SOPHISTICATED LADY DUKE ELLIN

Tchaikovsky: Symphony No. 2 in C Minor, Op. 17 & The Tempest

"Heifetz's recorded legacy is particularly rewarding for reasons other than the simple fact that he was a great violinist. He obviously liked to get away from standard repertoire and explore the byways of violin literature. He gave much attention to music of his own time—nothing too 'modern', mark you; and he clearly enjoyed the experience of playing chamber works with other great artists....

This charmingly slight early work [Beethoven's Serenade] is played with much affection and warmth, as is the even less substantial, even rather empty Spohr concerto...Spohr's Double Quartet, well recorded in 1968, has much more character than the concerto. Here Heifetz very much blends in with his colleagues, and if he is in charge of the extremely alive, superbly played performance it is not apparent in the final result."

-- Gramophone [9/1990]

Rescued from the vaults, ArkivMusic reissues a long lost Christmas Treasure! The Musical Christmas Tree from Morton Gould is an orchestral holiday classic. Featuring Holiday standards, this unique release includes many of Morton Gould's own arrangements as well as original compositions written for the holidays, including "Winter" from the Burchfield Gallery and "Skiers Waltz" from the Cinerama Holiday Suite.

WAGNER (trans. Gould) Siegfried Idyll, (orig.) 1 Siegfried Idyll, (trans.) Die Meistersinger: Act I Prelude. Götterdämmerung: Dawn and Siegfried’s Rhine Journey • Glenn Gould (pn, cond); Toronto SO members 1 • SONY 52650 (70:59)


I can think of no worthier nomination to Fanfare’s Classical Hall of Fame than this conductorial debut of the late, exceedingly great Glenn Gould, and also his very last recording. Gould, of course, admitted in the late 1960s to being a closet Wagnerite who often “worshipped at the shrine,” and in 1973 he set down piano transcriptions of three favorite pieces. Meistersinger was a stunner the first time I heard it, and coming off a concert with Jorge Bolet playing the Liszt transcription of Tannhäuser —and he really pounded the thing out—I was left in shocked, disappointed silence after hearing Gould’s shimmering, nuanced, hyper-contrapuntal version of Wagner’s most Baroque work. Since then I have come to admire it to no end, a brilliant conception that brings out things you will not hear in any other recording, orchestral or not. Wagner’s orchestration actually gets in the way of everything there, and Gould admitted that when he prepared to play it, it was a question of “what do I leave out this time,” as there were not enough hands, even his own long fingers, to cover all the parts. “Dawn” is just as persuasive if not as extroverted in its intricacy, and the piano sounds just wonderful.


Siegfried is matched in its slow tempo only by Gould’s orchestra reading. Here he turns this transcription into a marvelous tone poem, drawing each and every strand of meaning out of every bar, always cognizant of the overarching structure and subtle phrasing, both Gould trademarks. You can almost come to accept this piece as meant for the piano, so convincing is his reading. Siegfried for chamber orchestra, in its original guise, is given to us in one of the slowest readings on record (Gould liked to temper the tempo in many works), and one can hear the Toronto players straining to bring every ounce of intensity to Gould’s concentrated leadership. Somehow he makes it work, and as a testimony to his extraordinary talent and career, this beautifully conceived album is mandatory in any collection worthy of the name.


FANFARE: Steven E. Ritter

...I ought to mention the various overtures which serve as makeweights—intensely dramatic recreations these, of which The Consecration of the House struck me as particularly fine despite the constricted sonics. It comes with Stern's now classic Beethoven Violin Concerto, a warm, confident, and (on Bernstein's part) sometimes bluff rendition. There is some rapt playing from a soloist then in his prime, an intriguing textual oddity in the coda of the first movement (the familiar 'unauthentic' cello line is similarly absent from Kyung Wha Chung's recent EMI account) and some mildly distracting tape hiss (suppressed during the cadenzas where the image shifts as if Stern has been transported to another studio).

-- Gramophone [11/1992]

• Maurice Ravel's music needs no introduction. A sampling of orchestral works, including Valse and the famous Boléro. • Carlo Rizzi leads the Netherlands Philharmonic Orchestra • One of the first set of 5 Blu-ray audio discs from TACET. • The Blu-ray audio disc was mastered in 24 bit / 96 kHz resolution, both in stereo and in TACET Real 5.1 Standard Surround Sound. • The Blu-ray disc joins the TACET assortment as the fifth sound carrier alongside CD, LP, DVD audio and SACD.

...The Pittsburgh Symphony Orchestra play with tremendous collective virtuosity in the Venusburg music, while the resplendent grandeur of the brass in the Pilgrims' hymn is quite magnificent... The recording, made at the orchestra's home, Heinz Hall, Pittsburgh, is certainly less overwhelming in its effect than the earlier Telarc disc, but if anything, its resourceful stage-management of spatial effects offers much more to interest the ear than mere bombast! This quality is readily apparent with the thrilling entry of the off-stage trumpets as they summon the nobles into the Hall of Song at the Wartburg in readiness for the great contest in Act 2. All the majesty of the playing is brilliantly captured on this recording, and the Pittsburgh orchestra can certainly stand comparison with the great Wagnerian orchestras in the sumptuous Teutonic nobility of their playing. Wolfram's famous aria from the Third Act, "Oh star of Eve", has been recast for solo cello, and the principal player of the Pittsburgh Symphony deserves credit for a liquid and touching evocation of this memorable passage...

-- Gramophone [4/1992]

Carter: Symphony of Three Orchestras - Varèse: Deserts, Equa

In every respect, this is superb. Here is not merely a wonderful souvenir of a special event but a thing of joy forever.

In every respect, this is superb: a 'must'. I recently listened to DG's historic issue of VPO Johann Strauss ((D 435 335-2GWP2), reviewed enthusiastically in February by RO. Here the present needs fear nothing from the past. Indeed Carlos Kleiber combines in one baton, miraculously, every attribute of his predecessors—his father Erich's discipline and élan, Krauss's Schwung, Karajan's elegance, Boskovsky's lift and Krips's insinuating charm. Anyone who saw and heard the concert on television (the video incidentally will be released on Philips) will know just how delightfully Kleiber, with his unorthodox, seemingly effortless methods, achieves his aims and how willingly his complaisant orchestra responds to his peculiar gifts.

If I had to decide between so many winners, I might choose Eine Tausend und eine Nachi for the translucency of its introduction and the champagne elation of its main section, and Spharenklange for ethereal wonder. But then there is the irresistible verve of the Pizzicato Polka where the rubato is perfectly judged, and the tremendous panache of Unter Donner und Blitz. Is there a touch of the mannered just once or twice, as in the opening bars of The Blue Danube? If so, it is usually justified as a means to an entirely convincing end—in this case a familiar piece given with a swooning spontaneity that invites the body to sway with the music.

To crown one's pleasure, the recording is faultless: it has presence, warmth, depth, and captures ideally a sense of the occasion. Here is not merely a wonderful souvenir of a special event but a thing of joy forever. And now if you'll excuse me, I shall go and listen to it again.

-- Gramophone [4/1992]

Sibelius: Greatest Hits

DMITRY SHOSTAKOVICH: CHAMBER S

MOZART Serenade in Bb, K 361 “Gran Partita”. Fantasia in f, K 608 • Stuttgart Winds • TACET 209 (Blu-ray audio: 57:20)

This Blu-ray disc comes in surround sound, so I’ll confess that I listened to it using my HD television with its sound bar rather than on my high-end stereo system. It’s a remarkable performance of a favorite work, which I and many others first heard on an old LP conducted by Otto Klemperer. Some readers might also remember the critic B. H. Haggin’s surprise that anything conducted by Klemperer, whom he usually disliked, could be so graceful. Haggin attributed it to the band. Perhaps it is a piece that in professional hands can’t go too wrong. Here everything seems right, including the recorded sound in stereo. There is grace abounding, and beautifully etched phrases and balance among the players, each of whom is profiled in the ample notes. The fetching opening with its prominent clarinet and oboe parts couldn’t be more touching, and the energy of the whole performance is equally appealing. I have a stack of recordings of this work, including those conducted by Mackerras, and others played by groups such as the Sixth Floor Orchestra. I’d recommend this delightful new disc, though, to anyone, especially to those with surround sound systems.

FANFARE: Michael Ullman

Rimsky-Korsakov: Scheherazade, Op. 35, Russian Easter Festiv

Classical Music

I could never understand why this wonderful cycle failed to make an impact when it was first issued. Kubelik's sensitivity to detail, his refusal to bully Schumann's vulnerable structures and his ability to penetrate occasional thickets of orchestration, make these 1978-9 sessions especially memorable. Just listen to the cheeky bassoon backing clarinet, 144' into the Spring Symphony's fourth movement, the limpid phrasing of the Rhenish Symphony's Nicht schnell third movement, or the to-ing and fro-ing between first and second violins (usefully separated, as virtually always with Kubelik) in the last movement of the Second, Only the first movement of the Fourth seems to me a little heavy-handed, but then the poetry of the Romanze and the exuberance of the finale more than make amends.

First movement repeats are observed and the playing throughout is rich in felicitous turns of phrase. The sound, though, is a minor stumbling block: violins are thin (one of the few disadvantages of having them separated is that their massed tone becomes mildly diluted), brass a little fuzzy and the whole production less focused than, say, Sawallisch's EMI mid-price Dresden set. But, for me, Kubelik's insights are too varied and meaningful to miss, and I derive as much pleasure from them now as I did 13-odd years ago, when they were first issued on LP. What with a stirring Manfred Overture added for good measure, they constitute exceptional value for money.

-- Gramophone [7/1993, reviewing Sony 48269 and 48270]

With this recording, Frieder Bernius once again honors the musical legacy of the Bohemian composer Johann Wenzel Kalliwoda. On the occasion of the 150th anniversary of the death of the longstanding court kapellmeister of Donaueschingen on 3 December 2016, the focus is on his instrumental compositions. In addition to the Symphony No. 1, op. 7 – a work that has not been available in a current recording for many years – the release includes the Variations for Clarinet and Orchestra op. 128 and the Concertino for Violin and Orchestra op. 15. It represents a convincing homage to a composer who found his place in the transition between the Classical form of a late Mozart and the Romance form of early Romanticism, between lyrically reflective melodies and “Sturm und Drang” dramatics as well as between homophonic orchestral tuttis and strict counterpoint.

Lamon's playing puts expressiveness before virtuosity, and she ornaments freely adding a refreshing touch of spontaneity. In a hugely overcrowded field, Tafelmusik has come up with a winner.

Recordings of Vivaldi’s Four Seasons tend to fall into one of two catagories. There are the star soloist versions, which spotlight the virtuosic, and highly marketable, talents of the big name violinists. And then there are the period instrument versions, in which greater emphasis is put on unusual textures and more authentic performance practice.

This new disc from the Canadian group Tafelmusik is an excellent example of the latter, and a distinctive feature of their recording is their adoption of a pitch roughly a semitone higher than usual with period groups in line with recent research into common practice in 18th-century Venice. They also make use of an archlute to add variety to the continuo, and the result is a bright, distinctive sound which brings freshness, clarity and variety of texture to the music.

The playing itself is incisive but free of the hard-driven tempi which sometimes mar authentic performances, and is imaginatively allied to the seasonal pictures painted in the sonnets on which the concertos are based (which are included in the CD booklet).

Lamon’s relatively small tone means that her instrument blends in with the ensemble rather than dominating it, highlighting the concerto grosso aspects of the works. Her playing puts expressiveness before virtuosity and is quite beautiful in the slow movements, which she ornaments freely adding a refreshing touch of spontaneity to music which is after all very familiar. In a hugely overcrowded field, Tafelmusik has come up with a winner in these highly satisfying and well-recorded performances, and the Sinfonia and Concerto for Four Violins are pleasing bonuses.

Performance: 5 (out of 5), Sound: 5 (out of 5)

-- David Michaels, BBC Music Magazine

GOMBERT: MUSIC FROM THE COURT

Schubert: Symphony No. 8 in B Minor, D. 759 "Unfinished" & S

One of the most influential sacred works in all of history is presented on this new release: Bach’s St. Matthew Passion. Frieder Bernius with the Kammerchor Stuttgart, as well as the Barockorchester Stuttgart, perform this work beautifully, highlighting their knowledge of historically informed performance practice. Soloists featured here include Hannah Morrison, Sophie Harmsen, Tilman Lichdi, Peter Harvey, and Christian Immler.

THE ROYAL EDITION - HAYDN: MAS

This exhilarating album contains stunning live symphonic performances of works by Jean Sibelius (1865-1957). Included in this recording are his Symphony No. 5 in E Flat Major, Op. 82, Symphony No. 7 in C Major, Op. 105, and En Saga, Op. 9.

“...raw, massive, glacial, thrilling. Elder and the Halle have a strong track record in this repertoire.” - The Observer

MENDELSSOHN: SYMPHONIES NOS. 3

This is Garry Walker's third CD for Toccata Classics after two well-received releases of Havergal Brian works with the BBC Scottish Symphony Orchestra. On this recording he explores Matthew Taylor's Viola Concerto, a work that "reinforced his status among the most significant living composers for string quartets" (International Record Review).