CDs 1 and 2 
"This is very much - though not exclusively - Tilson Thomas's Ives and predominantly from the 1980s. The exceptions include a single straggler conducted by Stokowski (the Fugue movement from symphony 4) though his name is not mentioned in the booklet listing. In any event it’s the version in which Jose Serebrier collaborated as assistant. There’s also Stokie's Robert Browning Overture and Ormandy's America Variations.
 
MTT directs orchestras from Chicago, the Concertgebouw and San Francisco. the recordings sound a lot better being more recent than those for Bernstein, Barber and Copland.
 
The Second Symphony and the Variations on America have solid Brahmsian ‘bottom’ to them even if the Second does end with American brashness and that innovative iconoclastic discord.
 
MTT’s From Steeple and Mountains does justice to the inventive Ives who pushes magically at the boundaries of the spidery decay of tonality. The piece has some of the mystique of the trumpet solos in Schmidt's Fourth Symphony yet with a wonderful spareness. The Browning Overture is out there at the edge as well with a dissonant devilry. The webby canvas returns in the subtleties of the Holiday Symphony’s Decoration Day which sound rather lichen-hung as if having escaped from the dank worlds created by Frank Bridge in the 1920s.
 
Two ballads sung by Thomas Hampson with MTT at the piano show how predictive Ives was of the wit of Bernstein. In Things our Father Taught Us the drawing-room melts away as modernity’s refractory imagination infiltrates the room.
 
The Circus Band is brazen and pastiche. General William Booth enters Heaven is a phantasmagoria which bawls with tin tabernacle wildness. Ives cuts this already heady mixture with gospel hymn cross-currents. The challenge thrown down by the choir in Are you washed in the blood of the Lamb is taken up in the long string sampler hymnals of the Fugue from the Fourth Symphony.
 
CD 3
The Third Symphony is smoothly Brahmsian yet with unusual touches. The Children's Day chatter is full of earnestly playful Allegro power. It is an affectionate portrait that ends in a impressionistic fragile mist - infinitely touching and uncertain of itself. Those bells might well have inspired Hovhaness who was a close co-worker of Henry Cowell and Lou Harrison; the latter revived the Third Symphony in 1947 winning for the work a Pulitzer Prize.
 
Three Places in New England is another Frank Bridge-style confection - clammy, lichen-draped and Gothic-romantic. There are times when you could morph this score into Bridge's There is a Willow. The orchestral piano chips in part way through The St Gaudens across the sweetest tender string writing. Putnam’s Camp is full of good-hearted discord and moonlit Pierrot play. The famous Housatonic at Stockbridge is in part Delian as in Appalachia with the gently twinkling discord of the piano across the choir which is only heard in this movement. It ends, not in honeyed reaffirmation, but in a boiling discord.
 
In The Unanswered Question the tension is superbly sustained by MTT and the Chicagoans. It ends with flittering and discordant birdsong and that silkily sighing attenuated violin sound here redolent of the Tallis Fantasia. The Scriabin-like solo trumpet of Adolph Herseth is part enigmatic and part elegiac as in the Schmidt Fourth Symphony.
 
We end with Central Park in the Dark which takes us into much the same world as The Unanswered Question. There’s an evolutionary up-welling rising to a jazzily discordant convulsion. All power dissipated, the music sinks into an uneasy free-floating dimension. It’s incredibly imaginative and not at all difficult to take on board."

-- Rob Barnett, MusicWeb International

Aaron Copland created maybe the most distinctively “American” sound in 20th-century music, with his exuberant ballet scores Appalachian Spring, Billy the Kid and Rodeo – works that caught, as never before, the vastness and rugged beauty of the American landscape, and the hope-filled spirit of the people. Copland’s music is a virtual signature of the mythic American heartland. At the same time, he was a native New Yorker whose ambitious modernism was refined and transformed by his studies in Paris with Nadia Boulanger in the 1920s. This set includes the three great ballet scores, Fanfare for the Common Man, the Clarinet Concerto (heard throughout Ken Burns’ “The War”), Lincoln Portrait (Henry Fonda narrating) and a selection of Copland’s own film music. Many of the performances are conducted by Copland himself, but also feature Leonard Bernstein, Benny Goodman, Michael Tilson Thomas and John Williams.

Also includes: Quiet City, An Outdoor Overture, The Promise of Living from The Tender Land, The Red Pony Film Suite for Orchestra, Old American Songs (Set One), Concerto for Piano and Orchestra and music from the movies The City, Our Town and Of Mice and Men.

Reviews of some of the original recordings that make up this set"

"let’s not kid ourselves: there was no finer 20th century Haydn conductor than Leonard Bernstein. He has the same affinity for the composer that he did for Mahler: the music’s energy, humor, and sheer emotional range played to the conductor’s strengths, and no amount of foolishness about “period this” or “authentic that” can diminish idiomatic results that penetrate far deeper into the music’s expressive essence than issues of performance practice ever can."

-- David Hurwitz, ClassicsToday.com

"The competition is strong in the “London” symphonies, but Bernstein’s performances of Haydn are always among the most intriguing, the most dynamic and intense. The “Surprise” Symphony’s opening Vivace assai is played slowly, with a unique gravitas, a seemingly odd approach that—through some Bernstein magic—produces a tender, sensitive result. The surprise chord in the Andante doesn’t sneak up on us; it is just plain ff. The repeated ff chords in the rest of the movement thunder with a towering rage, and the Menuet stomps heavily. The Allegro di molto finale boils along at terrific pace, bursting with joy. This is a wildly unconventional performance of this warhorse, yet one that thrills and satisfies.

Max Goberman recorded a superb No. 98, including the violin/cembalo duet in the finale, but his Vienna State Opera Orchestra (like Scherchen’s, third-string leftovers from the Vienna Philharmonic) cannot match the New Yorkers’ power and panache. This “Military” is a lovely performance, with especially enticing wind solos; the Janissary music (triangle, cymbals, bass drum) is not overplayed, as with Scherchen. The triangle rings its own miniature cadenza in the finale’s penultimate measure. The Andante of “The Clock” ticks sweetly and gently, interrupted by thundering fortissimos. Trumpets are prominent throughout the performance, so the wrong-note joke in the (very slow) Menuet’s Trio jars the ear as never before—or since. No.102, perhaps Haydn’s greatest symphony, receives it finest performance, beginning with an almost motionless Largo and ending with a lightning-fast, spectacularly executed Presto. "

-- James H. North, Fanfare

At least one of these performances (No. 104) goes back to the Fifties, and the Paris Symphonies came out about a quarter-of-a-century ago. For some reason they caused a tremendous row in the New York press when they were issued. Part of it was my defending the performances (in a magazine called High Fidelity), saying among other things that Bernstein had gone to great pains to get his trills right, ie in strict tempo and starting on the upper note. In those days, a lot of snobs did not take Bernstein seriously – how wrong they were. Bernstein has a natural affinity for Haydn, though some of his tempi will be judged too slow: first movements of Nos. 82, 93 and 98 (an old legacy from Sir Thomas Beecham, especially in the case of No. 82), the intolerably slow minuets of some works (eg Nos. 93 and 101, also a Beecham legacy but not much better in the Karajan/Berlin Philharmonic recordings), and the slow movement of The Clock (No. 101). But when Bernstein gets it right, it is glorious. The slow movement of the Surprise (No. 94) is nowadays taken far too quickly: it is only andante, not allegretto, and Bernstein’s reading is poetic and masculine, by turns. The first movement of the great C minor Symphony No. 95 is the best reading of it that I know – listen to that hair-raising timpani part at the end: it is extraordinary, as is the ferociously slow Minuet in the same work. And while on the subject of timpani, there are splendid timpani solos in the Minuet of No. 97, the slow movement of which is also a revelation – note the careful adherence to Haydn’s markings of ‘ponticello’, on the bridge of the violins, a nasty, spiky sound which must have stunned London in 1792. If you want one perfect Haydn/Bernstein sampler, try the finale of No. 99 in E flat, the first time Haydn ever used clarinets in a symphony. The tempo and the pace are perfect. And what civilised works these are: witty, profound, dramatic, touching – there is something for everybody in them.

-- H.C. Robbins Landon, BBC Music Magazine

Miss Verrett...comes into her own in the Tchaikovsky and Rachmaninov songs. Her essentially lovely voice warms to these and I found them all most enjoyable... I hope Miss Verrett...will some day give us a recital of Russian songs, including some by Borodin and Mussorgsky, for she responds so sympathetically to those included on this disc...

-- Gramophone [6/1968]
reviewing the original LP release

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...I enjoyed hearing the immense sincerity she already brought to An die Musik and to Die Allmacht, a song calling for the dramatic power of an opera singer. The Russian items, sung in the original, are also deeply felt and here the unaffected style is very welcome. Needless to say the spirituals are superbly done, particularly Oh, Glory!, which I used, not long ago, for a radio profile of this artist. Witness shows off her excellent rhythmic sense and diction in English. Alleluia is technically secure, but the piece calls for a brighter voice. The accompanist is no great asset and as recorded sounds clangy. I do hope RCA will soon give us a new recital from this rich-voiced mezzo; she deserves as much.

-- Gramophone [6/1973]
reviewing an LP reissue of this recording

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“I believe in working and in being good.” - Shirley Verrett

"On stage Miss Verrett presents both a stunning physical appearance and a stunning voice. Vocally her range is large, and her voice is exceptionally expressive and memorable. She works on dramatics – conveying the meaning of the words – and strives equally hard, and equally successfully, to sustain a flowing musical line. She has mastered the subtlety of Schubert songs and the coloratura of Mozart’s “Alleluia.” The hymns and spirituals which she has been singing since childhood, and which she still loves to do, she obviously sings from the heart."

- Mary Campbell
quoted from the program notes for this album. 1965

Of Georg Solti’s two recordings of the Verdi Requiem, I slightly prefer this later one, though I realize that this isn’t received wisdom. The Decca recording, after all, features Sutherland, Horne, Pavarotti, and Talvela as soloists, and while Sutherland arguably is not the right voice for the part, everyone else is very good indeed. On the other hand, Leontyne Price, even toward the end of her career, certainly does have the right voice, as does Veriano Luchetti, while Baker and Van Dam are very intelligent singers by any measure, and they do a good job here. Besides, it’s hard not to raise an eyebrow at the generic complaint that “singer X lacks a true Italianate timbre” when the words being sung are in Latin and the drama (such as it is) occurs entirely within a devotional framework. The music certainly can take many different approaches, particularly when there’s so little actual agreement on what a “true Italianate timbre” is.

Also compared to the Decca recording, Solti here has the finer chorus, a better orchestra (for this work at least), and strangely enough, better (meaning less gimmicky) sound. Solti’s interpretation remains consistent, exciting, and direct, with a particularly thrilling account of the brief Sanctus and a Dies Irae chorus that is as violent as anyone could want without ever turning merely brutal or hysterical. A work as rich as this one always excites a wide range of opinions, and personal preferences tend to vary substantially. My personal favorite, all things considered, is the first Muti on EMI, with Scotto, Baltsa, Luchetti, Nesterenko, and the Philharmonia Orchestra; but either of Solti’s recordings are definitely among the select few. [12/17/2004]

– Classics Today (David Hurwitz)

German bass-baritone Theo Adam sings the role of the generous philosopher-poet Hans Sachs in this dazzling performance at the Metropolitan Opera from January 15, 1972 of Wagner’s only comedy, with Spanish soprano Pilar Lorengar as Eva and American tenor James King as the young hero Walther von Stolzing.

Thomas Schippers conducts the Metropolitan Opera Orchestra and Chorus with a cast that includes the famous German character singer Benno Kusche (as the pathetic villain Beckmesser) and a host of much-admired American singers including Shirley Love (Magdalene), Loren Driscoll (David), Ezio Flagello (Pogner), Donald Gramm (Kothner) and – in a small role, early in his career – the Met’s current (2011) Hans Sachs, James Morris (Schwarz).

Reviews of original LPs

This is an attractive performance of a work that remains astonishingly fresh and delightful. I don't suppose it will please the purists—some continuo bits filled in with strings, not enough harpsichord anyway, and no doubt somebody will complain about ornamentation—but at this price the record is obviously intended for a wide public and the important thing is that Brusilow and the Philadelphia strings present the music in a most engaging way.
Anshel Brusilow is a new name to me. He is a most accomplished player and, with Ormandy, gives a vivid and musical performance, very well recorded. The lively movements are robust, the slow ones are beautifully played.
In case any reader hasn't yet heard these extraordinarily delightful concertos and is the sort who isn't normally attracted by early eighteenth-century music anyway, I do urge him to risk so small a sum on a record of The Four Seasons.

-- F. T.H., Gramophone [7/1962]

"We are so accustomed nowadays to Vivaldi being played by specialist groups such as the Academy of St Martin-in-the-Fields, the ECO, I Musici and others that we have almost forgotten how the music was played before the Vivaldi revival really gathered momentum. There is no lack of panache and virtuosity in these accounts recorded by Stern and Oistrakh whose playing roused Denis Stevens's enthusiasm on the disc's first appearance. "It really does make a difference when violinists of the calibre of Oistrakh and Stern combine to play a double concerto... The performances are so fluent and musical that one's attention is held from the first groove to the last". Indeed the violin playing as such will excite the admiration of all aficionados for there is superb brilliance in the outer movements and expressive playing in the inner movements."

-- R.L., Gramophone [10/1975]

ESSENTIAL:RUBINSTEIN

"• Exclusive to Naxos! • All titles never before available in the U.S.! • Incredible value; budget prices! • German pressings of the immense Sony Classical Masters Catalog in smart, desirable and collectible multi-disc editions • The Sony catalog is replete with legendary artists and many of the greatest recordings of the classical repertoire • Box fronts feature large, prominently displayed photo of the featured artist • Slender, shelf-friendly boxes; CD's housed in space-saving slipsleeves"

GOULD PLAYS BEETHOVEN: 32 VARI

A vibrant selection of pictorial-impressionist exotica.

This disc made little impression when first issued and the undertow caused by the fall of Conifer delivered the coup de grace. It certainly deserves better if you have a taste for Russian nationalism.

Mtzyri is a nice piece of Russo-Oriental pictorial-impressionist exotica. Its elements include a Sheherazade-sinuous song for solo violin and the minaret and the muezzin are never far away. Think in terms of a more lucidly orchestrated brother of Balakirev's Tamara and the tragic-tormented aspects of Tchaikovsky’s Manfred. It’s all done with real conviction and soprano Barainsky (13:20) holds an impressive high note with throbbing invincibility.

The Symphony is lively enough and wends its way between Tchaikovsky and Rimsky-Korsakov - nearer to Tchaikovsky. The quiet shuddering footfall in the third movement recalls the Capriccio Italien.

The booklet notes - now standard in ArkivMusic licensed discs - are by Toccata's Martin Anderson and are therefore a rewarding read in their own right. They are in English, French and German. They paint in the details of the life and music with a fine brush.

A minor gripe is that despite there being plenty of space we have only one attractive segment of the Caucasian Sketches - the composer's only claim to popularity. There was room for the whole suite.

This is a handsome offering and something to tantalise until we can hear his other works. There are six operas including The Last Barricade (1933-34) which has as its subject the Paris Commune. We would do well in our safety and superiority not to hold against him that, as the times dictated, ‘patriotic’ pieces were required and were delivered: Song of Stalin, Hymn to Work, Voroshilov March, The Year 1917. Further afield there is a Catalan Suite and a four movement work, Karelia - possibly intended as his Second Symphony. Other folk-influenced material include An Evening in Georgia, Musical Pictures of Uzbekistan, On the Steppes of Turkmenistan and Turkish Fragments.

If you would like to delve beyond this disc try Naxos 8.553405 (Caucasian Sketches – suites 1 and 2), Marco Polo 8.223629 (Yar-Khmel, Ossian Tableaux, Jubilee March and Episode from life of Schubert etc) and Marco Polo 8.220217 (Symphony 1 and Turkish Fragments).

Gary Brain is a sensitive and confident advocate for this largely unknown music. It is to his credit that he continues to champion the wilder periphery. His discography includes the Truscott Symphony (Marco Polo) and a cycle of orchestral discs presenting music by Polish-Swiss composer, Czeslaw Marek (Koch International).

-- Rob Barnett, MusicWeb International

As electronic music matured during the latter half of the 20th century, composers such as these created bold new worlds with genuinely new sounds.

Vivaldi: Bassoon Concertos (Complete), Vol. 1

BRUCKNER: Symphony No. 9, WAB 109

Robert Craft always conducts splendid late Stravinsky, or selects the best players to do the chamber works full justice, and so it proves here. Granted, the program is a bit of a mish-mash, but that’s only to be expected given the composer and the length of each work. In the Duo, Frautschi and Denk play with just the right crispness and clarity, and you’ll search in vain for a better version of Abraham and Isaac (not that there are all that many). In short, if you’ve been collecting this series, which Naxos hopefully will box up complete someday, then you’ll want to add this disc to your library as well.

-- David Hurwitz, ClassicsToday.com

RODRIGO: Per la flor del lliri blau / A la busca del mas all

GOULD GREATEST HITS

From the colorful theatricality of Crumb to the feedback noise of Cage's Feed, this CD displays the wide palette that was new music during the latter 20th century.

"Brahms, a splendid pianist, had a special diffidence regarding chamber music for strings alone. He fussed endlessly with the string quartet medium and said in later years that he had written twenty before producing one good enough to publish – and at that, he published only three. He was forty by the time he allowed the first two to see the light of day, and they had occupied him for some eight years.
Perhaps Beethoven’s shadow, of which he was acutely conscious, loomed too heavily in this area. Brahms felt less hesitant writing for a medium Beethoven had never touched: he turned out two string sextets in his late twenties and early thirties.

All this puts a special focus on the two String Quintets. By the time Brahms wrote them (Op. 88 in 1882 and Op. 111 in 1890) he was at the peak of his powers. Whatever internal dilemmas he had faced had been successfully resolved, and also he had learned that a string quintet with two cellos – so memorably employed by Schubert – was not to his liking. But Brahms was always partial to dark coloring, and it seems natural that he would be strongly drawn to the dark-hued viola quintet."

— Excerpt from the original liner notes from ARC1-4849 by Shirley Fleming

The most recent release from the Chicago Symphony Orchestra Resound label is an impressive recording of Mahler’s Second Symphony. Based on performances given in late November 2008, this recording preserves the memorable readings CSO principal conductor Bernard Haitink gave this work last year. While comparisons can be awkward, the previous point of reference for CSO audiences was the series of performances by Michael Tilson Thomas in early 2006. At that time Tilson Thomas conducted the work dynamically, but some elements did not emerge readily as, for example, the portamento in the strings in the second movement. Haitink’s approach may be characterized as attentive to the details of the score, and his mastery of those various elements has resulted in an intensely moving interpretation.
 
While it is possible to distinguish the first three instrumental movements from the last two vocal ones, Haitink fused the five movements into a convincing whole in the concerts he gave in Fall 2008. It may be difficult, at times, to perceive such cohesiveness in a recording, since listeners can stop and start at various points. Nevertheless, the disc captures the style Haitink achieved in live concerts in a fine recording of Mahler’s Second Symphony.
 
In this recording, it is possible to hear the attention to detail which Haitink brought to those live performances. Such integrity allowed the score to play as intended by the composer, an intention implicit in the various revisions Mahler made after the premiere of the Second in 1894 - particularly the refinements he published in the 1906 edition of the score. From the start Haitink made the work resonate, with the tremolo with which the first movement opens as intense as a climactic moment in an opera. The opening tempo is engaging, and Haitink is able to propel the movement forward by drawing from the orchestra nicely etched articulations at cadences and other structurally important places, as indicated in the score. He broadens the tempo when necessary and, when marked in the score, allows various passages to push forward. The swells of sound Mahler orchestrated have a clear shape, as the sonorities build to fullness and decay naturally. While some of this ambience may be the result of the acoustics of the hall, the tight ensemble of the CSO must be acknowledged as the source of the solid and mature sound in this masterful performance. With the strings at the core, the orchestra offers equally strong sonorities from the woodwinds and brass. At the same time, the percussion deserves recognition for the effective use of the timpani, along with support from the non-tuned instruments. With its immediate and upfront sound in this recording, the softer passages are never lost in the mix; however the tutti passages at the end of the first section of the first movement, to cite one example, can be overwhelming. The passages which conclude the movement reveal an appropriate pacing, with the final gesture bringing the movement to a resounding conclusion.
 
While some labels issue Mahler’s Second Symphony on a single disc, CSO Resound offers it on two, with the one devoted to the first movement, the piece Mahler once entitled “Todtenfeier,” in the manner of a tone poem Mahler once intended for the piece. The remaining four movements are found on the second of the two CDs. This division also assists in adhering to the marking Mahler put in the score to allow some time before proceeding with the second movement. In the medium of a sound recording, this physical separation supports that kind of stage direction. Likewise, the placement of the second through fifth movements on the second disc helps to prevent any kind of artificial separation of the instrumental movements from the vocal ones.
 
In contrast to the dramatic effect Haitink brings out in the first movement, the second conveys a delicacy implicit in the score. This emerges not only in the softer, more restrained playing, but in the clean articulations of the accompanying figures. In a similar way, the woodwinds are not just soft, as marked in the score, but seem sotto voce in approach, with a reedy blend prominent in the second section of the movement. With the return of the first area, Haitink’s hesitant gestures helped to distort the expected melodic pattern before the variation proceeds. Even within the delicate shadings of the movement, full sounds of the central section never seemed to be a compromise. Rather, the plaintive effect fits into the sometimes elegiac character of the movement.
 
The Scherzo in Haitink’s hands is relatively brisk, and the tempos convey a sense of the instrumental idiom of the movement. While the music from Mahler’s Wunderhorn setting Des Antonius von Padua Fischpredigt (“St. Anthony of Padua’s Sermon to the Fish”) is recognizable, Haitink allows the other ideas in the movement to emerge easily from that vocal model. Those brisk tempos set up the middle section of the movement, where the brass fanfare introduces music by Mahler’s deceased colleague Hans Rott, specifically the opening of the Scherzo from the Rott’s Symphony in E. When the thematic content from both Rott’s Scherzo and Mahler’s Wunderhorn song combine near the end of the movement, Haitink sustains the tension of the orchestral outburst sufficiently to allow the remainder of the movement to dissipate naturally.
 
The quieter sounds and thinner textures at the end of the Scherzo fit nicely into the chamber-music-like sonorities at the beginning of Urlicht, the fourth movement. In this movement Christianne Stotijn uses her full mezzo sound to color the text from Des Knaben Wunderhorn. Her voice blends well with the middle-string sounds, yet is never obscured within the orchestral textures. The calm and paced song gives way, in turn, to the choral Finale, and in this movement Haitink delivers a compelling reading of Mahler’s cantata-like structure which centers on the famous “ Auferstehungs” Ode of Klopstock.
 
The contrasts found in the score are realized nicely in this recording, with the thunderous opening of the movement serving as a foil for the relatively quiet sounds from the off-stage brass which follow and, later, the development of the opening theme on solo instruments. Haitink restrains the horns in the first part of the movement, with the fanfares from that section quite rich in color, but never as prominent as they are later in the movement. Likewise, the low brass are wonderfully clear and resonant, without overbalancing the ensemble - not only in the reprise of the “O Roschen rot” idea from Urlicht, but also later, Mahler develops motifs around the interval of the tritone. Ultimately, the repose which accompanies the instrumental presentation of the Aufterstehungs-Motif from the third act of Wagner’s Siegfried (the passage in which the character Brünnhilde sings "Ewig war ich, ewig bin ich" -- "I was eternal, I am eternal") serves as a further foil for the various off-stage and solo instruments in the section before the a capella chorus enters.
 
At this point, it is difficult to recall a more satisfying interpretation of the choral entrance with the words “Aufersteh’n, ja aufersteh’n, wirst du, mein Staub” (“Arise, yes, arise, my dust”), with the vocal textures full and rich. Miah Persson’s soprano solo plays off the choral timbre with ease and assurance as her passages emerge clearly. When Persson interacts with Stotijn in the duet which follows, both women’s voices blend well in conveying not only the meaning of the text but also the emotional pitch of the music. This sets the tone for the choral sections which follow. The full sounds of the male voices are impressive for the textured sonorities they create. Haitink is good to allow the passage “Bereite dich” to resonate, and then to linger on the passages that follow. In such a way, the text and music build to a fitting and appropriate conclusion, which climaxes on the phrase “Sterben werd’ ich um zu leben” (“I perish in order to live”) before the reprise of the text “Aufersteh’n, ja aufersteh’n” (“Arise, yes arise”). Here the combined sounds of the chorus, soloists, and orchestra have free rein in bringing this monumental work to its conclusion, as Mahler creates a vocal tableau as the culmination of his Second Symphony.
 
The recording does justice to the performances on which it is based, and also points to the affinity between Haitink and the CSO when it comes to interpreting Mahler’s music. This recording is a worthy addition to the already fine set of recordings from these performers, which include the two symphonies which frame this one, the First and Third, as well as Haitink’s incisive recording of Mahler’s Sixth Symphony. Whether these will result in a cycle is less important than the fine interpretations each recording contributes to the legacy of recordings for these works. With this newly issued disc, Haitink and the CSO offer a powerful reading of this important score. It stands apart from others not only for the interpretation Haitink offers but also for the execution of the score by one of the finest orchestras in the world. Available both on CD on a two-disc set and also as a download, this recording bears careful listening for the detailed reading it brings to Mahler’s familiar score.
 

-- James L Zychowicz, MusicWeb International

Prophets of the New is a series from Sony focusing on classic recordings of the 20th century's most revolutionary works. Elliott Carter's Variations for Orchestra was described by the Boston Globe as "an astounding imaginative feat of virtuoso orchestral writing," and his Double Concerto was hailed by Stravinsky as "a masterpiece."

Szell and his Clevelanders are shown at their finest here. The sparkling account of the Haffner is exhilarating, and the performance of the last symphon[y is] equally polished and strong. Yet there is a tranquil feeling to both Andantes that show Szell as a Mozartian of striking sensibility and finesse"

-- Penguin Guide [2003/4 Edition]

Like it or not John Williams has dominated silver-screen culture since the 1990s. His cinema music is often the film; the film is often the music. There is a concert dimension to his work as there was also for his great idols - Rozsa, Korngold, Waxman and Herrmann. On this album we encounter both faces and realise there is no great chasm between them.
 
Discs 1 and 2 address the concert hall world with the occasional departure. The third takes us on an exhilarating romp through the film music firmament - a world he has sent spinning and glittering. Williams has a marvellously piercing emotive touch that cuts through even a pachyderm's insensitivity. I recall for example coming out of a 1998 cinema showing of Saving Private Ryan with tears streaming down my face: the music and images intensify each other.
 
CD 1
Air and Simple Gifts was written for the Obama inauguration and is laid out for cello, piano, violin and clarinet. It keys into the same material that gripped Copland but imparts to it the fruity density of Howells' Piano Quartet. American Journey is a series of touching and sometimes portentous vignettes of the history of the USA. There's a dash of Copland in Popular Entertainment and of Saving Private Ryan in Immigration and Building and Flight and Technology, of Glass and Reich in Arts and Sports. The two worlds come into an even more candid collision - or collusion - in the Suite for Memoirs of a Geisha in which Yo-Yo Ma is soloist - such is John Williams' pull. The writing is roundedly impassioned. Ma's cello is wonderfully sonorous and singingly delicate in Going to School. It is an engrossingly fine score, full of delicate effects that steer well clear of kitsch Chinoiserie. The Song for World Peace - now there's a gauntlet thrown down. It is in fact a slow and satisfying evolutionary ascent to majestic heights.
 
CD 2
Summon the Heroes has the odd drum salvo and brass blast redolent of a certain Copland Fanfare. It all works well and there is something of the Superman score to it too. Odd that the Utah Symphony are conducted by the composer for Hymn to New England - it’s another skilled fanfare relieved by soft contoured undulating string writing. Sound The Bells is another eager and dazzlingly bright fanfare piece.
 
The Five Sacred Trees is a fine bassoon concerto - a sort of Celtic counterpart to The Geisha suite written at a time when things Celtic were in the ascendant: from Riverdance to Titanic. Craeb Uisnig and Dathi have a considerable insurgency of dissonance which we will again encounter on CD 3 in Born on the Fourth of July and the music for Close Encounters.
 
Elegy is a short heartfelt piece, here played by Yo-Yo Ma. It is in Geisha Suite mode. It’s a fine addition to the concert repertoire; any cellist contender for BBC Young Musician of the Year and similar should consider it as a contest piece.
 
The game and indefatigable Mission Theme will be known to Americans as the music for NBC Nightly News. March from the quirky film 1941 is Yankee-doodle rambunctious and not short on brazen confidence. The Olympic Spirit embodies the surging flag-waving of the stadium and especially the spectacle of the opening ceremonies.
 
CD 3
This disc is the deliverer of instant and usually uncomplicated enjoyment. While Williams clearly does obeisance to Herrmann’s North by North-West in Jaws and to Holst’s Planets in the Star Wars main title, his musical wizardry delivers time after time. Elite orchestras directed by the composer are everywhere and that's also true for the harmonica-dominated score for Sugarland Express. Toots Thielemans brings out the down-South and dirty Galahadry of the music reminiscent of a composer we never hear of these days: Bill Russo. Russo had at least two major pieces on DG LPs in the 1970s. The Flying Theme is done broadly and with intoxicating eagerness - a touch of Disney here, I fancy. The suite of three movements from Born on the Fourth of July is from a deeper, tougher vein with the gears of disillusion fully engaged cog by cog. Oily dissonance is strongly drawn in as it is also in the Ligeti-style Close Encounters. Perlman's version of the theme from Schindler's List is all throaty emotion - old gold glowing in auburn embers. A quick outing from the Theme from Jurassic Park has Williams taking us from still and unprepossessing ruminations into that broad optimism-loaded string hymn which he took onwards to a further peak in Saving Private Ryan. Cadillac of the Skies from Empire of the Sun comes complete with angelic choir here provided by the Bostonians rather than by Hollywood. The rambunctious Raiders March is wild and woolly with its Waltonian eddies and under-currents. More of the similar in The Throne Room and Finale from Star Wars - total immersion. It is perhaps a little cheese-cakey in its revelling in victory of the worthy over the wicked. Hats off to one of film music’s Greats: John Williams. Here's to the next 100 films.  



-- Rob Barnett, MusicWeb International

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