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Here & Elsewhere / Roger W. Sherman
ReZound
CD
$20.99
Jul 10, 2020
Roger Sherman is the President of The Gothic Catalog, where he has been producer and recording/mastering engineer for hundreds of recordings. He is now Associate Organist, Emeritus of St. Mark’s after more than 30 years of service to the Cathedral. He is also Artistic Director, Emeritus of the Orcas Choral Society. Since 1993, he has been the host of the popular radio program The Organ Loft, broadcast throughout the Pacific Northwest. As a recording artist he has been featured on both the Loft and reZound labels. On this release, featuring works by Bohm, Bach, Sweelinck, Purcell, and more, he performs on the organs of Saint Mark’s Cathedral, Seattle, Pacific Lutheran University, Tacoma, and San Giorgio Maggiore, Venice.
THEN AND THERE HERE AND NOW
WARNER CLASSICS
CD
$17.49
Oct 12, 2018
2018 release. This album takes a look back at Chanticleer's favorite composers and works. It combines pieces from Renaissance and Baroque composers (Lassus, Byrd, Morley, Palestrina etc.) with 20th American works composed or arranged by Stucky, Bates, Gershwin (Summertime) and members of Chanticleer.
HERE
RCA
CD
$14.70
Nov 04, 2016
Here - Alicia Keys - Fifteen-time Grammy®-winning singer, songwriter and producer, Alicia Keys, releases her new highly-anticipated sixth studio album, HERE, on RCA Records. From the human condition to global politics, HERE offers a keen glimpse of everything that matters most to Keys. Keys has sold over 18.4 million albums in the US, and over 30 million albums worldwide. "In Common: is over 15 million views to date (May 2016), 27.6 million on Spotify.
Here/After
PENTATONE
SACD
$32.99
Oct 21, 2013
Here/After: Songs of Lost Voices gives voice to those no longer with us, including Camille Claudel, Francis Poulenc, Wanda Landowska, Pierre Bernac and Paul Eluard. It also pays tribute to the lives lost on September 11, 2001. Here/After is a double play on the spiritual hereafter that their voices are still here even though their bodies are gone.
THEN & AGAIN HERE & NOW
SUNNYSIDE
CD
$16.63
Jun 11, 2021
The creation of music as a collective art requires participants who are open and engaged. The essence of ensemble jazz music is the collaboration between elements, including sound and time and the musicians and audience. Pianist/composer Todd Cochran views these interchanges of energy and emotions as positive forces for change in the world. // Cochran's musical interests have always been vast in their outlook, from the avant-garde to fusions of jazz and rock. As Bayete, his sound can be heard on albums that push the bounds of genre, from Santana and Automatic Man's arena filling rock sounds to the explosively spiritual world of his own records. The element that has never escaped Cochran's work has been the blues esthetic tied to jazz's legacy, which he re-embraces on his new recording, Then and Again, Here & Now. // Growing up, Cochran found a middle ground between the dimensions of the intellectual and spiritual when he discovered jazz music. His parents and grandparents were highly educated and motivated him to become the same. That led to his serious investment in classical piano study; performing and entering competitions as early as when he was just eight years old. The influence of his grandmother's evangelical faith was never far from Cochran's music, as he learned to express a particular mood by playing during church services. // His cousin introduced him to jazz at 13 and Cochran found a parallel, magnetizing pulse. He began to revisit his parents' collection of Oscar Peterson and Ahmad Jamal recordings, transcribing and analyzing them so he could apply their lessons to his own music. It wasn't long before Cochran was reaching out to local jazz leaders. At just 17 years old, he found himself performing alongside the likes of jazz masters John Handy, Mike Nock, Bobby Hutcherson and Rahsaan Roland Kirk. // Though his own music would branch out dramatically from his earliest jazz grounding, Cochran always remained in touch with the blues element of the music. Now after a ten-year hiatus from recording while nurturing his son into adulthood, Cochran has returned to the music that has given him so much joy and that he feels is necessary to reinvest in for the betterment of society. // To assist him in his efforts, Cochran enlisted bassist John Leftwich and drummer Michael Carvin. Leftwich has been an important voice in the West Coast's vibrant music scene for decades and was introduced to Cochran twenty years ago via Freddie Hubbard. The legendary drummer became a part of the pianist's world even earlier through collaborations with Bobby Hutcherson. Together the Todd Cochran Trio is a tremendously vibrant and cerebral ensemble that breathes life into any piece they endeavor to touch. // As musical context changes over time, it is important to revisit compositions that have withstood the times and continue to provide themselves as vehicles for expression. Cochran is fascinated by the idea of reinterpreting standards and the American song book, to investigate the time and climate of their birth and to then reaffirm their greatness by informing them with the developments they have lived through. It is an all-encompassing expression of culture spanning time. // Then and Again, Here & Now presents a collection of these stalwart compositions reimagined by Cochran and his trio. Cochran's philosophy of the development of music through the passing of ideas from generation to generation through evolving syntax can be heard in the approaches that are taken on these pieces. Though experimenting and taking liberties with these classics, the trio remains responsible as keepers of the flame and protectors of the blues vernacular.
Between Here and Nowhere
Neue Meister
CD
$22.99
Oct 16, 2026
For more than twenty years, Haruki Murakami's novels have captivated him time and again: for pianist and composer Tim Allhoff, works such as Kafka on the Shore, 1Q84, and Naoko's Smile are more than mere literature-they are inspiration, guidance, and an enigmatic mirror of his own emotional world. With his new solo album Between Here and Nowhere, which will be released on May 15, 2026, by Neue Meister and is now the eleventh album in his discography, Allhoff has created a musical homage to the cult Japanese author, whose books have long since become a soundscape in their own right.
HERE
MAX JAZZ RECORDS
CD
$18.99
May 09, 2006
Over the last fifteen years, pianist Eric Reed has been a mainstay on the jazz scene. Having toured the world with his group and recorded as both a leader and sideman on numerous projects, he constantly demonstrates the creativity that distinguishes him as one of the leading pianists of his generation.
VETTER: Wo? (Where) - Hier! (Here!) / Darum?! (Therefore?!)
Wergo
CD
$17.99
Jun 01, 1990
The thirteen 'minor pentatonically' tuned strings of the long-necked Japanese floor harp sit like a mantra beneath my hands, Vetter writes. His koto playing is, however, more varied than a constantly repeated mantra, and more innovative in technique, which allows an underlying calm to vibrate through the many-layered structures.
CHRISTMAS TIME IS HERE
HERB ALPERT PRESENTS
CD
$13.99
Nov 07, 2025
Herb Alpert is back to share some happiness and cheer during that favorite time of year! This holiday season, HERB is releasing the third Christmas album of his long and illustrious career. Entitled CHRISTMAS TIME IS HERE, this new album is chock full of holiday classics. Listen to Herb's take on beloved carols like "Jingle Bells", "Winter Wonderland", "Greensleeves", and "Sleigh Ride". And enjoy original spins on other recognizable hits like Mariah Carey's "All I Want For Christmas Is You", Rodgers & Hammerstein's "My Favorite Things", and Nat King Cole's "The Christmas Song". And of course, the title track, made famous by the iconic 1960s A Charlie Brown Christmas holiday special: "Christmas Time Is Here". Break out the eggnog, hang your holly, and get ready to celebrate another beautiful Christmas with Herb Alpert!
Between Here and Nowhere
Neue Meister
Vinyl
$34.99
Oct 16, 2026
For more than twenty years, Haruki Murakami's novels have captivated him time and again: for pianist and composer Tim Allhoff, works such as Kafka on the Shore, 1Q84, and Naoko's Smile are more than mere literature-they are inspiration, guidance, and an enigmatic mirror of his own emotional world. With his new solo album Between Here and Nowhere, which will be released on May 15, 2026, by Neue Meister and is now the eleventh album in his discography, Allhoff has created a musical homage to the cult Japanese author, whose books have long since become a soundscape in their own right.
Here and Now
Double Moon Records
CD
$18.99
Feb 08, 2019
Saxophonist Sigurdur Flosason writes: Music is the universal language of mankind is a frequently cited quote by the 19th century American poet Henry Wadsworth Longfellow. Well, if thats the case, jazz is certainly my favorite dialect. The spontaneity and collaborative nature of jazz makes it ideal for swiftly building bridges between groups of musicians and audiences alike. Nothing is as musically exciting and refreshing as a newly forged relationship of outstanding jazz performers and composers, especially when brought together in the close comfort and proximity of ones living room. This was to be the beginning of what has now developed into a well-brewed and mature unity of musicians that have since then performed at jazz festivals in both Luxembourg and Reykjavik and have now recently recorded this outstanding album, featuring compositions from all four members. The compositions on this album provide a good framework for the musical dialogue. Ranging from melodic ballads such as Flosasons Father of Light and Reis Thank you letter, the folkish melody and melancholy of Demuths Dante and Reis Tundra, to Flosasons more calculated and intellectually infused Counting sheep and Forty-nine, over to Herrs mystic and haunting Moonglow.
Over Here! / The Andrews Sisters
Sony Masterworks
CD
$17.99
Jul 16, 2009
Principal cast: Maxene Andrews (Pauline DePaul); Patty Andrews (Paulette DePaul); Douglass Watson (Norwin Spokesman); Jim Weston (Make-Out); MacIntyre Dixon (Father); Bette Henritze (Mother); William Griffis (Rankin); Marilu Henner (Donna); Phyllis Sommerville (Wilma); Ann Reinking (Maggie); Janie Sell (Mitzi); John Travolta (Misfit); Treat Williams (Utah); John Mineo (Lucky); William Newman (Sarge); Samuel E. Wright (Sam); April Shawhan (June); John Driver (Bill).
The Big Band: Joseph Klein (leader); Ruben Rivera (cello); Carmen Mastren (guitar/banjo); Jimmy Sedlar, Bob Millikan, Jay Brower, Charles Sullivan (trumpets); Harry DiVito, Merv Gold, Jack Gale, Vincent Forchetti, (trombones); Bernie Berger, Harvey Estrin, Michael Schuster, Sol Schlinger (saxophones); Mike Cavin (clarinet); Clay Fullum (piano, accordion); Hal Schaefer (piano); Doc Soloman (bass, Teddy Sommer (drums); Warren Hard (percussion).
Recorded at CBS 30th Street Studio, New York, March 31, 1974.
All songs composed by Richard M. Sherman and Robert B. Sherman.
The Big Band: Joseph Klein (leader); Ruben Rivera (cello); Carmen Mastren (guitar/banjo); Jimmy Sedlar, Bob Millikan, Jay Brower, Charles Sullivan (trumpets); Harry DiVito, Merv Gold, Jack Gale, Vincent Forchetti, (trombones); Bernie Berger, Harvey Estrin, Michael Schuster, Sol Schlinger (saxophones); Mike Cavin (clarinet); Clay Fullum (piano, accordion); Hal Schaefer (piano); Doc Soloman (bass, Teddy Sommer (drums); Warren Hard (percussion).
Recorded at CBS 30th Street Studio, New York, March 31, 1974.
All songs composed by Richard M. Sherman and Robert B. Sherman.
HERE SWINGS THE JUDGE
GHB JAZZ FOUNDATION
CD
$13.86
Aug 28, 2001
Originally released on the Famous Door label, this album was recorded in 1964 & 1975 and features special guest Ben Webster on tenor sax & piano. The sextet tracks were made in 1975 in New York, with trumpeter Jon Faddis showing his powerful style to advantage. Also featured is tenor/baritone saxophonist Budd Johnson, pianist John Bunch, tenor saxophonist Frank Wess & drummer Jo Jones.
Here's Love / Original Broadway Cast
Sony Masterworks
CD
$17.99
Mar 22, 2010
Principal cast: Laurence Naismith (Kris Kringle); Craig Stevens (Fred Gaily); Valerie Lee (Susan Walker); Fred Gwynne (Marvin Shellhammer); Janis Paige (Doris Walker); Paul Reed (R.H. Macy); David Doyle (Mr. Psawyer); Cliff Hall (Judge Martin Group).
Recorded at Columbia Records 30th Street Studio, New York on October 6, 1963. Includes liner notes and a plot synopsis by Didier C. Deutsch in English, German, French and Italian.
All songs written by Meredith Willson.
HERE'S LOVE opened at the Shubert Theatre, New York on October 3, 1963 and ran 338 performances, closing on July 25, 1964.
Recorded at Columbia Records 30th Street Studio, New York on October 6, 1963. Includes liner notes and a plot synopsis by Didier C. Deutsch in English, German, French and Italian.
All songs written by Meredith Willson.
HERE'S LOVE opened at the Shubert Theatre, New York on October 3, 1963 and ran 338 performances, closing on July 25, 1964.
HERE SWINGS THE JUDGE
ORG MUSIC
Vinyl
$33.34
Jan 25, 2019
Here Swings The Judge is Milt Hinton's first LP as a band leader, and includes intimate, private recordings featuring Ben Webster on tenor saxophone before his departure to Europe in 1964. The remaining tracks consist of dynamic studio recordings produced by Harry Lim, and feature prominent players such as Jon Faddis and Budd Johnson. These sessions range from the swinging "Blue Skies,' to the slow, serene blues of "Blues for the Judge." This is truly an impressive collection of recordings from the group of early jazz musicians.
Here I Stand / iSing Silicon Valley
Innova Recordings
CD
$16.99
Aug 28, 2020
Here I Stand is the confident debut album of iSing Silicon Valley, the international-award-winning girls’ choir based in Silicon Valley, California. Here I Stand celebrates iSing’s focus on the power of girls to change the world as they raise their 200+ voices in remembrance, in strength, and in the pure, shared delight of coming together to sing. The album opens with a transcendent performance of the treble-voice version of ?riks Ešenvalds’ soaring, dreamlike work for solo voice and chorus, Only in Sleep. The pro-gram includes some of the stunning works commissioned by iSing during its first six seasons, with themes ranging from social justice, to individual growth and collective power. Among these: Never Shall I Forget, Adam Schoenberg’s haunting setting for treble voices, string quartet and percussion of excerpts from Elie Wiesel’s Holocaust memoir Night; Daniel Elder’s arrangements for iSing of his powerful commentary on gun violence, 365, and of In Your Light, his musical setting one of Rumi’s most ecstatic poems. Given first life on the concert stage and on this recording by iSing’s bright young singers, these commissions and commissioned arrangements make exciting, relevant additions to the repertoire for treble voices, here given definitive, top-notch renditions. The album artwork also includes original illustrations by a young choir alumna; together the package puts girls’ inspiring talents center stage in heartwarming fashion. Listeners, prepare to be moved by the breadth of performance of iSing girls: The musical finesse and the stunning vocal blend of iSing’s elite choirs; the clarity of expression of the soloists; and — on the later tracks of the album — the lovely ensemble sound of younger iSing girls ranging in age from 7 to 12.
WE'RE NEW AGAIN - A REIMAGINING BY MAKAYA MCCRAVEN
XL RECORDINGS
CD
$16.99
Feb 07, 2020
To mark the tenth anniversary of the release of I'm New Here, the thirteenth - and last - studio album from the legendary US musician, poet and author Gil Scott-Heron, XL Recordings release a unique reinterpretation of the album by acclaimed US jazz musician Makaya McCraven. We're New Again follows in the footsteps of Jamie xx's highly acclaimed 2011 remix album We're New Here and is McCraven's first release of 2020, following the huge global acclaim heaped upon his 2018 album Universal Beings. One of the most vital new voices in modern jazz, McCraven is described by the New York Times as a Chicago-based drummer, producer and beat maker, [who] has quietly become one of the best arguments for jazz's vitality.
Birtwistle: Nenia, Fields Of Sorrow / Atherton, Manning, Hacker
Lyrita
CD
$20.99
May 01, 2008
Birtwistle - softer-grained, relatively lyrical and the angular rigorous.
Now that Lyrita appear to have reissued the majority of their own archive, it’s gratifying to see that they are turning their attention to some old Decca/British Council releases from the 1960s and 1970s that would otherwise be languishing in the vaults. The Decca Headline series contained some classic performances of then avant-garde works by contemporary composers; it featured works by international figures such as Messiaen, Lutoslawski and Henze in addition to home-grown talent such as Birtwistle, Bedford and Musgrave. The present CD is a straight reissue of HEAD 7 and contains three key works by Birtwistle from the late 1960s/early 1970s. It offers a useful snapshot of the composer’s style as he moved from the harsh expressionism of his early works (typified by the opera Punch and Judy) to his increasing fascination with the Orpheus legend, itself reflected in a softer-grained, relatively lyrical approach. On this CD The Fields of Sorrow and Nenia represent, broadly speaking, the latter approach; Verses for Ensembles contains elements of the more angular, rigorous Birtwistle.
Jane Manning joins the London Sinfonietta and Chorus for The Fields of Sorrow; word setting is unconventional, being divided across the forces, often syllabically. The performers are also distributed across the sound-stage, creating together with the bell-like sonorities a ghostly, disembodied effect. This effectively reflects the mediaeval poem which Birtwistle sets, depicting the journey of two souls through a gloomy forest in Hades.
By contrast with Verses for Ensembles we have what marks perhaps a culmination of his early, expressionist years. Hieratic brass and woodwind writing, contrasted with ebullient percussion, throw us immediately into a very different sound-world. The work encapsulates many characteristics of Birtwistle’s "early" period; his use of verse and refrain forms as a structural device, his fascination with procession or ritual, and a deployment of contrasting instrumental resources as a way of articulating the structure for the listener. The instrumentation is set into sharp relief by the composer’s spatial distribution of his forces on stage. Thus two woodwind groups sit to the left and right of the stage, with brass and percussion towards the rear. Birtwistle also requires players to move physically to key positions on stage at significant moments in the piece. The sounds themselves contrast harsh, aggressive brass and woodwind writing with softer passages. Verses for Ensembles is by no means an easy work to assimilate, but as ever with Birtwistle the music repays repeated study. The performance, by the forces for which it was written, is everything we could wish for. Perhaps one or two extra tracking points on the CD might have helped those unfamiliar with the music to find their bearings more clearly.
The final work on the CD, Nenia – The Death of Orpheus, was composed the year after Verses. The title refers to a Roman funeral dirge and the goddess invoked; Orpheus and Euridice are the subjects of the ritual. Birtwistle now groups his instrumental forces according to timbres, rather than the contrasting sounds he created in Verses. The instrumental music is dominated by the sound of bass clarinets. The structure of the piece, the instrumental forces, and the vocal style Birtwistle requires of his soloist - Jane Manning again - are immensely fluid, and immensely challenging, but at all times dictated by the text. Once again the performances are astonishing in their virtuosity.
As the composer in his early years moved from one set of preoccupations to another, reflected by a development in his actual compositional style, it’s misleading to suppose that each compositional phase is entirely self-contained, without reference to what came before or after. Birtwistle himself felt that each of his pieces consisted of "layers" reflecting both previous interests and pointing the way forward to future developments. On first hearing the extreme dissonance of Verses for Ensembles may appear to contrast sharply with the softer-grained approach of The Fields of Sorrow; but the composer’s spatial distribution of his forces in both works provides a stylistic link. Nenia, as we have seen, contains the preoccupations with ritual that characterised many of his earlier works. What comes across very clearly - and here I echo a word Paul Conway uses in his excellent booklet notes - is the composer’s stylistic integrity right across his output.
-- Ewan McCormick, MusicWeb International
Now that Lyrita appear to have reissued the majority of their own archive, it’s gratifying to see that they are turning their attention to some old Decca/British Council releases from the 1960s and 1970s that would otherwise be languishing in the vaults. The Decca Headline series contained some classic performances of then avant-garde works by contemporary composers; it featured works by international figures such as Messiaen, Lutoslawski and Henze in addition to home-grown talent such as Birtwistle, Bedford and Musgrave. The present CD is a straight reissue of HEAD 7 and contains three key works by Birtwistle from the late 1960s/early 1970s. It offers a useful snapshot of the composer’s style as he moved from the harsh expressionism of his early works (typified by the opera Punch and Judy) to his increasing fascination with the Orpheus legend, itself reflected in a softer-grained, relatively lyrical approach. On this CD The Fields of Sorrow and Nenia represent, broadly speaking, the latter approach; Verses for Ensembles contains elements of the more angular, rigorous Birtwistle.
Jane Manning joins the London Sinfonietta and Chorus for The Fields of Sorrow; word setting is unconventional, being divided across the forces, often syllabically. The performers are also distributed across the sound-stage, creating together with the bell-like sonorities a ghostly, disembodied effect. This effectively reflects the mediaeval poem which Birtwistle sets, depicting the journey of two souls through a gloomy forest in Hades.
By contrast with Verses for Ensembles we have what marks perhaps a culmination of his early, expressionist years. Hieratic brass and woodwind writing, contrasted with ebullient percussion, throw us immediately into a very different sound-world. The work encapsulates many characteristics of Birtwistle’s "early" period; his use of verse and refrain forms as a structural device, his fascination with procession or ritual, and a deployment of contrasting instrumental resources as a way of articulating the structure for the listener. The instrumentation is set into sharp relief by the composer’s spatial distribution of his forces on stage. Thus two woodwind groups sit to the left and right of the stage, with brass and percussion towards the rear. Birtwistle also requires players to move physically to key positions on stage at significant moments in the piece. The sounds themselves contrast harsh, aggressive brass and woodwind writing with softer passages. Verses for Ensembles is by no means an easy work to assimilate, but as ever with Birtwistle the music repays repeated study. The performance, by the forces for which it was written, is everything we could wish for. Perhaps one or two extra tracking points on the CD might have helped those unfamiliar with the music to find their bearings more clearly.
The final work on the CD, Nenia – The Death of Orpheus, was composed the year after Verses. The title refers to a Roman funeral dirge and the goddess invoked; Orpheus and Euridice are the subjects of the ritual. Birtwistle now groups his instrumental forces according to timbres, rather than the contrasting sounds he created in Verses. The instrumental music is dominated by the sound of bass clarinets. The structure of the piece, the instrumental forces, and the vocal style Birtwistle requires of his soloist - Jane Manning again - are immensely fluid, and immensely challenging, but at all times dictated by the text. Once again the performances are astonishing in their virtuosity.
As the composer in his early years moved from one set of preoccupations to another, reflected by a development in his actual compositional style, it’s misleading to suppose that each compositional phase is entirely self-contained, without reference to what came before or after. Birtwistle himself felt that each of his pieces consisted of "layers" reflecting both previous interests and pointing the way forward to future developments. On first hearing the extreme dissonance of Verses for Ensembles may appear to contrast sharply with the softer-grained approach of The Fields of Sorrow; but the composer’s spatial distribution of his forces in both works provides a stylistic link. Nenia, as we have seen, contains the preoccupations with ritual that characterised many of his earlier works. What comes across very clearly - and here I echo a word Paul Conway uses in his excellent booklet notes - is the composer’s stylistic integrity right across his output.
-- Ewan McCormick, MusicWeb International
Bach: St. Matthew Passion / Kozena, Padmore, Rattle
Berlin Philharmoniker
DVD
$80.99
Sep 01, 2014
This set contains 2 DVDs, 1 Blu-ray Video Disc, and a 7-day Digital Concert Hall pass.
Sir Simon Rattle was in no doubt: the performance of the St. Matthew Passion which he realized together with the Berlin Philharmonic and the Rundfunkchor Berlin in 2010 was for him “the single most important thing we ever did here.” Critics around the world agreed. They praised the semi-staged “ritualization” by American star-director Peter Sellars, as well as the outstanding musical performances by the soloists, including Magdalena Kozená, Christian Gerhaher, Thomas Quasthoff, and Mark Padmore as the Evangelist. Now the performance is published as a hardcover linen edition with a comprehensive booklet and a voucher for the Berlin Philharmonic's Digital Concert Hall.
"Sellars' surprisingly simple ideas draw us deeply into the drama and prove enormously moving." – NPR
"The female singers are very good – the soprano Camilla Tilling ethereal and the mezzo-soprano Magdalena Kozena impassioned – but the men are tremendous, including the pure-toned tenor Topi Lehtipuu. The bass-baritone Christian Gerhaher, singing from far above the other performers, is a resonant, otherworldly Jesus. Mr. Padmore is one of the major Evangelists of our time, and he is heartbreakingly eloquent here, less a biblical narrator than a guide through a dark night of the soul. And if it’s possible for this deeply moving recording to take on any more poignancy, it is probably the final major video release featuring Mr. Quasthoff." – The New York Times
2 DVDs [NTSC 16:9 / PCM Stereo • DTS 5.1]
Blu-ray Disc in high definition video [1080i Full HD 16:9 / 2.0 PCM Stereo • DTS-HD Master Audio 5.1]
Playing time - Concert: 195 mins • Bonus: 51 mins
Subtitles: English, German, French, Spanish, Japanese, Korean
Region: 0 (All region)
7- day pass to the BPO's Digital Concert Hall video streaming service
Sir Simon Rattle was in no doubt: the performance of the St. Matthew Passion which he realized together with the Berlin Philharmonic and the Rundfunkchor Berlin in 2010 was for him “the single most important thing we ever did here.” Critics around the world agreed. They praised the semi-staged “ritualization” by American star-director Peter Sellars, as well as the outstanding musical performances by the soloists, including Magdalena Kozená, Christian Gerhaher, Thomas Quasthoff, and Mark Padmore as the Evangelist. Now the performance is published as a hardcover linen edition with a comprehensive booklet and a voucher for the Berlin Philharmonic's Digital Concert Hall.
"Sellars' surprisingly simple ideas draw us deeply into the drama and prove enormously moving." – NPR
"The female singers are very good – the soprano Camilla Tilling ethereal and the mezzo-soprano Magdalena Kozena impassioned – but the men are tremendous, including the pure-toned tenor Topi Lehtipuu. The bass-baritone Christian Gerhaher, singing from far above the other performers, is a resonant, otherworldly Jesus. Mr. Padmore is one of the major Evangelists of our time, and he is heartbreakingly eloquent here, less a biblical narrator than a guide through a dark night of the soul. And if it’s possible for this deeply moving recording to take on any more poignancy, it is probably the final major video release featuring Mr. Quasthoff." – The New York Times
2 DVDs [NTSC 16:9 / PCM Stereo • DTS 5.1]
Blu-ray Disc in high definition video [1080i Full HD 16:9 / 2.0 PCM Stereo • DTS-HD Master Audio 5.1]
Playing time - Concert: 195 mins • Bonus: 51 mins
Subtitles: English, German, French, Spanish, Japanese, Korean
Region: 0 (All region)
7- day pass to the BPO's Digital Concert Hall video streaming service
V 15: WELTE MIGNON MYSTERY (MA
TACET Musikproduktion
CD
$23.99
Jan 15, 2010
In previous issues I've praised the Abegg Trio's radiant performances of Beethoven's piano trios. This convenient set of the Mendelssohn's works in this form - two by Felix and one by Fanny, composed the year after her brother's second trio - elicits comparable enthusiasm, thanks to the brilliance of the renditions, individually and collectively... The recorded sound is first-rate therein and throughout the two more familiar scores as well. As previously noted, too, a B�sendorfer Imperial piano, played with some restraint by Gerrit Zitterbart and admirably balanced in this CD, adds a measure of richness not often encountered among other practitioners of the art of piano-trio playing. That said, this Tacet CD sports an attractive lineup as well, and although there are many fine recorded performances of both of Felix's piano trios, these merit inclusion among the very best, due to the Abegg's superior playing, seasoned interpretations, and the splendid recorded sound. High. 4009850008101 TCET81.2 19542409 .00 23.99 .24 TACET RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 05/01/1999 https://media.aent-m.com/graphics/items/sdimages/a/500/0/5/2/7/1997250.jpg 0 1 N
MOZART / VEREBICS KOMM LIEBER MAI: MOZART LIEDER With bright jubilation, with polished lines and wonderfully formed; elegant and yet with warm expression; the intonation is a clear as a bell; or to put it in a nutshell: Ibolya Verebics sings the Mozart lieder in perfectly natural way and is thus the ideal performer.... She is accompanied discreetly and competently by her fellow Hungarian Csaba Vegve�ri. (Neue Westfe�lische) 4009850001607 TCET16.2 07217395 .00 23.99 .25 TACET RECORDS COMPACT DISCS CLASSICAL CLASSICAL VOCALS 05/23/2000 https://media.aent-m.com/graphics/items/sdimages/a/500/2/6/2/7/1997262.jpg 8 1 N
GUARNIERI / NESCHLING / SAO PAULO SO SYMPHONY 1 / ABERTURA FESTIVA / SYMPHONY 4 7318590012901 BIS1290.2 09656277 .00 21.99 .25 BIS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 10/21/2003 https://media.aent-m.com/graphics/items/sdimages/a/500/3/8/3/3/2263383.jpg 0 1 N
SIBELIUS / KUUSISTO / YLONEN / GRASBECK COMPLETE PIANO TRIOS 2 7318590012925 BIS1292.2 10063897 .00 21.99 .24 BIS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/29/2004 https://media.aent-m.com/graphics/items/sdimages/b/500/5/8/3/3/2263385.jpg 0 1 N
TAKEMITSU / DUKES / BEZALY / OGAWA / OTAKA STRING AROUND AUTUMN 7318590013007 BIS1300.2 08993250 .00 21.99 .23 BIS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 11/26/2002 https://media.aent-m.com/graphics/items/sdimages/a/500/0/9/3/3/2263390.jpg 18 1 N
HAYDN / BRAUTIGAM SEVEN LAST WORDS OF OUR SAVIOUR ON THE CROSS 7318590013250 BIS1325.2 10063941 .00 21.99 .24 BIS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/29/2004 https://media.aent-m.com/graphics/items/sdimages/a/500/0/1/4/3/2263410.jpg 2 1 N
BACH / SUZUKI / BACH COLLEGIUM JAPAN COMPLETE CANTATAS 23 7318590013311 BIS1331.2 09833135 .00 21.99 .26 BIS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 02/24/2004 https://media.aent-m.com/graphics/items/sdimages/b/500/6/1/4/3/2263416.jpg 3 1 N
BEETHOVEN / BRAUTIGAM COMPLETE WORKS FOR SOLO PIANO 1 7318599913629 BIS1362SACD 10500989 .00 21.99 .21 BIS SUPER-AUDIO CD CLASSICAL CHAMBER MUSIC & RECITALS 01/25/2005 https://media.aent-m.com/graphics/items/sdimages/a/500/0/4/4/3/2263440.jpg 3 1 N
LONDON BAROQUE / LAURIN STRAVAGANZE NAPOLETANE 7318590013953 BIS1395.2 10344415 .00 21.99 .25 BIS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 10/26/2004 https://media.aent-m.com/graphics/items/sdimages/b/500/4/6/4/3/2263464.jpg 7 1 N
DEBUSSY / OGAWA PIANO MUSIC 5 7318590014059 BIS1405.2 15831521 .00 21.99 .22 BIS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 06/28/2011 https://media.aent-m.com/graphics/items/sdimages/a/500/1/7/4/3/2263471.jpg 5 1 N
AMODEI / ZAMBONI / STORAGE / KIRKBY / LINDBERG SU L'ORE CHE L'AURORA 7318590014158 BIS1415.2 09940031 .00 21.99 .22 BIS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 04/27/2004 https://media.aent-m.com/graphics/items/sdimages/a/500/1/8/4/3/2263481.jpg 6 1 N
SCHOENBERG / BERG / PONTINEN CHAMBER MUSIC III 7318590014172 BIS1417.2 11235552 .00 21.99 .24 BIS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 11/29/2005 https://media.aent-m.com/graphics/items/sdimages/a/500/3/8/4/3/2263483.jpg 3 1 N
LINDBERG / SUND / MANDEAL / BASQUE NAT'L ORCH COMPOSER'S PORTRAIT 7318590014288 BIS1428.2 10777688 .00 21.99 .20 BIS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 05/31/2005 https://media.aent-m.com/graphics/items/sdimages/b/500/4/9/4/3/2263494.jpg 2 1 N
BACH / ARNOLD / BOZZA / LINDBERG / LINKOLA FOLIATIONS: STOCKHOLM CHAMBER BRASS 7318590014387 BIS1438.2 14794438 .00 21.99 .24 BIS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 11/24/2009 https://media.aent-m.com/graphics/items/sdimages/b/500/4/0/5/3/2263504.jpg 9 1 N
LOVE BADE ME WELCOME / VARIOUS LOVE BADE ME WELCOME / VARIOUS 7318590014462 BIS1446.2 11238553 .00 21.99 .20 BIS COMPACT DISCS CLASSICAL CLASSICAL VOCALS 11/29/2005 https://media.aent-m.com/graphics/items/sdimages/a/500/0/1/5/3/2263510.jpg 3 1 N
SKALKOTTAS / CATHARIOU / SAMALTANOS 16 MELODIES & PIANO MUSIC 7318590014646 BIS1464.2 10907627 .00 21.99 .24 BIS COMPACT DISCS CLASSICAL CLASSICAL VOCALS 07/26/2005 https://media.aent-m.com/graphics/items/sdimages/c/500/8/2/5/3/2263528.jpg 3 1 N
AHO / TOMASSON / LINDBERG / BEZALY / VANSKA CONCERTOS FOR FLUTE & ORCHESTRA 7318590014998 BIS1499.2 10907719 .00 21.99 .26 BIS COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 07/26/2005 https://media.aent-m.com/graphics/items/sdimages/a/500/2/5/5/3/2263552.jpg 3 1 N
BRITTEN / EMPORER QUARTET STRING QUARTETS 7318599915401 BIS1540SACD 15167484 .00 21.99 .42 BIS SUPER-AUDIO CD CLASSICAL CHAMBER MUSIC & RECITALS 07/27/2010 https://media.aent-m.com/graphics/items/sdimages/c/500/7/8/5/3/2263587.jpg 2 1 N
SKALKOTTAS / RAMOU BALLET MUSIC FOR PIANO 7318590015643 BIS1564.2 12107551 .00 21.99 .26 BIS COMPACT DISCS CLASSICAL BALLET 02/27/2007 https://media.aent-m.com/graphics/items/sdimages/b/500/5/0/6/3/2263605.jpg 1 1 N
DVORAK / TOGNETTI / NORDIC CHAMBER ORCH / LINDBERG VIOLIN CONCERTO 7318590017081 BIS1708.2 15008053 .00 21.99 .23 BIS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 04/27/2010 https://media.aent-m.com/graphics/items/sdimages/c/500/9/0/7/3/2263709.jpg 9 1 N
DOWLAND / PURCELL / KIRKBY / LINDBERG ORPHEUS IN ENGLAND: SONGS & LUTE MUSIC 7318590017258 BIS1725.2 15429681 .00 21.99 .24 BIS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 01/25/2011 https://media.aent-m.com/graphics/items/sdimages/a/500/2/2/7/3/2263722.jpg 1 1 N
HEIKKILA / LAHTI SYM ORCH / PERKO SIITA TUNTEE JOULUN: FINNISH CHRISTMAS 7318590017470 BIS1747.2 14154782 .00 21.99 .20 BIS COMPACT DISCS CLASSICAL CHRISTMAS / CHANUKKAH 11/25/2008 https://media.aent-m.com/graphics/items/sdimages/b/500/5/3/7/3/2263735.jpg 15 1 N
MATTEI / MOZART / RPO / RENES GREAT BARITONE ARIAS 7318599917498 BIS1749SACD 15699268 .00 21.99 .24 BIS SUPER-AUDIO CD CLASSICAL ORCHESTRAL & SYMPHONIC 04/26/2011 https://media.aent-m.com/graphics/items/sdimages/c/500/7/3/7/3/2263737.jpg 0 1 N
BRAHMS / SWEDISH CHAMBER ORCH / DAUSGAARD SYM 1 IN C MIN OP 68 / LIEBESLIEDER-WALZER OP 52 7318599917566 BIS1756SACD 19855165 .00 21.99 .23 BIS SUPER-AUDIO CD CLASSICAL ORCHESTRAL & SYMPHONIC 01/22/2013 https://media.aent-m.com/graphics/items/sdimages/b/500/4/4/7/3/2263744.jpg 4 1 N
BEETHOVEN / ZIMMERMANN / TAMESTIT / POLTERA STRING TRIOS 7318599918570 BIS1857SACD 16239999 .00 21.99 .24 BIS SUPER-AUDIO CD CLASSICAL CHAMBER MUSIC & RECITALS 12/13/2011 https://media.aent-m.com/graphics/items/sdimages/b/500/5/1/8/3/2263815.jpg 4 1 N
DVORAK / MPO / FLOR SYMPHONY NO. 7 7318599918969 BIS1896SACD 16547643 .00 21.99 .21 BIS SUPER-AUDIO CD CLASSICAL CHAMBER MUSIC & RECITALS 04/24/2012 https://media.aent-m.com/graphics/items/sdimages/c/500/8/4/8/3/2263848.jpg 1 1 N
GLIERE / KOMSI / LAHTI SYM ORCH COLORATURA 7318599919621 BIS1962SACD 19357218 .00 21.99 .24 BIS SUPER-AUDIO CD CLASSICAL OPERA / OPERETTA / ORATORIO 10/30/2012 https://media.aent-m.com/graphics/items/sdimages/b/500/4/6/8/3/2263864.jpg 2 1 N
PETTERSSON / NORRKOPING SYM ORCH / LINDBERG SYMPHONY NO 6 7318599919805 BIS1980SACD 19161853 .00 21.99 .25 BIS SUPER-AUDIO CD CLASSICAL CHAMBER MUSIC & RECITALS 09/25/2012 https://media.aent-m.com/graphics/items/sdimages/b/500/5/7/8/3/2263875.jpg 3 1 N
LOCKWOOD,FRANCIS / LOCKWOOD,DIDIER BROTHERS Didier and Francis Lockwood have been fixtures of the French jazz scene for thirty years, but their Brothers album, originally recorded for the Ames label in 2008, featured them together for the first time. Francis Lockwood's piano and the violin of his brother Didier function together in perfect alchemy here, the only instruments present on the recording. The result is an intimate, delicate dive into a universe of their own design where their talents, complicity and connivance are shaped by the closeness of their relation as brothers. 3448960259224 FRAS592.2 25892741 .00 20.99 .25 FREMEAUX & ASSOC. FR COMPACT DISCS POP JAZZ 03/11/2014 https://media.aent-m.com/graphics/items/sdimages/b/500/4/8/8/6/2276884.jpg 5 1 N
MAHLER / HAASS / GRIEG / REINECKE WELTE-MIGNON MYSTERY 15: MAHLER & REINECKE & GRIEG The Steinway used by TACET makes the three composers seem like contemporaries - that's how present and delicate this sound is. It fully meets the highest standards. How wonderful it is the way the grand piabno learns to sing under Mahler's and Reinecke's touch. It is for this reason, above all, that it is worth hearing this recording, even if one already knows the recording of the three composers from other productions: The sound speaks for itself.
Billie's Bounce
SteepleChase
Vinyl
$45.99
Jan 01, 1983
Dexter In Radioland vol. 7
The seventh and last volume of live transmission from the 60’s captures the exuberant atmosphere of the legendary ‘Dexter nights’ at Montmartre.
“...The music here, recorded for Danish radio. all comes form 1964, when Dexter was at...the zenith of his career and probably the happiest time of his life...” (Steve Voce, Jazz FM)
TIME OUTTAKES
BRUBECK EDITIONS
CD
$16.49
Dec 04, 2020
Time OutTakes features 7 tracks that have never been heard before. These newly discovered recordings feature wonderful performances that are every bit as compelling as those on the original Time Out. We discovered that during the original 1959 sessions the Quartet also recorded "I'm In a Dancing Mood" and an unlisted trio jam with a major drum solo that included snatches of the melody from "Watusi Drums." Two tracks from Time Out, "Pick Up Sticks" and "Everybody's Jumpin, " were achieved in one take so no alternates exist to include here. These 7 new performances (and bonus track) are fascinating finds. Chris Brubeck We've all heard Dave Brubeck's Time Out - but never quite like this. You'll hear Dave Brubeck's signature pieces afresh and anew. Listening to this album will make you rediscover why you fell in love with The Dave Brubeck Quartet featuring Paul Desmond, Joe Morello and Eugene Wright. This is mesmerizing music. Kabir Sehgal, Grammy Award Winning Producer Once the Dave Brubeck Quartet released Time Out in 1959, the world of jazz was never the same. Every note of the seven original compositions soared with wild originality and trained musical genius. "Take Five" became the best-selling jazz single of the twentieth century. I've often wondered how this work of genius came to fruition in the studio? How did Brubeck develop such chemistry with alto-saxophonist Paul Desmond? Now the mysteries are solved with the historic release of Time OutTakes (alternative takes to the masterpiece that blew the hinges off the doors of jazz). What a high privilege it is to be able to be in the studio with the quartet as they innovate using 9/8, 5/4 and 2 bars of 3/4 alternating with 2 bars of 4/4 on such classics as "Blue Rondo a la Turk" and "Three to Get Ready." All listeners of Time OutTakes will experience the Cold War era jazz revolution as it unfolded. What joyous music for the ages! Douglas Brinkley, CNN historian and Grammy-winning jazz producer.
Bruckner: Symphony No 7 / Tennstedt, Boston Symphony Orchestra
ICA Classics
DVD
$26.99
Mar 27, 2012
Anton Bruckner: Symphony No. 7 in E major, WAB 107
(1885 version, ed. L. Nowak)
Boston Symphony Orchestra
Klaus Tennstedt, conductor
Recorded live from the Symphony Hall, Boston, 5 November 1977
Picture format: NTSC 4:3
Sound format: Enhanced Mono
Region code: 0 (worldwide)
Menu language: English
Booklet notes: English, French, German
Running time: 66 mins
No. of DVDs: 1
R E V I E W:
A top-quality performance of Bruckner’s Seventh under a great conductor.
The welcome expansion of Klaus Tennstedt’s recorded legacy through the issue of live performances continues with this reading of Bruckner’s Seventh Symphony from Boston. This was a work that Tennstedt did not take into the recording studios though there is another live account, this time on CD, on the LPO Live label (LPO0030). That issue preserves a 1984 performance but I have not heard it.
It was with the Boston Symphony Orchestra that Tennstedt made his US debut in 1974, when one of the programmes he offered consisted of Bruckner’s Eighth Symphony. By all accounts that performance had the critics in raptures. It appears from the booklet note that when Tennstedt gave three performances of the Seventh three years later the critics, who attended the first of the performances, were a little less impressed, praising the conductor’s interpretation but finding fault with some of the playing; it was suggested that perhaps the performance was under-rehearsed. By the time the third performance came round – the one preserved here – it would seem that these little difficulties had been ironed out. There are one or two very minor slips but the overall standard of playing is extremely high and one has the definite impression that conductor and players are as one.
Oddly, the image on the cover of this CD is not taken from the performance we see. For this Boston concert Tennstedt eschewed a score and therefore had no need to wear spectacles. In fact the Tennstedt we see in this film is quite youthful-looking. The recording is presented in “Enhanced Mono” – I’m unsure what that means but the sound is perfectly satisfactory – so we don’t quite get the benefit of Tennstedt’s layout of the string section: the violins are massed on his left but the violas are to his right – where many conductors place the cellos – and the Boston cello section is seated to the right hand of the violas.
The reading is a very fine one. Tennstedt moulds the long, expansive cello melody at the start of the first movement with great care and evident feeling. As the movement unfolds he takes the second subject quite swiftly, though he’s not too hasty. This performance is one of those that remind us that Bruckner was a musical descendant of Schubert – and Tennstedt was a fine exponent of Schubert’s Ninth. The listener is left in no doubt that Tennstedt has the measure of the span and structure of this movement. That’s even more the case with his account of the solemn Adagio. This is a noble, burnished reading and though Tennstedt maintains a good objective stance there’s no doubt that he feels every phrase. He shapes the music splendidly and the Boston players respond to him with playing of distinction. The strings are wonderfully rich in tone, with just the right amount of weight, while the brass are sonorous. This is one of those performances where everything just feels right – and inevitable. The cymbal and triangle are included at the main climax.
Tennstedt ensures that the rhythms of the scherzo have real lift and spring while the lyrical trio is affectionately phrased. The finale is completely successful. Tennstedt mixes energy with expansive phrasing and the brass-dominated episodes are delivered with due majesty.
Tennstedt’s rendition of this symphony is deeply satisfying and it’s marvellous to have an example of him at work with one of the finest orchestras in the USA. We’re told that he worked regularly with the BSO until 1987 so I hope very much that ICA may be able to license more material, either audio or visual, from the orchestra’s archives. I found it fascinating to look at the BSO of thirty-five years ago and I noted with some surprise how few female musicians there were on the stage – possibly eight at most, including the orchestra’s celebrated principal flautist, Doriot Anthony Dwyer. Furthermore, at that time there don’t seem to have been too many young players in the BSO’s ranks. I bet things have changed quite a lot in the intervening period. The thing that really matters is that the Boston Symphony of 1977 vintage was a fine, seasoned ensemble and it’s a joy to hear them play under this great conductor.
The visual presentation is reliable and gives a good representation of the concert. One minor irritant, I found, was the director’s occasional propensity for split-screen shots, showing us, for example, the principal oboist in one half of the screen and the principal clarinettist in the other. Happily, this doesn’t occur too often and it may not bother other viewers. The key thing is that if you invest in this DVD you’ll acquire a top-quality performance of Bruckner’s Seventh under a great conductor.
-- John Quinn, MusicWeb International
(1885 version, ed. L. Nowak)
Boston Symphony Orchestra
Klaus Tennstedt, conductor
Recorded live from the Symphony Hall, Boston, 5 November 1977
Picture format: NTSC 4:3
Sound format: Enhanced Mono
Region code: 0 (worldwide)
Menu language: English
Booklet notes: English, French, German
Running time: 66 mins
No. of DVDs: 1
R E V I E W:
A top-quality performance of Bruckner’s Seventh under a great conductor.
The welcome expansion of Klaus Tennstedt’s recorded legacy through the issue of live performances continues with this reading of Bruckner’s Seventh Symphony from Boston. This was a work that Tennstedt did not take into the recording studios though there is another live account, this time on CD, on the LPO Live label (LPO0030). That issue preserves a 1984 performance but I have not heard it.
It was with the Boston Symphony Orchestra that Tennstedt made his US debut in 1974, when one of the programmes he offered consisted of Bruckner’s Eighth Symphony. By all accounts that performance had the critics in raptures. It appears from the booklet note that when Tennstedt gave three performances of the Seventh three years later the critics, who attended the first of the performances, were a little less impressed, praising the conductor’s interpretation but finding fault with some of the playing; it was suggested that perhaps the performance was under-rehearsed. By the time the third performance came round – the one preserved here – it would seem that these little difficulties had been ironed out. There are one or two very minor slips but the overall standard of playing is extremely high and one has the definite impression that conductor and players are as one.
Oddly, the image on the cover of this CD is not taken from the performance we see. For this Boston concert Tennstedt eschewed a score and therefore had no need to wear spectacles. In fact the Tennstedt we see in this film is quite youthful-looking. The recording is presented in “Enhanced Mono” – I’m unsure what that means but the sound is perfectly satisfactory – so we don’t quite get the benefit of Tennstedt’s layout of the string section: the violins are massed on his left but the violas are to his right – where many conductors place the cellos – and the Boston cello section is seated to the right hand of the violas.
The reading is a very fine one. Tennstedt moulds the long, expansive cello melody at the start of the first movement with great care and evident feeling. As the movement unfolds he takes the second subject quite swiftly, though he’s not too hasty. This performance is one of those that remind us that Bruckner was a musical descendant of Schubert – and Tennstedt was a fine exponent of Schubert’s Ninth. The listener is left in no doubt that Tennstedt has the measure of the span and structure of this movement. That’s even more the case with his account of the solemn Adagio. This is a noble, burnished reading and though Tennstedt maintains a good objective stance there’s no doubt that he feels every phrase. He shapes the music splendidly and the Boston players respond to him with playing of distinction. The strings are wonderfully rich in tone, with just the right amount of weight, while the brass are sonorous. This is one of those performances where everything just feels right – and inevitable. The cymbal and triangle are included at the main climax.
Tennstedt ensures that the rhythms of the scherzo have real lift and spring while the lyrical trio is affectionately phrased. The finale is completely successful. Tennstedt mixes energy with expansive phrasing and the brass-dominated episodes are delivered with due majesty.
Tennstedt’s rendition of this symphony is deeply satisfying and it’s marvellous to have an example of him at work with one of the finest orchestras in the USA. We’re told that he worked regularly with the BSO until 1987 so I hope very much that ICA may be able to license more material, either audio or visual, from the orchestra’s archives. I found it fascinating to look at the BSO of thirty-five years ago and I noted with some surprise how few female musicians there were on the stage – possibly eight at most, including the orchestra’s celebrated principal flautist, Doriot Anthony Dwyer. Furthermore, at that time there don’t seem to have been too many young players in the BSO’s ranks. I bet things have changed quite a lot in the intervening period. The thing that really matters is that the Boston Symphony of 1977 vintage was a fine, seasoned ensemble and it’s a joy to hear them play under this great conductor.
The visual presentation is reliable and gives a good representation of the concert. One minor irritant, I found, was the director’s occasional propensity for split-screen shots, showing us, for example, the principal oboist in one half of the screen and the principal clarinettist in the other. Happily, this doesn’t occur too often and it may not bother other viewers. The key thing is that if you invest in this DVD you’ll acquire a top-quality performance of Bruckner’s Seventh under a great conductor.
-- John Quinn, MusicWeb International
