ADLER: THE LADY REMEMBERS, WIL

MOZART: EINE KLEINE NACHTMUSIK

A casual look at the programme might reasonably raise the reader's expectation of a recording of one- and two-piano music, but it would be a misguided one—six, not four, hands are involved, and if there was a piano in the studio at the time it remained silent; the hands are those of three guitarists. There is, however, nothing new in the arrangement of judiciously chosen piano music for one or more guitars, indeed such arrangements helped to see the music of Granados and Atbéniz through lean years, and it is a decade since Julian Bream and John Williams recorded their duo arrangement of the Dolly suite (also for RCA). It might be objected that, though both the piano and the guitar are percussive instruments, the sonorities are radically changed, but they are no less so when harpsichord music emerges from a piano. Have not, too, composers orchestrated some of their piano works—and even guitar pieces (start with Falla and Rodrigo), and who has complained about Busser's orchestration of Debussy's Petite Suite?

The guitar is capable of a far greater variety of tone-colour than any piano, so that these present arrangements are in effect orchestrations. There can be problems of co-ordination, not least with percussive instruments, when the work of one player is subdivided amongst more, but in this case they do not arise: the Amsterdam Guitar Trio have had the same personnel since their formation in 1978, and their members were fellow-students. They possess both technique and musicality in abundance and their ensemble has a unanimity of which any chamber ensemble, of whatever composition, might be proud. An advertising slogan once ran: "I've never tried Guinness—1 don't like it"; don't reject this recording without allowing yourself to enjoy this music in its new and alluring dress. No lingering objection could concern the recording per se, for it is superb.

-- John Duarte, Gramophone [7/1989]

Track Listing
1. While My Lady Sleeps - (Take 3)
2. It's Easy to Remember - (Take 2)
3. Bali Ha'i - (Take 9)
4. If I Should Lose You - (Take 2)
5. Moonlight in Vermont - (Take 5)
6. Don't You Know I Care (Or Don't You Care to Know) - (Take 6)
7. Lazy Mood - (Take 9)
8. I'm Old Fashioned - (Take 5)
9. Black Is the Color of My True Love's Hair - (Take 6)
10. What's New? - (Take 3)
11. No Moon at All - (Take 5, bonus track)
12. Back Home - (Take 6)
13. I'll Remember April - (Take 3, bonus track)

Reissue producer: Orrin Keepnews.

Features Phineas Newborn (piano) with strings (1957) and with his trio (1958).

Personnel: Phineas Newborn, Jr. (piano); Calvin Newborn (guitar); Jacques Gasselin (violin, balloons); Gerald Vinci, Carl LaMagna, Marvin Limonick, Henry Hill , Benny Gill, Alfred Lustgarten, Leonard Atkins, Eunice Wennermark, Gerald Cinci, Dan Lube, Victor Arno, Israel Baker, Ralph Schaeffer (violin); George Neikrug (viola, cello); Harry Hymans, Louis Kievman, Joe Reilich, Abraham Hochstein, Harry Hyams, Cecil Figelski, Paul Robyn, Allan Harshman (viola); Raphael Kramer, Edgar Lustgarten (cello); Dennis Farnon (strings); Denzil Best, Alvin Stoller (drums).

Liner Note Author: James Williams .

Recording information: Radio Recorders Studio, New Yor (04/23/1957-04/03/1958); RCA Studio B, New York, NY (04/23/1957-04/03/1958); RCA Studio, Studio B, NY (04/23/1957-04/03/1958).

Illustrator: Joel Spector.

Arranger: Dennis Farnon.

This CD reissue is mostly comprised of a 1957 set featuring the virtuosic pianist Phineas Newborn backed by a string orchestra led by Dennis Farnon. Although not as vital as his usual trio dates and Farnon's string arrangements are not too inspiring, the music is pleasing and finds Newborn in his early prime. Particularly noteworthy are his versions of Eddie Miller's "Lazy Mood," "While My Lady Sleeps" and "Bali Hati." Also on this set are three quartet numbers and an unaccompanied rendition of "What's New" from the RCA album Fabulous Phineas. ~ Scott Yanow, AllMusic.com

Track Listing
1. Four
2. Four - (alternate take)
3. St. Thomas
4. St. Thomas - (alternate take)
5. I Remember Clifford
6. I Remember Clifford - (alternate take)
7. 52nd Street Theme
8. 52nd Street Theme - (alternate theme)
9. Bluesongo - (bonus track)
10. Jungoso

Personnel: Sonny Rollins (tenor saxophone); Thad Jones (cornet); Herbie Hancock (piano); Bob Cranshaw, Ron Carter (bass); Roy McCurdy (drums); Candido (congas).

Producer: George Avakian.

Reissue producer: Orrin Keepnews.

Engineers include: Ray Hall.

Recorded at RCA Victor Studios, New York, New York between May 14, 1962 and April 14, 1964. Includes liner notes by Orrin Keepnews.

This CD is what too few "previously unreleased" collections are: a well-documented, well-annotated recording with a purpose and a point of view. In a thoughtful essay, producer Orrin Keepnews discusses what these early Sixties recordings of Rollins reveal about the tenorist's approach to repertoire and improvisation and, more pragmatically, about his relationship to the recording studio and to record companies in general. Each of the first four tunes can be heard in two different versions. "Four" was recorded both with a trio (with Roy McCurdy on drums and Bob Cranshaw on bass) and a quartet (with Herbie Hancock on piano and Ron Carter replacing Cranshaw on bass)

The versions of "I Remember Clifford" and "52nd Street Theme" were recorded with Hancock on piano and Thad Jones on cornet added to the basic trio. "Bluesongo" and "Jungoso" are trio pieces with Rollins, Cranshaw, and Candido on congas. Keepnews explains that these two cuts, which were originally released on the album WHAT'S NEW in 1962, have not been reissued anywhere else recently (unlike the balance of the material from WHAT'S NEW) and have consequently been included here.

THE IMMORTAL FRITZ KREISLER

Marvellously inventive music, beautifully played by a superb cellist. It is difficult to restrain one’s foot from tapping, a sure sign that good things are happening in the music.

"Vivaldi is greatly over-rated - a dull fellow who would compose the same form over many times." Such is the opinion of one of the great composers on the music of another great composer. Given the evidence of the present newly re-released complete Vivaldi cello concertos incredulity can be the only response to this assessment. But then Stravinsky was a man who voiced strong, often acerbic and sometimes outrageous opinions on virtually anything suggested to him. He had probably heard few, if any, of these cello concertos and irrespective would it have made any difference?

...This is wonderfully inventive music, which reflects the creative genius of its composer. Contrary to Stravinsky’s comments, the structure is highly varied. It is interesting to compare the infectious good-humoured opening of the B flat concerto RV 423 with the C minor RV 401 and its feeling of lamentation and contrapuntal texture. The solo cello part of the C major concerto RV 399 is so very different to the solo parts of all the other concertos.

Vivaldi must have had in mind a particularly virtuosic student when he wrote the demanding passages in the final movement of the D minor concerto RV 405. In the concerto for cello and bassoon, RV 409, the first movement alternates soft sustained passages for the soloist with fast outbursts for the orchestra. Then in the second movement Vivaldi reverses the roles; only in the final movement do the soloist and orchestra play in the same mood.

...The playing by Ofra Harnoy is very musical and evinces beautiful intonation. It is difficult to restrain one’s foot from tapping, a sure sign that good things are happening in the music... This set is enthusiastically recommended for what it is - a record of marvellously inventive music, beautifully played by a superb cellist.

-- Zane Turner, MusicWEb International [reviewing these performances reissued as part of the box set, RCA 67886]

BEETHOVEN: SYMPHONY NO 7, CORI

A nostalgic recollection yes, but it's unlikely you've heard a performance like this at an evening concert in the park. The virtuosic playing of this classic Canadian Brass recording has always been jaw-dropping, and it's a wonderful example of how these five players can deliver a sound that matches a symphonic band. The arrangements are ideal, and the playing is magnificent - a real treat.

CHOPIN: SONATA, MAZURKAS, ETC

VIVALDI, CARULLI, GULIANI: GUI

VIVALDI: FOUR SEASONS, CONCERT

This could be termed 'the record of the concert' because this duo played precisely these works in the same order at the Wigmore Hall in London during November last, rather poor measure for a recital (though there was an encore), but generous measure on a CD. Their live performances were very similar to those encountered on this disc. Swensen, who had already enjoyed success with the Sibelius Concerto in London, has a refined, Szigeti-like tone and like his distinguished predecessor he isn't afraid of using portamento and bowing in the most delicate manner. He nicely varies his dynamics throughout, more boldly so than some of today's players might. The tone isn't very large and certainly not so rich as that of his near-contemporary Dumay, also just entering the record scene, but he is such a sensitive musician that want of big sound hardly matters. At 28 he is obviously destined for a bright future. So is Kahane, who plays with presence and character throughout—listen to him shaping the reminiscence of Sei mir gegriisst (D741) at the start of the Andantino section of the Fantasia.

That work, of course, is the most mature encountered here. Its sense of unity within the utmost variety shows Schubert at his most ingenious, yet I have always enjoyed the sonatas, once called mistakenly sonatinas, since de Vito recorded them for EMI (nla) many moons ago now. The much more recent LP (1973—Philips, nla) made by Grumiaux discloses many of the same qualities displayed by Swensen, and the two pianists are not dissimilar, but the new pair observe the first-movement repeats whereas the older partnership ignores them. I have to point out one serious drawback to the RCA disc and that is the intrusive breathing and bowing noises. I got used to them after a while but they are there, emphasized by the very close recording. Still, since this is the first CD appearance of all the works (the beginning of an integral set), and the Fantasia is such an attractive piece, so spontaniously played, the distraction may be overlooked by many.

-- A.B., Gramophone [1/1989]

"Those who have criticized James Galway for his choice of repertory should take note of this unusual and attractive Czech collection. All three pieces spark off the Galway magic, with the two modern works beautifully written for the flute, and the Dvorak Violin Sonatina proving a winner in this 'edition' (rather than arrangement) for flute by Galway and Moll themselves. . . . In [Dvorak's New World] symphony so many of the principal ideas appear on the solo flute, and here the melodic kinship between the two works comes out the more winningly and more intensely from first to last, along with a fresh rustic flavour. . . . With the [Martinu sonata's] outer movements generally jolly and extrovert, bringing occasional distinctive Martinu touches, the work's main weight comes in the central Adagio with its powerful middle section and its beautiful meditative close. . . . Phillip Moll as ever is a sparkling and sympathetic accompanist. The recording is relatively dry with excellent presence: James Galway might by playing in your very living-room."

-- Edward Greenfield, Gramophone

Such moments as the legato of the prayer in La vestale and the beauty and control of the soft major-key phrases in La Gioconda proclaim the truth of the general verdict that at her best Ponselle stood supreme among the sopranos as Caruso did among tenors.

RCA's return to the historical field is as welcome as it is timely; timely, that is, in showing a renewed interest in their own priceless archives and, particularly with this Ponselle recital, in providing the listener with a choice. Ponselle was one of the three singers honoured by Nimbus with a complete recital devoted to her recordings in the launch of their highly publicized Prima Voce series. This (0 NI7805, 10/89) includes six items that are also to be heard on the RCA disc (seven with the Ernani aria, of which Nimbus have the pre-electrical version and RCA the better-known remake of 1928). The choice, then, lies between contents as far as the rest of the programme is concerned, and between quality of transfer throughout.

To take repertoire first; both concentrate on opera but add a few songs. The Nimbus disc scores with two charming Italian ones by De Curtis and Di Capua from 1924, rare in their original form and sung with the incomparable beauty of the young voice. RCA have two fascinating items from the series made at the singer's home in 1954, 17 years after her retirement: they are well chosen, both of them showing how much of the rich, powerful tones had survived and how vividly communicative her art had become. Among early operatic recordings Nimbus have the magnificent Nile duet from Aida with Martinelli, while RCA select the solo from L'Africaine, a glorious piece of singing and all that survives of one of Ponselle's most accomplished performances at the Metropolitan. From the later and more famous series comes the excellent "Ritorna vincitor" on RCA, so much more expressive than one tends to remember, and on Nimbus there is the Norma duet with Marion Telva. With the rival merits balanced so evenly a deciding factor might be RCA's inclusion of the final trio from La forza del destino, but Nimbus also have a place for that on their Martinelli recital (0 NI7804, 10/89), which has its own attractions as yet without competition from the American company.

What, then, of the transfers? RCA's are certainly better at picking up the consonants and at bringing the singer into sharp focus in a face-toface relationship. The Nimbus disc takes her away from us to the extent of placing her in a hall or opera house resonance—which, one could argue, is where she belongs. One of the complaints about her recordings always used to be that they are too confined and boxy: listening to the RCA transfers I see, very clearly, and in the 1939 song recordings with uncomfortable closeness, a singer in a studio, whereas with Nimbus I see a figure on the stage. Both have their advantages, and both, it should be added, very successfully lift the voice out and free from all the gubbins of the old 78rpm surfaces.

Ponselle, of course, was one of the great singers of the century, and acquisition of either of the recitals is quite likely to lead to that of the other. This will be in spite of some frustrations, for not everything in the singing is as the heart desires and she was always considered difficult to catch adequately under recording conditions. Yet the first note of "Pace, pace, mio Dio", with its long steady swell and retraction, the trill and magically light staccatos of Ernani, the legato of the prayer in La vestale, the beauty and control of the soft major-key phrases in La Gioconda: all of these moments and so many others proclaim the truth of the general verdict that at her best Ponselle stood supreme among the sopranos as Caruso did among tenors.

-- Gramophone [1/1990]