Selections recorded April 25-29, 1992 and July 23, 1993.

...[A] first-class performances of the inventive Eighth Symphony – Slatkin’s reading of the Tallis-like Cavatina is radiant. Slatkin also gives an inspiring and sensitive account of RVW’s enigmatic, undervalued Ninth Symphony, rich in associations with Salisbury, Stonehenge and Hardy’s Tess.

-- Ian Lace, BBC Music Magazine

Haydn's violin concertos - all early works composed before 1765 — have suddenly become very popular. These two are for string orchestra only, to which Pinchas Zukerman (soloist and conductor) has added a harpsichord continuo — also in the Symphony No. 22. Nowadays the presence or absence of a harpsichord continuo in Haydn's concertos and symphonies can be a cause for divorce: a huge quantity of ink has been spilt of late over this vexed question. It seems likely, after all, that most of the time Haydn conducted his early symphonies from the violin and that there was no harpsichord continuo. Having said that, Zukerman's continuo is most discreet and musical (the improvisations in the slow movement of the C major Concerto are delightful), and will offend only pedants. Even the cadenzas, by Marc Neikrug in the C major and Philipp Scharwenka in the G major, are inoffensive. The performances of the two concertos are stylish and warmhearted. I found the very slow tempo for the opening Adagio of the Philosopher Symphony unsatisfactory, pleasing though the performance is: it makes the music sluggish and robs it of a certain element of mystery. But if you are going to use a harpsichord in an early Haydn symphony, this is how to do it — no fancy faked amplification and great discretion, almost self-effacing. The sound is elegant.

-- HC Robbins Landon, BBC Music Magazine

A cleanly executed reading of classical proportions. Intelligently conceived, too—Slatkin does vary the tempos in the first movement, but not arbitrarily: there is no accelerando from the moderately slow introduction to the brisk Allegro, but the second subject is more relaxed so that the piu moto of the coda is related to the initial Allegro as is the allargando that Slatkin makes for the final majestic statement of the opening horn call to its appearance at the outset of the movement. This all adds interest without undermining the basic 'walking' pulse. Mackerras's (Virgin Classics) single speed here does, I fear, make for rhythmic monotony.

There is some rapt string playing of the Andante's second subject and when this theme returns after the climax with radiant new colours in the woodwind and garlands of flowing semiquavers on second violins and violas, Slatkin is almost alone in noticing that Schubert asks for the string counterpoint to be louder the second time around (bars 286-98). Norrington (EMI) does too, but with his period strings the effect is, I think, less beguiling.

The finale has a tremendous energetic spin. At Slatkin's headlong tempo there is little room for geniality, but the security of the strings at this speed is breathtaking, and the triple forte climaxes in the coda are powerfully placed.

-- Jonathan Swain, Gramophone [6/1990]

Selections recorded September 30 - October 2, 1990.

SCHUBERT: SYMPHONIES NOS 1 & 2

Track Listing
1. Tuxedo Junction
2. After Hours
3. Tippin' In
4. Rockin' Rollers' Jubilee
5. Weary Blues - (bonus track)
6. Easy Rider
7. Swing Out
8. Big Wig in the Wigwam - (bonus track)
9. Swingin' on Lenox Avenue - (bonus track)
10. Gin Mill Special
11. Cherry
12. Dolomite
13. Song of the Wanderer - (bonus track)
14. Junction Blues
15. Sweet Georgia Brown
16. Five O'Clock Whistle - (bonus track)
17. Soft Winds
18. Nona
19. Blackout
20. Don't Cry Baby
21. Bear Mash Blues

Personnel: Erskine Hawkins (trumpet), Ida James (vocals), Jimmy Mitchelle (alto saxophone, vocals), William Johnson, Bobby Smith (alto saxophones), Julian Dash, Paul Bascomb, Aaron Maxwell (tenor saxophones), Heywood Henry (baritone saxophone, clarinet), Sam Lowe, Wilbur Bascomb, Marcellus Green, James Harris, Charles Jones, Willie Moore, Robert Johnson (trumpets), Edward Sims, Robert Range, Richard Harris, Norman Greene, David James, Donald Cole (trombones), Avery Parrish, Ace Harris (pianos), William McLemore, Leroy Kirkland (guitars), Leemie Stanfield (bass), James Morrison, Edward McConney, Kelly Martin (drums).

Recorded in New York between 1938 and 1942, and Chicago on January 10, 1945. Includes liner notes by Stanley Dance.

Booklet includes a discography and detailed personnel listings.

Personnel: Erskine Hawkins (trumpet).

Recording information: 09/12/1938-01/10/1945.

This is an excellent one-CD sampler of the music of Erskine Hawkins' Orchestra. Although serious collectors will want to get the comprehensive Classics releases, this is a perfect place for more general listeners to begin. Hawkins' three biggest hits ("Tuxedo Junction," "After Hours," and "Tippin' In") lead off the set which otherwise has highlights from 1938-42. With the exception of 1945's "Tippin' In" (which features some memorable lead alto by Bobby Smith), all of Hawkins' key soloists are here, including the leader and Dud Bascomb on trumpets, either Paul Bascomb or Julian Dash on tenor, baritonist Haywood Henry, and pianist Avery Parrish (who made "After Hours" famous). Timeless swing. ~ Scott Yanow

SCANDANAVIAN SUITE GUILDHALL

MOZART: SONATAS FOR VIOLIN & P

MEIJERING: TWO MEN AND A LADY

SCHUBERT: SONATA IN BB MOZART

This recording was originally released in 1954.

"The Enigma Variations, Froissart, Cockaigne, and In the South (a thrilling performance) all benefit from Slatkin's keen musical insight and impeccable execution. The London Philharmonic, long experienced in this music, provides its usual enthusiastic and authoritative performances."

--Victor Carr Jr, ClassicsToday.com [6/15/2004] Reviewing RCA 60389

SALUT D'AMOUR ANNE AKIKO MEYE

"I enjoyed this performance enormously. Davis's Mahler is perhaps too restless, too blatantly 'conducted' for some tastes, but his occasionally heavy-handed manipulations of tempo are at least symptomatic of a desire to communicate a personal vision of and affection for Mahler's score. Both playing and recording are of exceptional standard, even if the lack of ironic edge to the sound lends the music-making a somewhat old fashioned air (strikingly at odds with RCA's strident, pop-inspired packaging). Davis's scherzo is warm and characterful in a rather cumbersome Sort of way, but his slow movement is a marvel -elevated in feeling and blessedly free of the intrusive inflexions which mar an otherwise refreshing account of the opening movement. No more affecting account has appeared for a decade and only Maazel's Vienna Philharmonic produce such glorious string tone. After this, the finale disappoints just a little. The 'operatic' soloist does not really point her words with sufficient poignancy -nor does she seem willing or able to sing quietly in her upper register - and Sir Cohn again insists on playing up the composer's expressive hesitations, adding one or two of his own. This may not be wholly idiomatic Mahler and yet, like so many recent discs from this source, it has abundant humanity and an extraordinary lack of artifice. The sympathetic acoustic of the Herkulessaal, well caught, is great asset.

-- Gramophone [7/1996]