REVIEW:

The Philadelphia Orchestra’s first two releases for Ondine under Christoph Eschenbach (Bartók and Tchaikovsky) were extremely good, no doubt about it, but this Mahler Sixth is really extraordinary. Part of its success must stem from the fact that the best German conductors usually do misery especially well, finding the dark side of just about everything. If you don’t believe me, check out Kurt Sanderling’s startlingly deep and edgy rendition of Poulenc’s Concert Champêtre on Supraphon. So you can just imagine what can happen with a piece like Mahler’s Sixth. Anyone fortunate enough to have heard Eschenbach’s performances of this work with the NDR Orchestra in Hamburg will know that he has a special feeling for its harrowing intensity and expressionistic instrumental palette. Toss in the collective virtuosity of the Philadelphia Orchestra, and the result is, to put it mildly, pretty special.

As a coupling, the early piano quartet movement is more appropriate than you might at first think. First of all, it shares the same key as the symphony, and second, it’s useful to have it along as part of an all-Mahler program, allowing collectors to round out their collections without having to search for an acceptable all-chamber-music program. The engineering also represents the best in this series so far, with virtually no audience noise, tremendous presence in both stereo and multichannel formats, and extremely natural balances between orchestral sections. I know that Mahler Sixes seem to be a dime a dozen these days, but this one, a first for Philadelphia, belongs among the elite few (Bernstein I and II, Chailly, Levi, T. Sanderling, and Gielen). It’s just bloody thrilling.

— ClassicsToday.com (David Hurwitz)

REVIEW:

This release...offers an excellent musical programming concept, with all three works captured live in performances that are absolutely stunning and fully competitive with the best available. Both the Bartók and Martinů pieces were composed during their respective composers’ exile in America, while Gideon Klein’s Partita (an arrangement for string orchestra of his String Trio), is the result of “internal exile” in the Terezín concentration camp. All three men found ways to continue making music despite displacement, personal misfortune, and against the background of the rise of Nazism and the onset of war. More to the point, the program works because it offers plenty of purely musical contrast and variety.

Martinů’s Memorial to Lidice, a town wiped out by the Nazis as an act of retaliation for the assassination of Reinhard Heydrich, is a harrowing but ultimately hopeful orchestral elegy that receives the most gut-wrenching performance yet recorded. Eschenbach is about 50 percent slower than Ancerl (or anyone else), but he uses the extra time to excellent effect, revealing every luminous detail of Martinů’s orchestration and building the music to a shattering climax, with Beethoven’s Fifth balefully intoned by the horns. Klein’s Partita has much in common with Bartók’s Divertimento, with its folk-inflected thematic material. Its central movement is a very attractive set of variations on a Moravian theme, and it’s clear from this performance that the Philadelphia tradition of great string playing is very much alive and well. Eschenbach leads a performance both warm and incisive, revealing a major work in the process.

The Philadelphia Orchestra already has at least two recordings of Bartók’s Concerto for Orchestra to its credit, both with Eugene Ormandy--a fine early stereo version on Sony, and a mediocre early digital remake on RCA. This newcomer clearly is finer than either of those, as exciting a rendition as any available. Eschenbach thankfully eschews the excessive slowness that has marred his recent Mahler performances and lets the various sections of the orchestra display their considerable prowess in what remains one of the repertoire’s great showpieces. Listen to the rush of excitement in the transition to the first-movement allegro, or to the beautiful balance between woodwinds and harps in the second subject; notice the brilliant brass fugato that initiates the recapitulation, and the driving coda. It’s the real deal, from the very first note.

The sonics are markedly superior to what Sony, RCA, and EMI used to get in any of the various venues that they used, at least in stereo. The microphones are close to the players, the better to reduce the occasional noise from the audience (the occasional light cough isn’t at all bothersome), but the orchestra can take the exposure, and the sonic impact is pretty thrilling. I’m pleased (and honestly relieved) to be able to recommend it to you in the strongest possible terms.

-- ClassicsToday.com (David Hurwitz)

Listen to the Naxos Podcast episode on this release to learn more!

Randall Thompson’s choral works retain the affection of American choral singers and conductors alike. The Requiem is his masterpiece, written in response to the loss of close friends and colleagues. Using a wide-ranging selection of Biblical verses, it takes the form of a dramatic dialogue between two choirs, a "chorus of mourners" and a "chorus of the faithful", concerning eternal life. Recorded here for the first time in its complete form, this Requiem is an emotional and dramatically intense journey of conflict and resolution, and entirely unique within American music history and the requiem tradition as a whole.

REVIEW:

The performance is very well done by The Philadelphia Singers, a professional choir that after 43 years disbanded in 2015, the year after this recording was made. Although it’s an often strange and imperfect work, we’re fortunate to have the recording, as it fills an important gap in Thompson’s recorded catalog and gives a first-class opportunity to experience aspects of his compositional style that we don’t hear anywhere else in his output.

-- ClassicsToday.com (David Vernier)

The Philadelphia Singers, under the tireless, polished leadership of David Hayes, sustain an impressively high level of musicianship over the course of this long and demanding unaccompanied piece. Thompson’s Requiem is revealed here as a major work, unique and masterful, by an important American voice of the last century. I highly recommend it.

-- Opera News

As one of the finest pianists of his era and an improviser of genius, Ludwig van Beethoven’s preferred vehicle for musical exploration was the piano. With his five piano concertos composed between 1788 and 1809, he not only achieved a brilliant conclusion to the Classical piano concerto, but also established a new model for the Romantic era: a sort of symphony with obbligato piano which was to remain a reference point well into the twentieth century. After the first two concertos, which still closely follow the models of Haydn and Mozart, Concerto No. 3 marks a profound stylistic change. In the piano part, Beethoven pushes the instrument to its limits, leading commentators to remark that he was writing for the piano of the future. This trend continued and reached its fullness in the Fourth and Fifth Concertos, which today rank among the great composer’s most admired works.

In 2009, Haochen Zhang was the youngest pianist ever to receive the Gold Medal at the Van Cliburn International Piano Competition. Since then he has captivated audiences worldwide with a unique combination of deep musical sensitivity, fearless imagination and spectacular virtuosity. He now performs the five Beethoven concertos supported by the prestigious Philadelphia Orchestra under its principal guest conductor, the charismatic Nathalie Stutzmann.

REVIEWS:

In a crowded pool of complete Beethoven piano concerto recordings, young Chinese pianist Haochen Zhang makes an impressive splash with his traversal of one of the most imposing cycles in the entire repertoire. With French conductor Nathalie Stutzmann leading the Philadelphia Orchestra, Zhang deftly handles Beethoven’s fiendish runs and cadenzas throughout these five imposing works. Most memorable are the 3rd and 4th concertos, which have the most balance between urgency and delicacy.

-- The Flip Side

The 4-album Richard Strauss set gathers together all of their early 1960s recordings of the famous tone poems along with Salome’s Dance, the Rosenkavalier and Bürger als Edelmann suites, the Burleske with soloist Rudolf Serkin and the First Horn Concerto, featuring Philadelphia principal Mason Jones. An early review in High Fidelity best summed up their powerful appeal in Strauss’s music: “There is no doubt that, for sheer gorgeousness, the Philadelphians have no peers.” More recent assessments in the Penguin Guide reaffirm that verdict: “Virtuoso orchestral playing … and many felicities of characterization” [Also sprach Zarathustra]; “Marvelous orchestral playing and the two soloists play splendidly with plenty of character” [Don Quixote]; “An extraordinarily voluptuous Philadelphia performance … Ormandy directs with licentious abandon, and the orchestra responds with tremendous virtuosity and ardor” [Salome’s Dance]; “Ormandy’s Ein Heldenleben is an engulfing performance, and the composite richness of tone and the fervor of the playing … bring the highest possible level of orchestral tension.”