The excitement and passion Bernstein brought to Tchaikovsky is well known, but what strikes me even more forcibly on rehearing [this interpretation] is [the] intelligence and thoughtfulness... [W]itness the clarity of the canonic exchanges between lower strings and woodwinds in Romeo and Juliet's initial fight sequence... The New York Philharmonic also gives the conductor 100 percent effort. Ensemble isn't always perfectly tidy (note the occasionally slightly "off" cymbal crash in Romeo), but when Bernstein drives the players hard..., they respond with extreme bravura.

-- David Hurwitz, ClassicsToday.com [reviewing Romeo and Juliet, reissued as part of Sony 93076]

------------------------------------------

Among Tchaikovsky's symphonies the Polish too often appears as the charmless one. I have long been hoping for a new version which would present the music with balletic flair, with a Beechamesque swagger. After Bernstein's disappointingly brutal account of the Little Russian last December (CBS 73047) I was not counting too much on this issue, but in fact far more than the two versions listed above Bernstein does give the music charm, disguises the rather square structure and encourages resilient rhythms. Bernstein is at his best in the first movement. Some may feel that after the superb panache of the first subject Bernstein relaxes too much for the second, which after all is marked merely pow meno mosso. But more than his rivals Bernstein relates this music to the Tchaikovsky ballets. That oboe melody is pure Swan Lake (a work contemporary with this), and so is the 'little swans' music of the trotting bassoon a couple of pages later. There are also hints of The Nutcracker in the delicate string scoring as the climax of the exposition is reached... Arguably Bernstein is too gentle in the second movement Alla tedesca, which is far slower than usual with a gentle flexibility which allows such moments as the reprise after the central triplet-based Trio to emerge with delightful delicacy. When for the coda Bernstein slows unashamedly, I personally am convinced by this approach, but anyone who prefers a straight approach to Tchaikovsky might object.

The remaining three movements are not given quite such a distinctive reading, but they are never less than persuasive. Bernstein again opts openly for dual speeds in the slow movement (for that matter so does Maazel) and though the opening tempo is slow for Andante elegiac° it is perfectly apt for the introductory idea with its hints of lazy fanfares in the distance. The surprisingly Elgarian second idea then comes in at a genuine Andante. The scherzo brings some splendid woodwind playing (the oboe here and elsewhere outstandingly good), and the tempo allows clean definition, which is more than one can say for the HMV Russian version. The finale again has plenty of space round it, a genuine tempo di polacca. The relaxed tempo means that the contrapuntal development which immediately follows the first theme runs the risk of sagging (Maazel is altogether faster, which makes things easier). The principal theme returns with splendid swagger after a very delicate conclusion to the central episode, and the patriotic theme returns with no apology, only just skirting the cliff-edge of vulgarity.

-- Gramophone [9/1973, reviewing the LP release of the Third Symphony]

Vintage supercharged Bernstein with the New York PO on starry form. Just on the right side of self-indulgence, this is a compelling old-world view of Strauss – heroic, intimate and headily nostalgic. The pacing, climaxing and longueurs of Don Quixote (one of the best versions around), the seductive rhythms of the Dance of the Seven Veils, and the public splendour of the Festival Prelude all make for a stunning sonic experience. Demonstration remastered ‘high definition sound’ once you get used to the slightly forward separation of solo cello and viola in Don Quixote.
Performance: 5 (out of 5); Sound: 5 (out of 5)

-- Ates Orga, BBC Music Magazine

THE ROYAL EDITION - SHOSTAKOVI

Includes work(s) by Richard Wagner (Composer). Conductor: Leonard Bernstein.

THE ROYAL EDITION - SCHUMANN:

Stravinsky: Symphony of Psalms, Concerto for Piano and Wind

It is thought that Bach’s Suites for solo cello were written between 1717 and 1723, at about the same time as his works for solo violin, but no original manuscript remains. The cello suites are less flamboyant than the violin works, so present the greater challenge in communication; like Shakespeare’s texts, understanding depends on the subtlest of phrasing, rhythm and intonation.

The Dutch baroque cellist Anner Bylsma brings to this new set (he recorded the suites 11 years ago for RCA Seyon) a remarkable range of expression – vigorous, playful, impetuous and elegant, with extraordinarily fine articulation and elasticity of phrasing within the framework of each movement. Bylsma here records on one of Stradivarius’ great cellos, the ‘Servis’ dating from 1701, which is an extremely rare example of the ‘bassetti’, a large instrument 3 cm longer than the modern cello. For this recording, he uses a plain gut A string, with the three lower strings metal-overspun, which gives a particularly full, muscular sound, unusual for a baroque instrument.

-- Annette Morreau, BBC Music Magazine

Bernstein's charisma is effectively demonstrated in a collection of Russian music... [P]redictably energetic...are Glinka's Ruslan and Ludmilla Overture and Glière's Russian Sailors' Dance from The Red Poppy... But the highlights are lyrical, with Bernstein suitably atmospheric in a fine account of Borodin's In the steppes of Central Asia and giving a coolly poised reading of the beautiful Prelude to Khovantschina of Mussorgsky (with glowing orchestration from Rimsky-Korsakov).

-- Gramophone [7/1985]

------------------------------------------------

...Prokofiev's Scythian Suite, which [Bernstein] does well; I have not heard all the other available recordings but I should imagine that none surpasses this one in brilliance of colour, excitement and virtuosity.


-- Gramophone [10/1969, reviewing the original LP release of the Scythian Suite]

------------------------------------------------

These very popular examples of colourful Russian music are very well played and recorded in a style to emphasise brightness, thus enabling us to hear clearly some of the inner parts that are sometimes obscured.


-- Gramophone [12/1967, reviewing the original LP release of the Glinka, Mussorgsky, and Ippolitov-Ivanov works]

After 20 highly acclaimed classical guitar records, Liona entered the "new age" with style in 1988. Starting with the Vangelis piece from The Year of Living Dangerously (L'Enfant) and featuring guest appearances from Eric Clapton, David Gilmour (Pink Floyd) and Yo-Yo Ma, the scope and variety of Persona is kind of "beyond belief." Exciting, beautiful and dazzling, it's just like the artist herself.

-- AllMusic.com

TCHAIKOVSKY, RACHMANINOV: PIAN

MARLBORO FEST 40TH ANNIVERSARY

REGER: PIANO MUSIC FOR FOUR HA

BEETHOVEN: STRING QUARTETS OPP

In every respect, this is superb. Here is not merely a wonderful souvenir of a special event but a thing of joy forever.

In every respect, this is superb: a 'must'. I recently listened to DG's historic issue of VPO Johann Strauss ((D 435 335-2GWP2), reviewed enthusiastically in February by RO. Here the present needs fear nothing from the past. Indeed Carlos Kleiber combines in one baton, miraculously, every attribute of his predecessors—his father Erich's discipline and élan, Krauss's Schwung, Karajan's elegance, Boskovsky's lift and Krips's insinuating charm. Anyone who saw and heard the concert on television (the video incidentally will be released on Philips) will know just how delightfully Kleiber, with his unorthodox, seemingly effortless methods, achieves his aims and how willingly his complaisant orchestra responds to his peculiar gifts.

If I had to decide between so many winners, I might choose Eine Tausend und eine Nachi for the translucency of its introduction and the champagne elation of its main section, and Spharenklange for ethereal wonder. But then there is the irresistible verve of the Pizzicato Polka where the rubato is perfectly judged, and the tremendous panache of Unter Donner und Blitz. Is there a touch of the mannered just once or twice, as in the opening bars of The Blue Danube? If so, it is usually justified as a means to an entirely convincing end—in this case a familiar piece given with a swooning spontaneity that invites the body to sway with the music.

To crown one's pleasure, the recording is faultless: it has presence, warmth, depth, and captures ideally a sense of the occasion. Here is not merely a wonderful souvenir of a special event but a thing of joy forever. And now if you'll excuse me, I shall go and listen to it again.

-- Gramophone [4/1992]

Finally, we have Stravinsky's opera The Rake's Progress with Alexander Young a splendid Rake and the rest of the cast, including Judith Raskin, John Reardon and Regina Sarfaty, giving animated support. All project admirably, so that the words are remarkably clear. The Sadler's Wells Chorus is first rate too, while the recording has just the right combination of clarity and atmosphere, matching the composer's approach, which is both incisive and warmly flexible. The CD transfer is admirably fresh.

-- Gramophone [8/1992]

---------------------------------------------------

I...love Stravinsky's own recording, particularly on account of [Alexander] Young, also for the composer's infectious enthusiasm and sheer rhythmic zest...

-- Gramophone [8/1996]