British Film Classics' represents some of the greatest film music ever written in some of the finest recorded performances. The repertoire juxtaposes some much-loved film scores with unexpected and original items, to form a highly satisfying and enjoyable collection. This 2CD set is available for the price of one full-price disc, in an attractive slimline double package. The moods range from the sumptuously romantic, such as the music of 'Lady Caroline Lamb', to the swashbuckling brilliance of Walton's Shakespearean scores and the high-adrenaline excitement of Ron Goodwin's '633 Squadron'. Many of the great classic scores of the 1940s are included and are, in some cases, taken from the only modern versions available.

Chandos features a varied selection of orchestral works by Benjamin Britten, performed by the Bournemouth Symphony Orchestra under Richard Hickox, to mark the great composer's centenary year on this re-release. Included works are the Young Person's Guide to the Orchestra, Suite on English Folk Tunes, the Suite from Johnson over Jordan, and Four Sea Interludes.

TCHAIKOVSKY Swan Lake • Neeme Järvi, cond; James Ehnes (vn); Bergen PO • CHANDOS 5124(2) (2 SACDs: 154:41)

As has been noted in previous reviews of recordings of Tchaikovsky’s “complete” Swan Lake , there may well be as many different versions of the score as there have been productions of it. The problem is that Swan Lake is both the earliest (1875–1876) and the longest of the composer’s three great ballets, and it has had so many cooks adding their own ingredients, removing others, and generally revising the recipe that no one can say for sure what made up the original soufflé.

The generally known and accepted facts are these: The ballet, with original choreography by Julius Reisinger, was staged for the first time in February, 1877 by the Bolshoi Ballet at Moscow’s Bolshoi Theater. It was not well received; audience and critics alike felt it was too long and convoluted, its music too heavy, and its libretto, adapted from a story by a German author, an affront to Russian sensibilities. And thus began the tinkering and tampering. By the time the work was revived in 1895 by the Imperial Ballet at St. Petersburg’s Mariinsky Theater there was new choreography by Marius Petipa and Lev Ivanov, along with major musical revisions to the score by the Imperial Theater’s conductor and composer, Riccardo Drigo. It should be noted that by the time of the 1895 revival, Tchaikovsky was dead and had no hand in the new performing version. Tchaikovsky and Drigo had worked together previously, but according to accounts, they didn’t agree on much of anything and their relationship was strained.

The upshot of all this is that there is no definitive Swan Lake . It was no longer a ballet by one composer, but rather a group effort; and you know the saying about a camel being a horse designed by a committee. It’s important to bear this in mind when considering the various recordings of Swan Lake that claim to be complete, for the drastic differences in timings cannot be explained by mere tempo differences alone. There have to be other factors involved, such as omission of some movements, cuts to others, and/or reliance on differing versions/editions. Let’s look at the timings of several well-known recordings, sorted in order by duration.

Conductor	Orchestra	Label	Timing
Valery Gergiev	St. Petersburg Mariinsky O	Decca	106.59
Antál Dorati	Minneapolis SO	Mercury	131:41
Felix Slatkin	St. Louis SO	RCA	141:00
Mikhail Pletnev	Russian National O	Ondine	142.52
Dmitri Yablonsky	Russian State SO	Naxos	148:38
Michael Tilson Thomas	London SO	Sony	149:05
Mark Ermler	Royal Opera House O	Conifer	153.03
André Previn	London SO	EMI	153:02
Charles Dutoit	Montréal SO	Decca	153:56
Neeme Järvi	Bergen PO	Chandos	154:41
Wolfgang Sawallisch	Philadelphia O	EMI	158:45

Right off the bat, I need to offer a disclaimer: My personal familiarity with the above-listed recordings is limited to only four of them—Gergiev, Pletnev, Yablonsky, and now this new one by Järvi. Of the four, Gergiev’s version is the worst in terms of the hatchet job it does on the score. Movements are reordered—for example, the act I Waltz has been moved to act III and its ending abridged—and it’s full of egregious cuts—some 40 minutes of music are sacrificed. Gergiev’s Swan Lake is presumptively based on the Mariinsky performing version; i.e., the above-mentioned Drigo edition prepared for the 1895 St. Petersburg revival.

Looking at Pletnev’s timing of 142:52 vs. Yablonsky’s 148:58 and Järvi’s 154:41, it seems pretty obvious that that while tempo differences over the course of two and a half hours could account for the difference of approximately six minutes between Pletnev and Yablonsky and, in turn, between Yablonsky and Järvi, they’re unlikely to be the cause of the approximately 12-minute difference between Pletnev and Järvi.

Upon closer examination of all three recordings, what I found was that Yablonsky and Järvi both include two often dropped numbers from act III, the Pas de deux that was written after the fact specifically for Anna Sobeshchanskaya, and the “Danse Russe,” added specifically for Pelageya Karpakova. Pletnev omits these two additions, as do a number of others. Whether they should be included or not is a rather complex question.

Ballerinas of the day were not much different from their opera diva counterparts in terms of their egos. They had no shame when it came to demanding custom cadenzas to show off their voices or, in the case of danseuses, their fancy footwork and frilly tutus. The story surrounding Sobeshchanskaya and her Pas de deux is especially messy and borders on scandal. Originally picked to dance the lead role of Odette (the Swan) for the 1877 premiere, Sobeshchanskaya was ignominiously dropped from the cast at the last minute when a high-placed government official with whom she’d had a dalliance accused her of having taken expensive jewelry from him and then pawned it when she married a fellow danseur. On the spur of the moment, she was replaced by Pelageya Karpakova. Sobeshchanskaya survived the indignity and went on to dance the title role when the ballet was staged again a month later with no greater success than at its premiere.

But the intrigue didn’t end there. The ballerina made no bones about the fact that she hated both the choreography and the music, and so off she went to St. Petersburg, where she engaged Petipa to choreograph a new Pas de deux for her that would replace the third act’s Grand pas. Petipa complied and choreographed the new number to music, not by Tchaikovsky, but by Ludwig Minkus, the Imperial Ballet’s composer in residence.

When news of this change reached Tchaikovsky, he was miffed; his ego was probably bigger than Sobeshchanskaya’s. How dare she?! He was the composer, and he alone should take credit (or discredit) for the music. After some smoothing of his ruffled feathers, Tchaikovsky agreed to compose the music himself for Petipa’s new Pas de deux , but there was a problem. Tchaikovsky’s new music didn’t synch up with Petipa’s choreography, and Sobeshchanskaya, now back in Moscow, wasn’t about to travel back to St. Petersburg to go through the whole exercise again. She didn’t seem to care much one way or the other about the music, but she was adamant about keeping Petipa’s choreographed number. How exactly Tchaikovsky was prevailed upon to discard his newly composed music and essentially start over, this time following the outlines and rhythmic steps of Minkus’s music is not explained, but that’s what Tchaikovsky did. So, this particular episode apparently had a satisfactory ending for all involved, except, I suspect, for Minkus who surely must have felt put out. The original Grand pas with music by Tchaikovsky was replaced by Sobeshchanskaya’s Pas de deux with music first by Minkus and then by Tchaikovsky.

Based on the foregoing, it would seem that there is every reason to include this number in complete performances of the ballet, yet many conductors, Pletnev among them, don’t. The situation regarding the “Danse Russe” (Russian Dance) is much simpler and appears to be the reverse; it’s one of deletion rather than addition. It was composed for and included in the original 1877 version of the score danced by Karpakova, the premiere’s last-minute substitute for Sobeshchanskaya. The number was then removed for subsequent performances in which Sobeshchanskaya took over the role, for reasons one can easily guess. If two competing sopranos could bitch-slap each other on stage during a production of a Handel opera, there was no telling what professional jealousy might provoke between two rival ballerinas.

This describes only some of the butchery that turned Tchaikovsky’s finely feathered swan into a plucked chicken. It’s well to remember, however, that Swan Lake was not only the composer’s first completed ballet, it was really his first major stage undertaking to survive the ravages of time, even if not entirely intact. He was working on his opera Eugene Onegin at the same time, his first opera to achieve success; and though there had been earlier operatic efforts— The Voyevoda, Undina, The Oprichnik , and Vakula the Smith —they were either destroyed by the composer, recycled, later revised, or didn’t stir much interest at the time. Thus, at 37, Tchaikovsky’s greatest works still lay ahead of him, and he had yet to achieve the self-confidence that fame would bring him to be able to just say no to those who would mess with his music.

Neeme Järvi’s Swan Lake follows his Sleeping Beauty , reviewed in 36:5. I would expect to see a Nutcracker in the near future, perhaps timed to coincide with Christmas (I’m writing this in November 2013). My only objection to Järvi’s Sleeping Beauty was his somewhat business-like approach, which struck me as missing some of the music’s fairy magic. But the Bergen Philharmonic’s polished playing, James Ehnes’s ravishing violin solos, and Chandos’s thrilling multi-channel SACD recording offered much allure.

On relistening to that release, and in listening to this present one, in which Järvi, Ehnes, the Bergen orchestra, and Chandos repeat their earlier accomplishment, it occurred to me that my criticism of Järvi wasn’t entirely fair. There are two ways to conduct a ballet performance for a strictly audio recording. You can approach it as a concert work, in which case you will tend to emphasize the melodic, harmonic, and structural elements of the score, or you can approach it as a suite of dances, in which case you will emphasize the music’s rhythmic and terpsichorean aspects. Järvi falls into the former camp, and there’s nothing wrong in that, as long as he’s not directing a live production of the actual ballet, in which tempo, pacing, and phrasing need to be molded more flexibly to accommodate the movements of the dancers.

I can’t say absolutely that this is the most authoritatively complete Swan Lake on record, though in taking up the original 1877 score and including additional material supplied by Tchaikovsky himself for subsequent performances, Järvi gives us a version that’s certainly more complete than are a number of others. What I can say is that of the four recordings of the score with which I’m familiar, Järvi’s would now be my first choice, and taking all other factors into account—superb playing by the Bergen Philharmonic, James Ehnes’s beguiling solo violin contributions, and a killer recording—I’d extrapolate from this that Järvi’s Swan Lake is now the one to have.

FANFARE: Jerry Dubins

When Chandos brought out this CD in the mid-1990s, it revealed Doreen Carwithen to be a substantial creative personality in her own right: she was a warmly communicative composer, the style of her work owing more to Walton than to her husband and colleague William Alwyn. Her writing is strong and purposeful, sometimes adopting syncopated rhythms and stirring melodies, and always enhanced with brilliant and inventive orchestration. We are therefore delighted to reissue these works and at mid-price for the first time.

This 1994 recording is one of the first Holst collections made by Hickox and the City of London Sinfonia, an orchestra he conducted for thirty-seven years, until his death. Having brought neglected works by Holst to a more deserved fame in the early 1990's, Hickox returned to Holst in 2007, embarking on a new series with the BBC National Orchestra of Wales. He was recording what would have been the second volume of this new survey when he was suddenly taken ill. While he was never able to finish that second volume himself, the first instalment was released in January, 2009 and seen as a recording triumph.

Alongside its ongoing much-lauded Copland series, the BBC Philharmonic embarks on a new American journey, this time with its chief guest conductor, John Storgards. Known as ‘the bad boy of music,’ George Antheil began his career with a reputation as an enfant terrible, composing shockingly avant-garde works such as his every popular Ballet mecanique, inspired by the dynamism and dissonances of Stravinsky’s early ballets. Although he is well established on the film music scene, too, it is his symphonic output-sampled here- that today survives in the concert hall. This new series documents the evolution of his musical style, which moved towards a fundamentally tonal and melody-based idiom, Antheil joining the growing ranks of famous US symphonists. The war-inspired Fourth Symphony and ‘joyous’ Fifth clearly represent this compositional shift, breaking with what the composer called the ‘now passe’ modernism. Also here is the premiere recording of the Texas-inspired Over the Plains, memorable for its allusions to cowboy music and offering some unexpectedly dramatic and atmospheric twists along the way.

The favourites plus less well known pieces, excellently performed and recorded.

The guiding hand of Richard Hickox and his fellow conductors more or less guarantees high quality and that is what we get. The cheerfulness is never overdone and the Irish Tune from County Derry (popularly known as the Londonderry Air) receives an affecting but not over-sentimental performance. This is far removed from the overdone renditions by the likes of Josef Locke that my father and grandfather revelled in.

The recordings are in Chandos’s best manner: bright but not over-bright. Despite having been made on several different occasions - and in several locations? - there is never any sense of having to adjust aurally between tracks.

It is to be hoped that purchasers will be inspired by this introduction to experiment further with Chandos’s excellent range of Percy Grainger recordings. There are only three vocal items here, but they are just enough to remind us that not all of his output was orchestral: the Chandos catalogue contains both vocal, chamber, instrumental solo and orchestral pieces.

Most of the Grainger here is fun music – this is, after all, the work of the composer seen leaping around fey-like in the classic Ken Russell Delius film – but there is a serious side, too. Listen to his arrangement of Early one morning for the other side of the coin. Even the jolly music is well crafted – clearly, Grainger spent at least some of his time in more serious pursuits. You’ll see from the dates in the headings how often and over how long a period Grainger reworked his music – further details in the Chandos booklet. There is a strong case for placing his arrangements of British folk song on a par with those of Delius – and who else could have taken a tune from Handel’s Harmonious Blacksmith and turned it into that jazzy and un-Handel-like piece Handel in the Strand? It takes the likeable cheek of a Mr Toad to do that.

The wind-band writing in the Lincolnshire Posy suite is fully the equal of Holst’s and Vaughan Williams’ and the performance by the Royal Northern College Wind Orchestra every bit as good as that on my favourite recording of the Holst and V-W (London Wind Orchestra/Denis Wick at budget price on ASV Resonance CDRSN3006).

For low-price introductions, the presentation of these CDs has not been skimped, apart from the lack of detail about where and exactly when the recordings were made. Both the Grainger and VW booklets contain helpful information – I hadn’t realised the full story behind the several versions of Country Gardens, for example – with catalogue numbers from the British Folk Music Society, etc., for Grainger and within attractive covers. Is the bicycle on the cover of the Grainger not a little too modern, though, with its plastic reflectors?

At this price, the only serious rival is Chandos’s own even cheaper but shorter 1978 collection from the Bournemouth Sinfonietta and Kenneth Montgomery on CHAN6542 (CD and mp3).

-- Brian Wilson, MusicWeb International

Eugen Suchon (1908-93) was the most influential and respected Slovak composer of the 20th c. This new Chandos CD features the Estonian National Symphony Orchestra and it's artistic director Neeme J�rvi performing three of Suchon's greatest symphonic works, composed during the years he spent teaching in Bratislava, both pre- and post- WWII. His interest in the origins of Slovak folk music and extended tonality are to be heard. Winner of two Grammy� Awards, in 2004 and 2010, the ENSO is the longest, continually operating professional orchestra of it's kind in Estonia and tours worldwide.

For this third volume in an Ives series that Sir Andrew Davis and his Melbourne Orchestra have already made globally popular, Jean-Efflam Bavouzet takes on the challenge of the solo piano part in Symphony No. 4. The work is famous for its ubiquitous difficulties, not least the apparent impossibility of realizing many of the composer's creative intentions in a live performance, as evidenced by the forty pages of background discussion and practical advice to conductors that introduce the published score. It is complemented by the less-often-performed triptych Orchestral Set No. 2 and the Pulitzer Prize winning Symphony No. 3. This album is a "must-have" for anyone who wants to experience this monumental music under optimal conditions.

This well-filled disc contains excellent performances of some of Ives most popular and significant works. It’s easy to understand why the “Holidays” Symphony has enjoyed greater success as four individual tone poems. With the exception of Thanksgiving, the three other movements (as well as Central Park in the Dark and other Ives pieces) all share the same basic form. They start with a dissonant, slow passage scored mostly for strings, then there’s a lively middle section based on popular dance, march, and hymn tunes. This quickly rises to a chaotic climax and then the opening music returns in a brief coda.

Andrew Davis deserves credit for differentiating the first three movements in a way that prevents monotony–a function of flowing tempos and carefully delineated string textures–while still letting Ives’ cacophony sound aptly cacophonous. Only the unnamed chorus at the end of Thanksgiving could have enjoyed greater prominence, but it’s no big deal. For all we know the singers might be members of the orchestra, which is just fine. The tune, “Duke Street” is still used in the New Haven Protestant churches. I know because when I was in high school in New Haven we sang it there, although not at Thanksgiving.

This performance of Three Places in New England is also first rate, with a rambunctious middle movement and a particularly poetic account of The Housatonic at Stockbridge. The Unanswered Question is basically unkillable (although it has been done), although I’m not sure why it’s separated from its companion piece, Central Park in the Dark, by the Three Places. That was gratuitous, but it hardly matters and you can always play the music in any order you choose. This being Ives, it hardly matters. Fine sonics round out a very desirable release.

– ClassicsToday (David Hurwitz)

Classical Music

In French music Vincent d’Indy is certainly a composer whose music is often bypassed in favour of the established names such as Saint-Saëns, Fauré, Ravel and Debussy.

This is the sixth and final release in this well received Chandos series of d’Indy’s orchestral works. Playing and recording quality have been splendid and d’Indy’s reputation has been advanced under such first-rate advocacy. …

Splendidly recorded the Chandos team has provided a warm acoustic but not too muddy. There's reasonable clarity and first-class balance. The orchestra's consistently ravishing and lucid support under Gamba has conviction together with expressive characterisation.

– Michael Cookson, MusicWeb International

The BBC Symphony Orchestra and Chorus under Oramo with an exceptional quartet of soloists give a vivid and heartfelt interpretation of Smyth’s earliest large-scale choral work. Dame Ethel Mary Smyth, DBE was an English composer and a member of the women's suffrage movement. Her compositions include songs, works for piano, chamber music, orchestral works, choral works and operas. Smyth tended to be marginalized as a ‘woman composer’, as though her work could not be accepted as mainstream, yet when she produced more delicate compositions, they were criticized for not measuring up to the standard of her male competitors. She was the first female composer to be granted a damehood. Smyth's extensive body of work includes the Concerto for Violin, Horn and Orchestra and the Mass in D. Her opera The Wreckers is considered by some critics to be the "most important English opera composed during the period between Purcell and Britten." Another of her operas, Der Wald, mounted in 1903, was for more than a century the only opera by a woman composer ever produced at New York's Metropolitan Opera (until Kaija Saariaho's L'Amour de loin in December 2016).

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REVIEW:

With all the awareness of the need to promote female composers it is surprising that no national opera company has taken up Ethel Smyth’s masterpiece The Wreckers. This new recording of the overture reminds us of just what a splendid work it is.

The bulk of the new recording is given over to the Mass in D, which is an exultant outpouring, here given its head by the BBC forces under a conductor who seems to have an innate understanding of the British musical temperament.

– Lark Reviews

CHABRIER Joyeuse marche. Gwendoline: Overture. Habanera. España. Lamento. Bourée fantasque. 1 Suite Pastorale. L’Étoile: Overture; Two entr’actes. Le Roi malgré lui: Féte polonaise; Danse slave • Neeme Järvi, cond; Suisse Romande O; 1 Alexandre Emard (eh) • CHANDOS 5122 (SACD: 78:12)

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

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
Digital CD 16Bit 44.1Khz. Originally recorded in: DSD

"...In each of these performances the RSNO, keenly responsive to Denève after his seven seasons as chief conductor, confirm the absolute precision, transparency and - in Jeux as much as anywhere – passion required for these scores. The detail in Images is exquisite (with a lovely oboe d'amore solo by Katherine Mackintosh). The Nocturnes, especially Fêtes, achieve a shimmering, decidedly un-Monet-like glaze, and La Mer erupts and glistens."

- Fiona Maddocks, The Observer, 12, May 2012