played and recorded set from István Kertész and the Wiener Philharmoniker recorded in 1963/71 at the Sofiensaal, Vienna.

There is a quite outstanding set from the Berliner Philharmoniker under Harnoncourt recorded live in 2003/06 at Philharmonie, Berlin on the orchestra’s own label. Harnoncourt has made lengthy and serious study of Schubert’s manuscripts removing the unauthentic revisions that have become part and parcel of the scores. From start to finish the well prepared Berliner Philharmoniker plays magnificently with a sense of spontaneity that carries the listener along on an enthralling journey. Rather under the radar but well worth investigating is the impressive 2013 release conducted by Lorin Maazel with the Symphonieorchester des Bayerischen Rundfunks. All the symphonies were recorded live by them in 2001 at the Prinzregententheater, Munich and after a decade have finally been issued on BR-Klassik.

Returning to this Wiener Symphoniker release, the recording engineers can be congratulated for a satisfying sound quality that is especially clear and well balanced. Jordan draws expressive yet firmly controlled playing from his Vienna orchestra. The tempi, rhythm, phrasing and dynamics are shaped into one impressive whole. This is an engaging CD that will grace any serious collection.

- Michael Cookson, MusicWeb International