Schubert set the verse of more than 115 poets to music, producing around 650 songs. He selected biblical texts and poetry from classical Greece, the Renaissance, the Enlightenment and the early Romantic era, the poets including Goethe, Schiller, Shakespeare, Petrarca and Heine as well as his Austrian contemporaries and friends. The Complete Lieder includes all the solo songs and part songs with piano, grouped according to the poets who inspired him. Ulrich Eisenlohr, pianist and artistic director of the edition, selected native German singers and used Bärenreiter’s Neue Schubert-Ausgabe as a basis for the recordings, producing a stirring cycle of particular integrity. All the sung texts are included online with English translations.

Classical Music

Classical Music

EARLY RECORDINGS

Love of Beethoven' works threads through Biret' life like a red ribbon. Her studio recordings and live concerts show this in an unequivocal language... Next to the Piano Concertos, the Triple Concerto and the Choral Fantasy she has also recorded and perfo. 747313306930 IBRA8503069.2 16093249 .00 25.99 .69 IDIL BIRET ARCHIVE COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 10/25/2011 https://media.aent-m.com/graphics/items/sdimages/c/500/8/6/5/0/1900568.jpg 3 3 N BEETHOVEN / BIRET COMPLETE PNO Love of Beethoven' works threads through Biret' life like a red ribbon. Her studio recordings and live concerts show this in an unequivocal language... Next to the Piano Concertos, the Triple Concerto and the Choral Fantasy she has also recorded and perfo.

This comprehensive collection showcases one of the most fascinating and renowned conductors of the Soviet Era. A founding member of the Borodin Quartet, Rudolf Barshai was born in Russia in 1924 and was regarded as the leading violist of is generation by his early 20s. He founded the legendary Moscow Chamber Orchestra before emigrating to Israel in 1977 and denouncing Soviet authorities. Today his recordings, especially of Shostakovich, stand out as some of the greatest of all time. Those recordings and many others, all performed live from 1956-1974, are included in this 10-CD set.

“A supreme mastery of tempi, sonorities, polyphony and of course technique permits Biret to embrace all the moods of the great Beethoven and gives her playing a symphonic depth rarely heard until now.”
— Le Nouvel Observateur (France) / H-L de la Grange

“The performances here truly represent a lifetime of musical thinking and are essential for serious Beethovenians.”
— All Music Guide (USA) / James Mannheim

“Love of Beethoven’s works threads through Biret’s life like a red ribbon. Her studio recordings and live concerts show this in an unequivocal language…Next to the Piano Concertos, the Triple Concerto and the Choral Fantasy she has also recorded and performed on stage all the Piano Sonatas and Symphony Transcriptions becoming perhaps the only artist to reach this level of completeness…This knowledge of Beethoven one hears in every nuance in Idil Biret’s playing.”
— Piano News (Germany) / Carsten Dürer

“From the outset of the 1st Symphony one feels that Idil Biret grasps the size of Beethoven’s style. The polyphony is laid out in a relaxed way with little indulgence in point-making. She keeps her big line, and yet is thankfully sparing in her use of fortissimos…The piano tone is sumptuous. Biret’s gentle and almost sensuous sonorities are really captivating…This is a remarkable achievement.”
— Gramophone (UK) / J. Methuen-Campbell

“Biret’s concertos are quite classical in approach. Her articulation is crisp and wonderfully clear, rhythm is firmly controlled, and extremes are avoided. As a result the playing is never pushed, either by excessive speed or wide dynamics. The moderate tempos allow lots of detail to come through, and we find once again the elegance and beauty of Beethoven.The Bilkent Symphony, in Antoni Wit’s hands, plays musically, with a fine sense of style.”
— American Record Guide / Paul L Althouse

“Idil Biret not only recorded all nine of the Beethoven symphonies in less than a year but, in a superhuman feat which astounded all those who know about music, she also publicly performed all of them in four recitals at the Montpellier festival in France. To learn and also memorise scores of such length and difficulty in such a short time is a mind-bogglingachievement.”
— Fonoforum (Germany) / Peter Cossé

Classical Music

Marking the centenary of his birth, this 17-CD box celebrates the long life and passionate, exotic music of this treasured French composer (who was also one of the greatest organists and pianists of his time). His rich romanticism and rhythmically complex creations depict what he called "the marvelous aspects of the faith" (he was a devout Roman Catholic); the artists here who tackle his complete organ works, piano works and songs include Willem Tanke, Peter Hill, Ingrid Kappelle and Hakon Austbo. Festivals worldwide are currently honoring Messiaen's legacy; join them as you hear L'Ascension; La Nativite Du Seigneur; Les Corps Glorieux; Livre D'Orgue; Messe de la Pentecote; Meditations Sur Le Mystere de la Sainte Trinite; Livre Du Saint Sacrement; Petites Esquisses D'Oiseaux; Visions de L'Amen; Harawi Chants D'Amour Et de la Mort; Chants de Terre Et de Ciel; Poems Pour Mi Premier Livre, and more!

Be prepared to be mesmerized by many sections of this score. You can easily lose yourself in this complex of glittering broken chords, and what a wrench it is when the music finally comes to a halt.

Not even CD can quite simulate the vast timespan of Einstein on the beach, the seemingly endless wall of Glass that apparently faces listeners during live performances of this extraordinary four-hour theatre piece. Disc changes, fades at the ends of tracks and compressions of material apart, however, this recording does at least offer a glimpse of the work to those of us who have yet to experience (or may never have the chance to witness) Philip Glass's first opera fully staged. Needless to say, four CDs give a far better sense of the work's sheer scale and continuity than do the eight (sometimes rather short) sides of the original LP issue.

Majestic and bewitching as so much of it is, there are certain drawbacks to hearing the music purely on its own. As Max Harrison explained in his review of the LP, the score is not narrative in conventional operatic terms. Blocks of relatively unvarying music that range from 4 to 24 minutes in duration do no more than suggest a prevailing mood, sometimes with the aid of a spoken text that may (or may not) be obliquely related to the stage action. Home listeners of course lack the visual element that explains what it's all about. Even the generous spread of illustrations provided with the LPs (not reproduced in the CD booklet) give only the vaguest impression of Robert Wilson's stage spectacle and, like MH, I wonder whether this divorce of music from image sometimes seriously reduces the impact oIGlass's carefully calculated effects. Judged purely as music, for example, the sheer tedium of "Trial" (Act I scene 2) becomes almost unbearable; in the theatre, does its relationship with the stage action result in something more engaging?

Don't expect, then, to be able to make complete sense of everything in this piece. But do be prepared to be charmed, even mesmerized by many sections of the score. The scintillating, energetic swirl of "Dance 1" (Act 2 scene I) is certainly no endurance test. Quite the opposite: you can easily lose yourself in this complex of glittering broken chords, and what a wrench it is when the music finally comes to a halt. "Building/Train" (Act 2 scene I) is, unambiguously, deeply disturbing music, whatever visual imagery it was designed to reinforce. Passages such as these stand so successfully on their own that one might almost forget their context and cherish them instead as autonomous works. Perhaps CBS should consider issuing a single CD of highlights.

-- Gramophone [9/1986]

A festive concert of great voices, this Volkslied-Edition offers on 5 CDs the most famous and most beloved German folksongs, performed by well known singers like Hermann Prey, Peter Schreier, and famous choirs, especially boys choirs, such as the Dresden Kreuzchor, Thomanerchor Leipzig and the Regensburger Domspatzen. A well done edition for all friends of choir music offered for a verys special price!

Of all Hamburg Ring Cycle premieres, the third waystation, Siegfried, has received the most applause until now. Audience members were exuberant not only about the singers and orchestra under the direction of Simone Young, but about the production as well. The transparency of the orchestra allowed the singers to really sing, in contrast to many Wagner productions in which they are often in a pure struggle against waves of instrumental force. Director Claus Guth’s finely wrought protagonists were brilliantly brought to life on stage by the excellent cast of soloists. This Ring is lucid and transparent, even when only heard in the living room. The singers, who include experienced Wagner singers like Christian Franz, Falk Struckmann and Wolfgang Koch, guarantee first-class musical standards.

REVIEW:

We can always find room for another good Ring in the recorded archives. This is shaping up so far to be a fine example. The singing cast is altogether satisfactory, if not star-studded. Every member offers a reasonably forceful and vivid impersonation of his assigned role.

Christian Franz offers a fine Siegfried, the forging scenes in I going well, with vigorous singing and the metallic sound effects as good as they come. Did you know that Siegfried’s actions follow standard metallurgical procedures for forging, annealing, heat-treating and quenching, needed to produce a good weapon? It is true! Wagner wasn’t a metallurgist, but he knew what was needed to keep the action true to life. Falk Struckmann’s Wotan- Wanderer is also forceful and gives a fine rendering of the critical scene with Erda in III. His smooth, dark voice is most effective not only here but also as the Wanderer in I and the opening scenes of II.

I wish I could be as positive about Deborah Humble’s Erda, but to me she sounds wobbly and unsteady. I suppose she’s about par for the part by current standards, which isn’t saying much. Catherine Foster, on the other hand is a good, strong Brünnhilde, not quite in the class of Flagstad or Nilsson, but surely as fine as they come at present. Alberich, Mime, and Fafner are conventionally well performed, also. Finally, Ha Young Lee was a complete newcomer to me, but she sings the forest bird’s songs more clearly, sweetly, and convincingly than anyone I’ve ever heard. Something tells me that this is not the last we shall hear from her.

The Hamburg Philharmonic is absolutely perfect, flawless, indeed thrilling. Its tone is colorful, its ensemble flawless. Simone Young leads an unhurried performance that lasts over four hours. This is usually a recipe for dullness, but she somehow manages to conduct with gorgeous tone and unfailing presentation of detail, as well as flawless presentation of larger issues. I think this must be what Wagner had in mind when he employed the word gesamtkunstwerk. Moreover, Oehms offers sound that is totally realistic without undue intrusion of gimmicks like the ones in Solti’s Decca Rheingold. Finally, there is a 145 page booklet, giving full German texts with their English translations. The introductory notes are outstanding, exploring and explaining every action in detail and the motivations of everyone concerned, including the composer. It is original and thought-provoking—one of the best essays of this genre I’ve ever encountered.

In this booklet also, there are numerous illustrations of the stagecraft, which I would suggest you not even look at, if you can resist the temptation, for they depict the cheapest, most dreary, most totally irrelevant collection of garage-sale paraphernalia you could imagine—dirty, unkempt, randomly scattered about the stage. This isn’t staging; it is a treasonous, subversive, cheap refutation of everything Wagner stood for!

But of course, that is the advantage the CD has over DVD—there’s no temptation to look at it—indeed, there’s no way of doing so. But this little rant is irrelevant to the main point that, for an audio Siegfried, this is about as good as it gets.

-- American Record Guide

Who on this planet has never seen KING KONG and heard Max Steiner’s powerful innovative music more than once? Here’s a treasure trove of classic scary music that these 20th-century composers gave their best and probably never thought would ever be heard again and especially newly recorded! Film fans and scholars in every future century will continue to discover and study this music art form and give the composers their unexpected and rightful immortality!
— Craig Spaulding, Screen Archives Entertainment

From Frescobaldi to Brahms - A Homage to Giorgio Questa

Classical Music

The first chapter in the BIS Sibelius Edition contained some of the Finnish master's most celebrated works, his Tone Poems. In the ten volumes that have been released after that, we have presented various less known aspects of Sibelius: the composer of chamber works and piano music, the miniaturist, even as the author of an opera. With the present instalment, the 12th and penultimate, we return to a genre for which he is particularly celebrated, namely the symphonic. The Seven Symphonies are undisputed treasures of 20th-century music which have fascinated great conductors and international audiences alike. They are here presented in performances by Osmo Vänskä, described in American Record Guide as 'the Sibelius interpreter de nos jours', and the eminent Lahti Symphony Orchestra, whose principal conductor he was for 20 years. The team's recordings of the symphony cycle has been described as 'towering head and shoulders over the competition' in the French magazine Répertoire, and on the website Classical Source as being 'almost universally recognised as the best of the digital age'. As these recordings now are given pride of place in the Sibelius Edition, they are complemented by alternative versions and fragments which provide a fascinating background to the final versions. The most substantial of these is the original version of Symphony No.5, available only in this recording, which upon its original release in 1996 not only received a Gramophone Award for its technical qualities but also was described by the same magazine's reviewer as 'one of the most important and above all interesting records to have appeared for many years.' Also unique for BIS are the recordings of the remaining supplementary material, made under the supervision of the violinist and conductor Jaakko Kuusisto and released here for the first time. Besides a number of short fragments which illustrate the decision-making process of the composer's creative mind in detail, it also includes preliminary versions of three complete movements: the scherzos from Symphonies Nos 1 and 4, and the second movement of Symphony No.3. In the accompanying booklet (numbering 128 pages), Sibelius expert Andrew Barnett guides us through this central chapter in Sibelius' oeuvre - an occasion not to be missed!

This is all early Haydn (with the exception of the two marches), but it is not immature. He was in his mid- to late-20s when he composed most of these pieces, and they are beautifully written for a wild assortment of ensembles. There are works for winds alone, serenades for wind and strings (including a couple featuring pairs of English horns), some early pieces with clarinets, a divertimento for harpsichord, a cassation with four horns, music with flute, and an insanely virtuosic trio for horn, violin, and cello. Manfred Huss includes the famous "St. Anthony Chorale" even though it's not by Haydn, and Simon Standage turns in a really lovely performance of the First violin concerto, with a slow movement so winsome you'd never know he's playing a period violin.

Indeed, Huss and his team manage to have the best of both worlds, offering a clearly "authentic" sound without any of the timbral unpleasantness that so often comes with it. There's only one exception: the natural horn playing, particularly in the trio mentioned above. Here I have to be dogmatic: get a modern horn, gentlemen. The alternative on offer here oscillates between crudeness and sheer desperation, however brave the effort.

Still, such is the value of the music and vibrancy of the performances that this set, attractively priced at five discs for the cost of three, is an essential item for any self-respecting Haydn collection. Much of the material was released previously on Koch in a series of single discs, but for all intents and purposes this set should be seen as brand new, for that is how it sounds whether you're listening for the first time or the tenth.

--David Hurwitz, ClassicsToday.com

Donizetti: Don Gregorio, L'elisir D'amore / Bordogna, Trucco, Valerio, Benetta, Hernandez, Donizetti / Valerio, Composer: Gaetano Donizetti, Performer: Giorgio Valerio, Livio Scarpellini, Elizaveta Martirosyan, Paolo Bordogna, Conductor: Stefano Montanari, Alessandro de Marchi, Orchestra/Ensemble: Bergamo Musica Festival Orchestra, Bergamo Musica Festival Chorus, Number of Discs: 4. A double-bill of Donizetti operas recorded at the Bergamo Music Festival in 2007. Director Roberto Recchia sets 'Don Gregorio' in the 1920s, a time which mirrors in many ways the political and social conditions prevailing when the piece was originally written. Spoken dialogues in the Neapolitan dialect are used in place of the recitatives, but Donizetti's music remains unchanged. The characters in this comic opera are inspired by the Italian Commedia dell'Arte. In 'L'elisir d'amore', conductor Alessandro de Marchi allows the comedic aspects of the work to be exploited fully by the cast, which includes Silvia Dalla Benetta, Raul Hernandez and Alex Esposito.

Pyotr Ilyich Tchaikovsky (1840-1893) Gothenburg Symphony OrchestraNeeme Jarvi, conductor Symphony no 1 in G minor "Winter Dreams", Op. 13; Romeo &Â?JulietSymphony no 2 in C minor "Little Russian", Op. 17; Overture in FSymphony no 3 in D major "Polish", Op. 29; The Snow Maiden, Op.12Symphony no 4 in F minor, Op. 36; Symphony no 5 in E minor, Op 64Symphony no 6 in B minor "Pathetique", Op. 74; The Tempest;Overture on the Danish National Anthem; Voyevoda Dances;Dmitri Pretender and Vassily Shuisky; Serenade for N.Rubinstein;Capriccio Italien; Francesca da Rimini; etc.

Popular vocal and instrumental works and excerpts from the Baroque era through earlier 20th Century, all associated with the Winter season and Christmas. On 5 CDs.

Adam:
O Holy Night
Albinoni:
Adagio for Strings and Organ in G minor
Bach:
Air on the G string
Bruch:
Jubilate, Amen Op. 3
Bruckner:
Ave Maria
Corelli:
Concerto grosso Op. 6 No. 8 in G minor 'fatto per la notte di Natale'
Gabrieli, G:
Sacrae Symphoniae No. 2
Gounod:
Ave Maria
Grüber, F:
Stille Nacht
Handel:
Messiah: Pastoral Symphony 'Pifa'
Manfredini:
Concerto grosso in C major, Op. 3 No. 12 'per il Santissimo Natale'
Molter:
Concerto pastorale in G major
Mozart:
Laudate Dominum from Vesperae Solennes de Confessore, K339
Praetorius, M:
Kindelein zart von guter Art
Reger:
Mariä Wiegenlied, Op. 76 No. 52
Traditional:
Süsser die Glocken
O Jesulein Zart
Vivaldi:
The Four Seasons: Winter, RV297

Classical Music

The Globe Theatre’s productions of William Shakespeare's As You Like It, Love's Labour's Lost and Romeo & Juliet are now available in this exclusive limited edition blu-ray box set from Opus Arte.Thea Sharrock’s production of As You Like It Shakespeare’s popular romantic comedy, stirs wit, sentiment, intrigue and love into a charming confection challenging the traditional rules of romance.In Love’s Labour Lost, the bard’s most intellectual comedy, the King of Navarre and his three courtiers forswear all pleasure – particularly of the female variety – in favor of a life of study, but the arrival of the Princess of France and her ladies plays havoc with their intentions.Dominic Dromgoole’s production of Romeo & Juliet brings refreshing clarity to one of Shakespeare’s best-loved tragedies, drawing out the contemporary relevance of this passionate teenage love story.

Also available: Life with Czech Music - Janácek, Martinu / Sir Charles Mackerras

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Reviews:

Symphonic Variations, Legends, Scherzo capriccioso

Charles Mackerras recorded all of this music in London for EMI's "Eminence" series, but those discs may be very difficult to find, and in any case they fail to stand up to these marvelous remakes. What makes so many Mackerras performances special is the conductor's buoyant sense of rhythm, and when he's working the Czech Philharmonic in top form that result can be (and in this case is) exquisite. There's no need to go on at length about the virtues of these performances. A few examples suffice to illustrate the point: there's the wonderful lightness of touch Mackerras brings to the waltz episode in the Symphonic Variations and its dazzling final fugue; the care with which he balances the percussion in the Scherzo capriccioso so that its rhythmic contributions tell without ever becoming overbearing; and in the Legends, the snap he brings to the quicker pieces (such as No. 3) and the wonderfully subtle way he sets up the appearance (in No. 6) of that gorgeous tune from the Third Symphony's slow movement. Sonically this disc is equally fine. Note the perfect balances between winds and strings throughout and the gorgeous contribution of the harp in the Legends that call for it. Totally great!

--David Hurwitz, ClassicsToday.com

Symphony no 6, Golden Spinning Wheel

In his equally laudatory review of this fantastic new release, my colleague Christophe Huss salutes Supraphon for managing to remain true to its dedication to Czech music while at the same time upholding the highest standards of performance quality. To this observation I can only add "Amen!" The label already has a couple of noteworthy versions of Dvorák's luminous Sixth Symphony with the incomparable (in this music anyway) Czech Philharmonic--a very good one by Neumann and a classic account by Ancerl. In fact, this symphony has been very well-served on disc, with excellent recordings by Kubelik, Rowicki, and Suitner, to name three of the best that come immediately to mind. Nevertheless, this newcomer bids fair to move right to the top of the available discography.


Recorded live, the rapport in evidence between Charles Mackerras and the orchestra really is the stuff of legends. There are so many outstanding moments that it's hard to settle on just a few, but consider the fortissimo counterstatement of the opening tune, just a touch "pesante" for added emphasis, or the gorgeously natural rubato between phrases of the same movement's second subject, and the way the coda really takes off and builds in energy straight through to the final climax. Then there's the usual gorgeous wind playing from the orchestra, so evident in the Adagio. Mackerras drives the scherzo with exhilarating abandon, and although he never bears down on the rhythm too heavily (always maintaining the lilt of the dance), the clarity of texture allows such characterful touches as the offbeat timpani in the reprise to register with full impact. I also love the extra punch he brings to the principal section's return after the trio.


Best of all, Mackerras treats us to what must be the most thrilling account of the finale yet captured on disc. It takes off like the wind and never looks back, simply accumulating energy as it goes. The great string fugato that initiates the coda flies by as if on mighty wings, and the grandiosity of the closing pages never loses that vital rhythmic impulse that gives the music its inner life. I wish that Supraphon had not included the applause at the end, but when you consider that all of this, and so much else besides, is happening in real time you will understand that anyone who believes that the era of "great" conductors is past simply hasn't been listening. If this sort of artistic communion between conductor and orchestra in the service of a brilliant interpretation isn't greatness, then we need to ask whether the term has any meaning at all.


The Golden Spinning Wheel (a studio recording this time) also receives what is arguably its finest performance on disc, even considering Harnoncourt's outstanding recent version. The opening, usually a blur of muddy rhythms in the lower strings and indifferently played percussion, here sounds as crisp and clean as a spring morning. I have never understood why some performances cut the central episode wherein the holy hermit gets back the heroine's various body parts (so he can patch her together again) in exchange for the components of the golden spinning wheel. The threefold musical repetition is not literal, and the orchestration is enchanting. The section is, in effect, the slow movement following the scherzo in which poor Dornicka gets hacked to bits in the first place, and it's a necessary four minutes of contrast. Finally, this is the moment where we encounter most of the "spinning wheel" music of the title. Mackerras rightly doesn't delete it, and hearing those deliciously chubby brass chorales and lovely wind solos alongside such characterful phrasing, you can't imagine why anyone would. The last few minutes offer as pure an expression of joy as you'll ever hear.


Supraphon's engineering is outstanding in both works, a touch warmer in the symphony (perhaps as a result of the presence of an audience), but in all respects as fine as any from this source. That audience, by the way, is absolutely silent, and with music-making of such spellbinding quality going on it's no wonder. Coming hard on the heels of his sensational Janácek double CD a few months ago, it's clear that Mackerras' Supraphon recordings will comprise a small but outstanding legacy worthy to stand beside the great recordings of such legends as Talich or Ancerl, and that the great Czech tradition is very much alive both in Prague and at Supraphon. Buy a few of these: they make terrific gifts for special occasions, and you can be sure to get a hearty "Thank you!" from the lucky objects of your affection. But first, treat yourself.
--David Hurwitz, ClassicsToday.com

Symphonies 8 & 9

At 80 years young, Charles Mackerras remains one of the great conductors of our era, not to mention one of the most unheralded. His unfailing musicality, intelligence, and sheer joy in performing communicates vividly in these two glorious performances, beautifully recorded live in September, 2005. They are the kind of interpretations that make you listen as if for the first time to music you probably know well. This isn't just because Mackerras opts for the Urtext editions of both scores, most noticeable in the finale of the Eighth Symphony, where after the central climax he has the cellos play the variant of the main theme contained in Dvorák's autograph (Harnoncourt and a few others do similarly). What really distinguishes these performances is their sheer excitement and vital sense of flow, a function of rhythmically characterful phrasing allied to ideally transparent textures.

This is as true of the bucolic first two movements of the Eighth Symphony, where the woodwinds are especially delightful, as it is in the tremendously physical and passionate initial allegro of the Ninth. Has this movement's coda ever sounded more stormily agitated? And notice how marvellously Mackerras judges the tempo of the ensuing Largo, perfectly poised between rapt contemplation and easeful forward motion. Rhythmic acuity is the hallmark of both scherzos: a deliciously pointed waltz in the Eighth, and a swiftly vivacious Slavonic dance in the Ninth.

In the two finales, so often turned into stop-and-start affairs by less adept conductors, Mackerras creates an irresistible feeling of culmination, choosing rousing initial tempos and then for the most part sticking to them. The Eighth's concluding variations seldom have come across more cogently, particularly the lazy last three, which never bog down in excessive Romantic reverie. The Prague Symphony Orchestra responds to Mackerras' direction with amazing gusto, as if it doesn't already know the music backwards and forwards, and the audience is admirably silent. There are other wonderful performances of this music out there, but this truly is as good as it gets.
--David Hurwitz, ClassicsToday.com

Slavonic Dances

It's been along time since Supraphon made a great new recording of Dvorák's delicious Slavonic Dances, but it's been worth the wait. Charles Mackerras is one of the two or three finest conductors alive at present, and he knows this music, loves it, and makes the orchestra play it as if it were as fresh as the day it was written. This is no mean feat, since the Czech Philharmonic knows these pieces blindfolded; or at least they think that they do. It's amazing how many seemingly new details Mackerras reveals (particularly in his characterful treatment of the percussion parts, and the careful dynamic balances involving the brass section) that on closer examination turn out to have been exactly what the composer wrote all along. He's particularly crisp and attentive to rhythm in the waltz-like dances (Op. 46 No. 6 and Op. 72 No. 8), where he catches the music's lilt to perfection. But then, he doesn't really put a foot wrong anywhere. The great recordings of these pieces are by Kubelik (DG), Dorati (Mercury), Szell (Sony), Talich (Supraphon), and Sejna (Supraphon). This newcomer, warmly recorded with fine inner detail, belongs in their august company.
--David Hurwitz, ClassicsToday.com

Symphonic Poems

"You won't find better conducting in this music anywhere. Charles Mackerras finds so many wonderful details in these pieces that it's impossible to list them all, and he does it at all tempos and dynamic levels. Listen to his subtle underlining of rhythm in The Wood Dove's opening funeral march, and compare it to the unrivaled glitter of its central party music. Bask in the woodwind timbres at the opening of The Noonday Witch, and marvel at just how much music Mackerras finds even in the stormy climax of The Water Goblin. It's an unalloyed delight from the first note to the last.

Of course, the Czech Philharmonic plays these pieces magnificently. The sonics, however, are not as brilliant as the performances, and that's not unusual from this venue, with its somewhat cavernous acoustic. Slightly recessed brass and percussion lessen the impact of the climaxes somewhat, but it's awfully hard to quibble when the interpretations are this strong. Self-recommending."

-- David Hurwitz, ClassicsToday.com

Ma Vlast
Taken down live at the 1999 Prague Spring Festival, Charles Mackerras' performance offers a typically fresh, vital look at Smetana's masterpiece. With the Czech Philharmonic in fine form, the result is completely recommendable, even if it doesn't have quite the personality of Kubelik's emotional return performance of 1990, or that special orchestral sonority that Talich or Ancerl enjoyed. Mackerras' interpretive insights are subtle, but fans of this music will find plenty to enjoy, such as the correctly played (for once!) trumpet rhythms at the climax of "Vltava", the carefully balanced brass and string sonorities at the opening of "From Bohemia's Woods and Fields", and the propulsive thrust that cleverly disguises the monothematic repetitiousness of "Tábor" and "Blaník". The up-close, live recording manages to minimize most audience noises but necessarily spotlights certain instruments (harps right at the beginning) in a way that precludes a truly expansive soundstage. On the other hand, the notorious reverberation of the Rudolfinum has been successfully tamed, thanks in part to the presence of the public. We're not exactly dying for another recording of this work, but it's impossible not to welcome music making of this enthusiasm and idiomatic security with anything less than open arms.

--David Hurwitz, ClassicsToday.com

Pierre Dørge and his New Jungle Orchestra are celebrating their 30th anniversary this month. To commemorate this milestone of the NJO history, SteepleChase is proud to announce the special release of this 5-CD set of material recorded originally for Olufsen Records during the period 1988 to 1994. The original tapes were used for re-mastering to improve the sound quality. The set includes 7 previously unissued tracks.

In what was one of the great modern feats of classical recording, American-born organist and harpsichordist Scott Ross recorded all 555 of Scarlatti's keyboard sonatas between June 1984 and September 1985. Released in nine volumes, these recordings were widely acclaimed by critics and the public alike; they appear here at a super budget price ($7 per CD before our discount)! "This is quite simply a magnificent recording of magnificent music "- Gramophone.