STEINER (recons. Morgan) The Son of Kong. The Most Dangerous Game • William Stromberg, cond; Moscow SO • NAXOS 8.570183 (77:19)


The informative program notes for this album present a vigorous case for these scores being as good as King Kong , and therefore ranking with Steiner’s best music. There is no doubt about the resemblance to King Kong. The Most Dangerous Game and The Son of Kong immediately preceded and followed that landmark picture and score. The music is typical of Steiner’s RKO years, but it certainly does not rank with his best scores. To be truthful, there are numerous Steiner scores worthier of being recorded, even to the extent that it is almost a shame that so much effort was devoted to the recording of this music. That said, The Son of Kong and The Most Dangerous Game will still be a feast for Steiner zealots.


This is another Naxos reissue from the “Marco Polo Golden Age Film Classics” series with identical sound but less snazzy program notes. For The Son of Kong , Steiner utilized much of the thematic material from King Kong in a fairly subtle way, but most of the score consists of new music in the same style. If you like King Kong , there is no reason why you won’t enjoy The Son of Kong. The Most Dangerous Game is stylistically similar with just as much rambunctious brass, but it doesn’t have the hook of being the offspring of a bona fide film classic. In both scores, there are plenty of stock Steiner suspense cues and braying brass that don’t quite reach the sense-numbing level of King Kong. The Son of Kong contains some luscious bluesy music that anticipates some of the thematic material for the 1950s Gone with the Wind wannabe that also starred Clark Gable, Band of Angels (which contains a remarkably good Steiner score for a really bad film).


For budgetary reasons, The Son of Kong employed a 28-piece orchestra including the grand total of six violins! In comparison, King Kong used 46 musicians on the original soundtrack, many of them playing multiple instruments. As in many other releases in this extremely valuable series, the importance of the work of John Morgan cannot be overstated. He fully reconstructed and orchestrated the music from Steiner’s original sketches. The result is a perfect reproduction of the well-known, full orchestral Steiner sound that is treasured by so many film music fans. Conducting the music is clearly a labor of love for William Stromberg, and the Moscow Symphony Orchestra is magnificent. It never fails to amaze me how this team manages to come so close to reproducing the authentic music of the Golden Age emanating from the legendary studio orchestras of Warner Brothers, 20th Century Fox, and to a lesser extent, MGM and RKO. The sound is big, fat, juicy, and refulgent. It perfectly suits Steiner’s style with an up-front aural perspective. There is plenty of inner detail, including the many instrumental doublings. Despite the volume of the brass instruments, they always remain focused in the back of the orchestra with a soundstage that doesn’t collapse at the massive climaxes. There is no chance that these scores will ever be better recorded or played. If you are a Steiner fan, nothing more needs to be said. If not, the relentless onslaught of decibels may wear you out despite the high quality of every aspect of the production.


FANFARE: Arthur Lintgen

These delightful dances, including Waltzes and Landler, may be small scale but they are quintessential Schubert. Containing 99 tracks, many of which are rare gems, this album presents the composer's lighter side with beautifully balanced works that are accessible to pianists.

ChromaDuo (Tracy Anne smith and Rob MacDonald) is one of the world's greatest guitar duos. The works recorded here were all composed within the last 20 years, and four of the five works are dedicated to ChromaDuo. World premiere recordings.

La finta amante was composed during Paisiello's time at the Russian court of Catherine II and it soon became a triumph across Europe. The opera features only three characters, composed for a small travelling ensemble, part of the monarch's entourage on a journey to visit the Emperor of Austria, Joseph II. Stefano Parisse conducts this world premiere recording.

Chiara e Serafina was the young Donizetti's first opera composed for La Scala in 1822. A tardy librettist and an incoherent plot resulted in the premiere being a fiasco but Donizetti's music is characterful with delightful duets, trios and ensembles. This 200th anniversary live recording from the 2022 Donizetti Opera Festival in Bergamo is performed on period instruments and conducted by Sesto Quatrini.

Vassily Sinaisky's widely acclaimed cycle of Schmidt symphonies with the Malmo Symphony Orchestra is now available as a 4-CD box set. Also included are the popular orchestral excerpts from the opera Notre Dame, Variations on a Hussar's Song, the Fuga Solemnis for organ, brass and percussion, as well as the monumental Chaconne. From 8.570828, 8.570589, 8.572118, 8.572119

At the invitation of Respighi’s great nieces, conductor Salvatore Di Vittorio has restored and edited the Berceuse and Lamento d’Arianna. His completion of the orchestration for the Tre Liriche is heard here in a premiere recording. Di Vittorio conducts the Chamber Orchestra of New York with the mezzo-soprano Alessandra Visentin as soloist.

REVIEW:

Alessandra Visentin’s contralto voice acts as a perfect bridge between the 18th and 20th centuries and therefore becomes an ideal voice for this project. The orchestral colors bloom wide and iridescent. Salvatore Di Vittorio more than capably holds the reins, reconciling the voice with the opalescence of the instruments.

— Il Trillo Parlante (Fabio Tranchida)

The flute concertos heard on this album were written by composers who lived and worked in East Germany during the four decades of it's existence. These world premiere recordings of concertos by Gunter Kochan, Gisbert Nather and Siegfried Matthus are performed by the stellar German flautist Claudia Stein with the Brandenburgisches Staatsorchester Frankfurt conducted by David Robert Coleman.

This album of Gurney's songs, Volume 24 in the English Song series, presents a wide selection of his works. Featuring several masterpieces - among them Sleep and Severn Meadows - this collection also includes twelve world premiere recordings. Snow is performed here in it's corrected edition. Prize-winning baritone Marcus Farnsworth is accompanied by Eric McElroy.

Raff completed the score of his little-known opera Die Eifersuchtigen, heard here in it's world premiere recording, a few weeks before his death. With tight organisational control, a strong grasp of musical and dramatic relationships, and speech melodies based entirely on German prosody, Raff's final opera is marked by clarity, concision and economy of means. World premiere recording

Armida was composed as a vehicle for the legendary soprano Isabella Colbran – Rossini’s lover at the time. She changed the composer’s view of what was possible with bel canto – her dynamic force inspiring Rossini’s dramatic intensity. This acclaimed Rossini in Wildbad performance features soprano Ruth Iniesta in the title role and tenor Michele Angelini as the heroic Rinaldo.

Astor Piazzolla's Tango Suite, for two guitars, is one of the finest duo works in the repertoire, offering fireworks and percussive effects as well as exquisite melancholy. Yuri Liberzon has arranged the much-loved Oblivion for guitar, while Leo Brouwer's arrangement of La muerte del angel is full of vivacity and colour. Cinco piezas was Piazzolla's first work for classical guitar; the Tango-etudes, originally for flute, shows the guitar's range and versatility in Manuel Barrueco's arrangement. Tango No. 2 from Tango Suite will be pre-released as a digital single on 9.50323 on 30 August.

Richard Strauss is considered to be both the last 'Classical' composer and a champion of modernity. His wide-ranging output stands as a monument to one of the most successful and influential composers of the 20th century. His spirited and compact First Horn Concerto was the product of his teenage years, while the Second Horn Concerto came six decades later, echoing the expressively lyrical and dynamic character of it's youthful predecessor. Both of these concertos share the chamber orchestra character of the Four Last Songs in it's arrangement by Eberhard Klokes. The Andante in C major and Alphorn in E flat major, originally composed with piano accompaniment, are heard here in arrangements with chamber orchestra by Lars Opfermann.

Franz Liszt's Weihnachtsbaum ('Christmas Tree') is an all-embracing impression of Christmas that includes traditional carols alongside childhood and adult views of the season. The dark chromaticism of Die Trauergondel II is a tribute to Wagner, contrasting with the brighter range and yearning lyrical lines of the Wiegenlied. Many of these works remained unpublished in Liszt's lifetime, and are genuine rarities even today.

Xiaogang Ye's interest in mysterious and beautiful plants has led him to write many pieces inspired by subtropical flora - The Faint Gingko, the oldest tree species in the world, represents an expression of Ye's care and concern for nature. Heard here in a version without words, Song of Farewell is an opera with exquisite textures, beautiful melodies and refined orchestration. World premiere recordings.

Albert Roussel’s chamber works are relatively unknown, yet he composed a significant body of masterful works. The majestic Violin Sonata No. 1 and the dynamic neo-Classical Violin Sonata No. 2 are coupled with the String Trio, Roussel’s last completed work. Violinist David Bowlin and pianist Tony Cho are both highly regarded soloists and faculty members of Oberlin Conservatory of Music in Ohio, where the album was recorded.

REVIEW:

All three chamber music works are characterized by skillful craftsmanship. The First Sonata is the most extensive of all Roussel's chamber music works and is markedly serious. The Second Violin Sonata is only about half as long, but just as determined. The String Trio, his last completed work, is a striking example of his late style.

The musicians offer the works with an extremely positive commitment that immediately engages the listener. Each of the three pieces has its own character that makes it unmistakable and the performers bring this out skillfully. They form lively narratives in tones that breathe life into the largely unknown in a delightful way. In terms of design, they explore the music in all directions and know how to integrate the details into the overall picture, creating a cohesive form from the first to the last note. We can be grateful that they have taken on the works in such a convincing way.

-- Pizzicato

These exuberant and technically demanding 18th-century concertos for two horns are performed by JoAnn Falletta and the Buffalo Philharmonic with soloists Jacek Muzyk and Daniel Kerdelewicz, the orchestra's Principal and Associate Principal Horns respectively. The Hoffmeister concerto is a world premiere recording.

The fourth volume in this series explores a pivotal decade in Claudio Santoro's compositions, traversing his move from serialism towards nationalism. The release starts with the transitional, reflective Canto de Amor e Paz and continues with Symphony No. 4, one of his most accessible and influential works, and his brief Symphony No. 6 of 1958. The concertante works for saxophone and violin show his command of dance rhythms, colourful lyricism and virtuosity.

Adam Fischer and the Danish Chamber Orchestra continue their ground-breaking survey of Haydn's late symphonies. This fourth volume presents Haydn's final three London symphonies performed with the same excitement and energy that can be found in Volumes 1-3 of this critically acclaimed series.

Renowned as a soloist and as a member of the Amadeus Guitar Duo, Dale Kavanagh is one of the most prominent classical guitarists of her generation. With this album she not only plays solo works composed for leading guitarists all over the world, but is also joined by acclaimed and award-winning colleagues in duos such as the joyful Campanellas and the tragic The Ghost of Peggy's Cove. Written as a celebration of the virtuoso artistry of three giants of the international guitar scene, Loaded covers a breathtaking range of emotion and technique.

Volume 62 of the Liszt Complete Piano Music Series focuses on transcriptions of religious works by Mozart, Rossini, Verdi, von Goldschmidt, and Liszt himself. Prize-winning pianist Martin Cousin returns to the series (he is the pianist on Volume 61 / 8.574545) for this selection of spiritual and mystical pieces.

Wolf Harden continues his survey of piano works by Busoni with this penultimate volume in the series. Featuring three of Busoni's strikingly individual Sonatinas, the Drei Albumblatter and more.

Highly regarded as a teacher and composer, Robert Fuchs was an established part of Vienna’s musical landscape. This second volume of his six violin sonatas fuses his trademark lyricism with folk-derived melodies. Violinist Hyejin Chung and pianist Warren Lee present yet more Romantic rarities for violin and piano – works by Schubert (8.573579), Seitz (8.573801, 8.573965) and volume 1 of Fuchs’s violin sonatas (8.574213) are also available.

Valentin Silvestrov is Ukraine’s leading composer and one of the most distinctive musical voices of our time. This album brings together the two superlative works of Silvestrov’s early maturity – Postludium for Piano and Orchestra and the Symphony for Violin and Orchestra ‘Widmung’. Recorded in the presence of the composer. The Lithuanian National Symphony Orchestra conducted by Christopher Lyndon-Gee can also be heard on 8.574123 in Silvestrov’s Symphony No. 7, Ode to a Nightingale and Piano Concertino.

REVIEW:

If you don't know [this] 86-year-old composer's music, a new album by conductor Christopher Lyndon-Gee and the Lithuanian National Symphony Orchestra makes a sonically satisfying place to start. It contains a pair of symphonic works that embody two recurring ideas for Silvestrov: that an end can also be a beginning, and that sweet, nostalgic music can thrive alongside concussive eruptions.

In Postludium for Piano and Orchestra, the composer essentially offers an ending, a "postlude," that becomes something brand new by mixing the avant-garde with old-school romanticism. The piece convulses in orchestral earthquakes of low brass (complete with aftershocks), but eventually gives way to delicate music that yearns for the long-ago beauty of Mozart.

The more expansive work on the album is a 44-minute symphony for violin and orchestra titled Dedication. Who's it dedicated to? Lyndon-Gee, writing in the album's booklet, treats it as an homage to the "life-force" of the human race — which encompasses not only tragedy, but also love and renewal. And yet for Silvestrov, he says, "Everything is a postlude to that which is slipping, inevitably and unceasingly, from between our fingers."

In Dedication, the violin — played with unwavering detail by Janusz Wawrowski — is not battling against the orchestra for domination, as in a typical concerto. Instead, the two protagonists complement each other, breathing as a single organism in Silvestrov's colossal exhalations of sound. Great waves of percussion crest over a spiky violin, a reminder that Silvestrov's early works from the 1960s were considered too avant-garde for Soviet-era officials.

Silvestrov has created his own sound world, charged with turbulence and bittersweet fragments of melody that can seem like quotes from other composers, but aren't. Near the end of Dedication, an elegiac theme, reminiscent of Mahler, emerges in the strings, struggling to rise ever higher through a dark cloud of roiling harmonies.

-- NPR Classical (Tom Huizenga)

Cellist Gerald Peregrine and pianist Antony Ingham are joined by violinist Lynda O’Connor for more poetic 20th-century and traditional miniatures from the British Isles. Includes works that Peregrine presented during his more than 2,000 ‘Covid Care Concerts’ performed at health care settings during the pandemic. Volume 1 can be heard on 8.574035.