Coupling the 1899 Verklärte Nacht with the 1946 String Trio – a late 12-note work – raises the possibility of special pleading: buy the disc for Schoenberg’s reassuringly familiar Romantic composition, and you might be converted to the more difficult one too. As a marketing strategy, that seems reasonable; both performances here could persuade a variety of listeners. You’d expect a big-gestured, strongly characterised reading with Walter Trampler and Yo-Yo Ma augmenting the Juilliard Quartet in Verklärte Nacht; and though these players sometimes take a larger-than-life approach to the score’s dynamic markings, the results never struck me as inappropriate. This 1991 performance is real chamber music; if the case notes hadn’t revealed that Trampler and Ma play second viola and second cello respectively, I wouldn’t have been sure who were the guests. Like many leading string players, at least one musician adds some irritating breathing noises to the quite close-miked recording. The 1985 recording of the trio benefits from the continuing vitality and real musicality, as well as experience, of three of the Juilliard Quartet’s members. There is much to enjoy as well as simply admire here.

-- Keith Potter, BBC Music Magazine

TOO GOOD ME 40TH EDITION

RACHMANINOV, PROKOFIEV: CELLO

These 2 CDs of RCA Victor recordings from Lena's early prime are book-ended with 1941 and 1957 performances of the song that will always be hers: Stormy Weather. Another classic Victor hit, One for My Baby (and One More for the Road), is here, too, plus Where or When; Love Me or Leave Me; Mad About the Boy; Speak Low; I Concentrate on You; the Man I Love; That Old Feeling, and more seductively sung standards!

BBC Radio 3's "Building a Library: Shostakovich" makes this performance the top choice for the Shostakovich Cello Sonata.

"The Trio receives a deeply felt performance, one which can hold its own with any issue, past or present." -- The Penguin Guide [2003/4 edtion]

According to the notes, Stern considered this earlier recording of Schubert’s Trio, op. 99, from 1964 definitive and had little interest in re-recording it. Unlike the other material in the tribute, it should be familiar to listeners from its original release on LP and from its CD reincarnation as 64516 in Sony’s Life in Music Isaac Stern series. Stern was arguably the most successful chamber musician among the superstar violinists of the middle and late 20th century, recalling earlier dedicated collaborators like Busch and Thibaud. Unlike leaders who consider themselves soloists with a very small orchestra, Stern influenced textures subtly, seldom asserting himself. That Zen-like submersion of his ego in the larger musical design gives the Schubert Trio a unanimity of purpose rare in such collaborations by soloists—Stern set a most instructive example for the generations who’ve followed him. Stern continued in later years to gather talented musicians around him, and, according to the notes, decided to record the Brahms Quintet in 1993 after a series of performances of the work with the same partners—Lin, Tree, Laredo, and Ma. It’s an assembly of stars all of whom have associated themselves, as Stern has, with chamber music. They develop an almost orchestral richness and power, complemented by vibrant recorded sound. And once again, Stern has completely sunk the individual and set aglow around the performance the documentary aura he had hoped it would emanate.

I can’t recall ever hearing from Stern even a movement or two from Bach’s Solo Sonatas and Partitas, so when the recording arrived for review and I noted the Partita in B Minor on the back of the package, I could hardly wait to get it open—if only out of curiosity. Unfortunately, the set includes only the Sarabande and Double, recorded in Carnegie Hall in 1985. Stern’s Sarabande sounds characteristically strong minded; but his Double recreates enough of his allusive magic to make listeners keenly lament that he didn’t bring himself to play these works in public or record them. What stories he could have made out of their transcendental phrases!

It has been easy both to love and to hate Isaac Stern. But as certainly as whatever good and evil he may have done will recede into the misty recollections of ancient storytellers, just as certainly will his recordings keep him young forever. These should be among them. Great music from a great violinist. Urgently recommended.

-- Robert Maxham, FANFARE [11/2002]
reviewing Sony 88936

In the Cello Concerto Yo-Yo Ma's playing is characteristically refined, but keenly affectionate too... both he and Sir Colin Davis are thoroughly attuned to the sensibility of this composer and the recording balance is excellent.

-- Penguin Guide [2003/4 edition]
reviewing the Cello Concerto previously released as Sony 89716

Oftentimes the all-star games aren't particularly good team events; but anyone who takes that view with regard to this pair of performances by some of the heaviest hitters in the business will miss some glorious music-making! Actually, not all of them are especially heavy, but the simile is apt.

Schubert's Quintet is one of chamber music's greatest treasures, and there have been some grand recordings of it; but the present crowd brings to this reading a degree of intensity, perhaps stemming from the respect and admiration the players clearly feel for one another, that is unique in my experience with this score. You'll find comparable electricity in some of the other stellar versions—most notably on RCA, whose great ensemble is headed by Heifetz; and on CBS/Sony, where a considerably younger Stern does the honors but Casals's presence seems to dominate. Those who prefer to concentrate on the music itself, as opposed to the musicians, will perhaps admire even more the grand ensemble playing achieved by various guests, with such core groups as the Emerson, Hollywood, Guarneri, and Melos Quartets (in two of which recordings Rostro-povich figures). But the present reading easily stands among the best of these, and those who are swayed by superior sound need look no further, for most of the artistically competitive versions I have cited aren't DDD.

The second movement of this quintet is one of the most moving pieces of music I have ever heard, and if it matters to our readership I will confess I had a very hard time getting past it on this CD—I repeated the Adagio five times before 1 allowed the performance to continue, so taken was I with both the work and this reading.

The release is further enhanced by a lovely realization of the original source of Boccherini's ubiquitous Minuet. This E-Major Quintet isn't quite in the same league as the Schubert, but the players' level of commitment is nonetheless comparable. The sound is equally fine, and hearing the whole thing, as opposed to the well-known snippet, is certainly worthwhile—and, as it happens, there's not much competition, other than Denon's version with the Berlin Philharmonia Ensemble. Note that two different times are shown on the cover—64:50 and 76:12. The latter is correct. For the Schubert, then, this is recommended with a degree of fervor that grips me only rarely.

-- John W. Lambert, FANFARE [5/1997]

Originally released in 1974, Airto's FINGERS is re-released here.

Ma and Ax bring their series of Beethoven's music for cello and piano to a close with this release. No recording date is given, but we must assume the performances were taped some time after the preceding four sonatas, not only because of the later release but because of the immeasurably improved sonics. Ma is now the aural equal of Ax, and no longer sounds as if he's playing some respectful obbligato from another room. Ma's elegance and propensity toward understatement are no match for the muscular and assertive Ax as it is, and the cellist needs all the help he can get to give his 50%. an equal hearing. Which is my basic problem with the Ma-Ax partnership: I don't find them particularly well-suited to each other, especially in these sonatas where equality is the key to the performance (as in the equal fire of Rostropovich and Richter in their be-all Philips set). But mine is a minor voice where this popular duo is concerned, and those who have followed the series with satisfaction and joy will find the familiar silken tones of the cellist and the rambunctiousness of the pianist much in evidence. Their C-major Sonata is unmistakably related to their D major, that is, both are played like early 19th-century works rather than the beginning of Beethoven's late period. Like the D major this new C major sings and jumps with an extrovertedness which is quite different from the pensive, mysterious performances we're apt to hear of these perplexing sonatas. If Rostropovich and Richter tell me a whole lot more of what I think I want to hear in these works, I nonetheless am quite taken with the spirit (and the sensational playing) of Ma and Ax, although as I've said, I'd rather hear them paired with others (Ma with Alfred Brendel sounds good, while Ax with Mischa Maisky would probably be hair-raising).

Ma lets his hair down (doesn't sound right, does it?) for the variation pieces, and he comes out slugging with his partner, with the results being some positively ebullient music-making. I've always loved the “Maccabaeus“ variations, and a quick comparison with Barenboim and du Pré (a particular favorite) clearly establishes the newer recording as the one to have for brio, virtuosity, and just plain ol' craziness. I loved it, and I was quite pleased with the sense of fun and beautiful tone (from Ma especially) in the Mozart variations. Even if the sonata is not to your liking, the variations are well worth the purchase of the disc and can easily be put at the top of the list of the not-very-many recordings of these charmers.

As mentioned above, CBS' engineers have the balance right this time, and one may enjoy this unusual partnership in warm and roomy sound. The surfaces on my copy (domestic for this issue) could have, should have, been better. The CD edition, due any day, should certainly be the medium to opt for.

Before winding up with a recommendation for fans of the Ma-Ax duo, I must mention the cover of the album which pictures these two wonderful-looking people—Ma cross-legged and Ax with his gams hanging over the keyboard—sitting atop the piano. The happiness on their faces gives me a really good feeling. If you like these boys in this repertory, or have been searching for a special recording of the three variation works, by all means snap this one up.

-- Vincent Alfano, FANFARE [9/1986]

A few months before his death in February 2014 conducted by the then 83 year old world famous conductor Lorin Maazel at the Munich Philharmonic, the famous Verdi Requiem. He presided over there " his" orchestra, the Munich Philharmonic, the Munich Philharmonic Choir and soloists class : Anja Harteros (soprano), Daniela Barcellona (mezzo- soprano), Wookyung Kim (tenor) and Georg Zeppenfeld (bass). The moving concert was recorded on three nights and this may be his last recording of the great conductors will now appear on Sony Classical. The press was then full of praise were " all desires and expectations (fulfilled) that can be put to this work. " (S�ddeutsche Zeitung). And the evening paper Munich spoke of a " forceful and convincing " interpretation.

Baritone Christian Gerhaher and soprano Mojca Erdmann perform Hugo Wolf's dramatic and poetic song cycle, "Italian Songbook." Highly appealing to listeners yet challenging for singers and hence rarely heard, Wolf's 46 songs stand as exquisite gems that also embrace a larger story arc, creating a highly memorable dramatic experience. Gerold Huber is the skilled piano accompanist and all three musicians are highly acclaimed.

The music of South America, steeped in sultry passion, irresistible dance rhythms and melancholic reflection is a unique challenge for the vocal and interpretive abilities of a great singer. Rojotango promises to reveal new facets of Erwin’s sensuously dark, chocolaty voice.

The imaginative and intriguing repertoire features a varied and exciting selection of passionate tangos by Astor Piazzolla, Pablo Ziegler and Juan Carlos Cobian as well as a number of evocative Argentinean and Brazilian folk songs.

"Magnificently devilish, charming and irresistible." - The New York Times

"He sang and acted rings around everyone else, showing a gorgeous, dark, versatile bass. Young, hyperkinetic and hunky, he is a boring singer’s nightmare." - Opera News

First time on CD! A surprise hit Off-Broadway in 1968, Dames at Sea had its London debut little more than a year later. The Original London Cast Recording features an all-British cast in a lively but distinctive interpretation of the show, under original director/choreographer Neil Kenyon, with orchestral arrangements that differ from those created expressly for the Off-Broadway cast recording – perhaps closer to what was actually heard in the theater. In the role that made Bernadette Peters famous, nineteen-year-old Sheila White brings a fresh, pixie-ish quality to the optimistic showgirl Ruby. (White played Brigitta in The Sound of Music in London and, in 1969, had just appeared as Nancy Sykes's best friend in the Oscar-winning film Oliver!). Dames at Sea has had an enduring popularity in England, and this production was the beginning of that.

Book and Lyrics by GEORGE HAIMSOHN and ROBIN MILLER
Music by JIM WISE

CAST:
Mona Kent -- Joyce Blair
Joan -- Rita Burton
Hennessey -- Kevin Scott
Ruby -- Sheila White
Dick -- Blayne Barrington
Lucky -- William Ellis
The Captain -- Kevin Scott

MUSICAL NUMBERS
1. Overture 2:52
2. Wall Street 2:41 - Mona
3. It’s You 2:02 - Dick, Ruby
4. Broadway Baby 2:53 - Dick
5. That Mister Man of Mine 4:04 - Mona, Chorus
6. Choo-Choo Honeymoon 2:56 - Joan, Lucky
7. The Sailor of My Dreams 3:01 - Ruby
8. Singapore Sue 5:21 - Lucky, Company
9. Good Times Are Here to Stay 3:49 - Joan, Company
10. Dames at Sea 3:34 - Company
11. The Beguine 5:22 - Mona, The Captain
12. Raining in My Heart 5:04 - Ruby, Chorus
13. There’s Something About You 2:20 - Dick, Ruby
14. The Echo Waltz 2:18 - Mona, Joan, Ruby, Company (Lyrics by George Haimsohn)
15. Star Tar 2:46 - Ruby, Chorus
16. Let’s Have a Simple Wedding 2:25 - Company

2014 release from the singer/songwriter. With THE BIG PICTURE, Kat Edmonson has teamed with one of modern music's renowned producers, Mitchell Froom (Paul McCartney, Crowded House, Sheryl Crow.). This skillfully-crafted album introduces extraordinary new layers of pop craft, highlighting Kat's uniquely infectious vocal style as well as her equally exceptional songwriting skills, blending memorable hooks with lyrics that are witty, wise and tender. THE BIG PICTURE builds upon Kat's previous work, but offers even more of her writing, she wrote or co-wrote 11 songs on the album, and more of Kat's unique sound. The album is a delicious batch of Pop perfection with songs that are tight, polished and more upbeat than anything she's done before. Edmonson draws from a wellspring of '50's and '60's Pop, AM radio, present-day Pop-Rock, and movie soundtracks. THE BIG PICTURE is smart, sophisticated and fun, simultaneously classic and modern.