Includes work(s) for gtr by Roland Dyens. Soloist: Elena Papandreou.

Classical Music

REVIEWS:
The Wire (p.71) - "[P]owerfully expressionistic....A FLOCK is widely considered as Takemitsu's breakthrough piece..."

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.


If you want Grieg's complete Peer Gynt with dialogue, this is the set to own. It really does represent a new standard, musically, dramatically, and technically. Let me say up front that ordinarily I'm not a fan of music with dialogue, but these actors are so involved, and their participation is so skillfully integrated into the acoustic framework and the musical flow, that the sound of idiomatically spoken Norwegian becomes a sort of quasi-musical counterpoint all on its own. Of course, it helps that the actual music, as realized by Ruud and his Bergen forces, also is outstandingly played and sung. His interpretation has all of the necessary freshness and energy that Grieg's score requires. It's theatrical and exciting but also sensitive; rustic without being crude.


High points are almost too numerous to list: there's Ruud's ebullient overture and his perfectly judged accelerando at In the Hall of the Mountain King; the rush of excitement when Peer Gynt is being hunted by the trolls; the characterfully grotesque Dance of the Mountain King's Daughter; the effortless flow of Morning Mood; Anitra's sexy little belly dance; a wonderfully urgent Peer Gynt's Homecoming; a terrifying shipwreck that happily avoids tacky sound effects; and it's all capped by the beautiful vocal contributions of Marita Solberg, who sings a particularly earthy, warm-toned Solveig. As with all the participants in this performance, she seems not just concerned with getting the notes right, but she's also fully involved with the text and in communicating what the music means, almost as if it were new. The chorus also characterizes its part with enthusiasm, avoiding that "churchy" feel that sometimes dogs performances with voices (except, of course, in the Whitsun Hymn, where it's called for).


It's also worth pointing out the extreme care that BIS has taken over production values. In SACD multichannel format, not only do you get enhanced three-dimensionality with respect to the basic soundstage, but sensitive use of the rear speakers creates atmosphere--for example, at such moments as the scene with the Boyg, or at various places requiring offstage voices--without ever drawing gratuitous attention to the technical side of things. The bottom line is that this production offers an unparalleled experience of Grieg's music in which the technology is placed entirely in the service of musical and theatrical values. The packaging and presentation are also exceptional: you get two booklets, one with notes and texts (Norwegian and English), the other with production stills from the actual play. Clearly everyone concerned with this release has pulled out all of the stops, and it has paid off handsomely. An exceptional achievement. [6/28/2005]
--David Hurwitz, ClassicsToday.com

Classical Music

Also available: Masaaki Suzuki plays Bach Organ Works, Vol 2



Reviews:

Of all the current doyens of modern Bach performance, Masaaki Suzuki knows no limits to his explorations. This is a dazzling recital (from a musician better known as a director-harpsichordist) discerningly assembled and held aloft by three great pillars: the ubiquitous Toccata and Fugue in D minor, BWV565; the Pièce d’orgue, BWV572, with Bach whisking the French 17th century from under its own nose; and, to conclude, the great Prelude and Fugue in E minor, BWV548 (the Wedge). If one’s reflexive default at the prospect of an organ recording – even an exquisitely curated Bach one – is one of dispassionate or nonchalant resistance, this recording is as likely to turn ears as any made.

– Gramophone

One of the most versatile of all Bachians, Masaaki Suzuki still manages to spring a surprise with this outstanding recital. From its woody chuff to bright rasp, the instrument is superbly captured here and Suzuki uses it with flair and imagination. Both this performance of Von Himmel Hoch and that of the pungent Pastorale breathe with the best seasonal spirit.

– BBC Music Magazine

BLOCH Schelomo 1. BRIDGE Oration, Concerto elegiaco 1. HOUGH The Loneliest Wilderness 2 • Steven Isserlis (vc); 1 Hugo Wolff, cond; 1 German SO Berlin; 2 Gábor Takács, cond; 2 Tapiola Sinfonietta • BIS 1992 (SACD: 67:40)


Steven Isserlis joined Richard Hickox and the London Symphony Orchestra in 1988 for a very fine and critically well-received recording of Bloch’s Schelomo for Virgin Classics. Also on that disc was a more than respectable account of Elgar’s Cello Concerto. Except for the benefit of surround-sound audio and improved sonics on this new BIS release, I’m not prepared to say that Isserlis betters his previous account. At 58, he’s still in his prime and at the height of his game technically, but the years seem not to have aged Isserlis’s ancient King of Israel. If anything, Isserlis and Hugo Wolff now put a bit more spring into Solomon’s step, though the difference of only 23 seconds—21:45 in 1988 vs. 21:22 in 2012 is simply too small to notice over the given timespan.


The album comes with a title, In the Shadow of War , and a theme. Bloch, as is well known, was deeply depressed over the grim events unfolding during World War I, and for solace and understanding, he turned to the words of despair and wisdom in the Book of Ecclesiastes, believed to have been authored by Solomon 2,000 years earlier. It was from this that in 1916 Bloch drew inspiration for his magnificent rhapsody-cum-tone poem, Schelomo , for cello and orchestra.


Frank Bridge’s Oration, Concerto elegiaco for Cello and Orchestra is far less well known than Bloch’s opus, but it, too, has received a previous recording by Isserlis and Hickox with the City of London Sinfonia on EMI. Unfortunately, I don’t have that disc, so I can’t compare the performance to this new one, but it doesn’t go back as far as Isserlis’s Virgin Classics Schelomo . The Isserlis/Hickox/EMI CD, coupled with Britten’s Cello Symphony , was released in 2007. We don’t have a description of Bridge’s Oration in the composer’s own words, as we do a description of Schelomo from Bloch himself, so we can only speculate on Bridge’s motives for writing the piece and its precise meaning. In 1930, the date of Oration ’s composition, World War I had long ago ended and World War II was yet to come. Yet everything about this work paints the most grisly, gruesome portrait imaginable of war’s death and destruction. Isserlis, who has written his own album note, describes the music minute by minute, evoking images of “men hurling themselves into enemy fire” and “the leaden march of doomed soldiers.” The solo cello is the fallen soldier who, in the end, is left to expire alone, “his final desolate thoughts fading into empty nothingness.”


Nearly 30 minutes in duration, Bridge’s Oration is not an easy work to listen to, or to play, I’m sure, so it’s not surprising that it hasn’t achieved anything close to the popularity of Bloch’s Schelomo . Besides Isserlis’s own previous recording of the piece, it hasn’t received much attention on disc, but the attention it has received has come from major-league cellists, namely, Rafael Wallfisch, Alban Gerhardt, and Julian Lloyd Webber.


I have to admit that before listening to it, Stephen Hough’s The Loneliest Wilderness shouted, “Raise shields! Raise shields!,” as would any piece for me dated 2005. Well, it only took a matter of seconds before the music cried out to me, “Lower shields! Lower shields!” I would buy this disc for The Loneliest Wilderness alone. The piece was originally composed for bassoon and orchestra, but Isserlis persuaded Hough, composer, pianist, and good friend, that the lyrical nature of the solo part was ideal for cello. Since the ranges of the two instruments are reasonably close to each other, I don’t know if it was necessary for Hough to make any adjustments in the solo line or not, but this is one gorgeous outpouring of poignant, moving, heartfelt music. Bless Stephen Hough for composing it, and bless Steven Isserlis for including it on this disc. The work, according to the note, was inspired by Herbert Read’s poem My Company , and I can’t think of any other way to describe it than to say it’s a rapturous rhapsody in full neoromantic bloom.


This may prove to be the best cello and orchestra recording of the year, and it’s urgently recommended.


FANFARE: Jerry Dubins

Classical Music

Classical Music