2008
Click and Pick: Tony
Deller reviews concert-finding websites
Classical Music 19 July 2008 p23
......... www.musicweb-international.com
has been around longer still, and is one of
many sites concentrating on reviews rather
than listings. Set up in 1995 under the name
MusicWeb, the site was originally intended
to raise the profile of British composers.
Since then it has diversified to include CD
and live reviews (again, its reviewers are
not paid). In contrast to Classical Source,
which is relatively simple in design, MusicWeb
has something of the second-hand bookshop
about it. Certainly, one can spend enjoyable
moments browsing its many links and crannies;
much of what it contains is informative -
its exhaustive potted biographies of British
light music composers alone make it an essential
source. But its slightly ramshackle appearance
sits oddly with the slicker web designs we
are coming to expect.
.................................................
I would have preferred being
compared to a reference library rather than
a second-hand bookshop but I am taking a positive
view of this review which I think is actually
rather affectionate. I like being thought
of as a sort of retreat to delve and explore.
Of course we could look very swish if we wanted
to - £10,000 to spare anyone?
......................................................................
...................................................................................................
From Adrian Farmer of Lyrita
Dear Rob
I feel it right to say something to let you
know how much we appreciate the work you all
do at music-web. As I have said before, yours
is a properly grown-up approach to reviewing;
by the simple act of giving the team space
to do their job you leave the monthly mags
breathless and marginalised.
I have been particularly struck this month
by John France's review of the Moeran Cello
works and Goran Forsling's on-going discovery
of Bretan. Both record projects are 'difficult',
some would say of limited interest for various
reasons, but, by working through those difficulties
with knowledge and sympathy both writers are
able to present an honest evaluation of the
underlying strengths of the music and the
performances. Neither we, nor the reader,
can ask for more. Bravo.
Let us know if we can help to spread the word.
Kind regards
Adrian Farmer
2007
From Adrian Farmer of Lyrita
Just saw the list of Reviewer
choices for Record
of the Year. I am overwhelmed. On Richard's
behalf, and Wyastone's, I am grateful to you
and your team for the part music-web has played
in the restoration of Lyrita's extraordinary
catalogue. By supporting each release as they
appeared with so much enthusiasm and knowledge
you helped to create a sales buzz - something
the old music monthlies seem unable to do.
But you know that, right?
.........................................................
Reference Eric
Coates page
Hello Len,
My name is Harry Harris. I'm knocking on 85
years old, and when I was 16 I worked at Chappells
as a messenger-cum-office boy in Teddy Holmes
office.
I have lovely memories of Eric Coates and
his wife Phyllis, because they were frequent
visitors to Teddy Holmes.
My memory of him is that he was a kind and
gentle gentleman, who treated even a lowly
office boy with courtesy.
We always knew when he was coming in because
the smell of turkish cigarettes usually preceded
him. At the time, I had no idea how great
he really was. But I know now!
Another frequent visitor was Harry Parr Davies,
a different kettle of fish entirely, but also
very kind.
I never went back after the war, and went
into an entirely different business from music,
but now I'm pleased to say, I'm involved again
with a very nice keyboard which I to entertain
in old age homes. I do a "nostalgia"
programme, and one of the items I play is,
of course, the Knightsbridge March when I
talk about "In Town Tonight"
Thanks again for your website and the lovely
memories it's brought back to me
Sincerely
Harry Harris
Reference Rob Barnett's review
of Broadstock
symphonies
Dear Rob
I am humbled by your review
- thank you!! As I said earlier to you it
is
wonderful to receive a review that is honest,
intelligent, articulate and
tries to clarify the emotional experience
that music gives us without
being prejudiced by aesthetic agendas. As
a composer I could ask for
nothing more!
Obviously, as editor, it
is your own all-encompassing acceptance of
many
styles and kinds of music that is setting
the example for fair and
excellent reviewing. Keep up the great work.
best wishes
Brenton
Just a short note to say
"Bravo, Dominy Clements!" for writing
a review that strikes a blow for how they
did things in the "old" days when
they did them well, which was every now and
then sans glitter, sans tinsel, sans hype
and sans "image" - I refer to the
latest EMI incarnation of "Peter and
the Wolf" which does unspeakable things
to the original conception of the recording
in the interest of being "up-to-date"
- these days we must have every "t"
dotted and every "i" crossed and
leave nothing to that thing called the imagination.
Dominy Clements says it all, as far as I'm
concerned - even if the pleasure his review
gave me was spleen-filled, 'twas the nature
of the beast to do so. Well done, MusicWeb
International!
Sincerely,
Peter Mechen
I
continue to read Musicweb every day. It's
part of my routine like
brushing my teeth!
All best,
John McLaughlin Williams (Conductor)
What
a refreshing experience to find that the very
first Google listing for a "Brilliant
Classics Bach Edition reviews" search,
should be Kirk McElhearn's wonderful
essay explaining the values and drawbacks
of this monumental set. He answered all my
questions about whether such a "bargain-basement"
collection is true to the master's intent,
described the quality of the musicianship,
explained the sources of the licensed selections
and compared this edition to the more up-scale
"complete works."
Thank you so much for recognizing that not
all lovers of Bach's music need to know the
exact frequencies of scordatura tunings and
about learned disputes on instumentation and
tempii. Mr. McElhearn's comments were in language
suitable for academic discussion without resorting
to the incomprehensible minutae of musicological
ephemera.
Thank you for making such a valuable work
of criticism so readily available on the web.
Bill McGee
I
have been using your website for some time
and it is held in high regard in the industry.
I do hope that now you have a reviewer we
will be able to have more coverage for next
year’s festival and I will of course
add you to our mailing lists.
With
best wishes,
Shelley
Hughes
Press
and PR Manager
Brighton
Dome and Festival
Dear
Mr. Serotsky,
Thank
you very much for your email. I'm Chitose
Okashiro. I've received
your forwarded email from my webmaster, and
I apologize [. . .] for a
mistake my review site contains. However,
on the other hand, at the same
time, I could not help feeling lucky to have
got to know you through email
like this, whom I respect and admire very
much.........
When
I read your review of my Mahler, I was so
touched by your words and
your deep thoughts that it almost made me
cry. As you could easily imagine,
since my performance is not conventional nor
stereotyped, I'm not a type of
a pianist who could be easily understood by
everybody, ESPECIALLY in this
country, USA!! In our modern age, both classical
music listener and
classical music industry are looking for a
safe, boring, same kind of square
performer who cannot be risky to anybody by
any means..........the business
of music in this country is so political and
commercialized, American
orchestra players play music without any kind
passion, etc. and I'm having a
difficult time to connect myself with the
outer world.
I've
always wanted to tell you how much I appreciate
you for your deep
understandings and thoughts. Your words mean
so much to me. Thank you.
Sincerely,
Chitose
Okashiro 2006
It's
high time I wrote you and thanked you for the
wonderful work
you've done over the years making MusicWeb the
useful site it is. I
always look forward to the reviews and other
features and
particularly appreciate the weekly e-mail updates.
Scott
Morrison
Middlebury, Vermont
As
the producer of the CD "Schnittke"
featuring pianist Svetlana Ponomarëva,
I wished to thank you for your time and insightful
June 29, 2006 review
on Musicweb. Since the general press has relinquished
its role of discovering talents for a safer
rubberstamping of heavily promoted artists,
initiatives such as Musicweb's offer an exposure
opportunity to lesser known artists, some
of them true musicians.
Dr.
Marc Villéger
Your
web reviews have been invaluable. They are intelligently
written and are richer in background and analysis
than Gramophone, Fanfare, etc. Thanks.
David Krantz 2006
Dear
Mr. Horner,
Thank
you so very much for your September 4 review
of my two disks Turning to the Center
and Songs of My Affinities that appears
on the Music Web. As with your review of all
rivers at once, I am grateful for your
thoughtful and thorough approach to my music,
addressing the broader aesthetic, stylistic,
and technical qualities. As you know, comments
such as yours are very helpful in publicity
and disseminating the music. Many of the reviews
in the United State would be better described
as “reports,” lacking any true critical
context, or they tend to take a singular,
biased approach to contemporary music, and
thus render their perspective as meaningless.
I do hope that you will consider reviewing
my next release, Music for Piano.
With
my very best wishes,
Phillip
Schroeder October 2004
Hello,
I have just belatedly stumbled upon this EXCELLENT
review of the Wigglesworth/LPO Prom last summer:
http://www.musicweb.uk.net/SandH/2003/July03/Prom50.htm
I just wanted to say that I agreed with you
COMPLETELY, in every tiny detail of what you
observed, including the conductor's grasp
of structure, passion and economy, pacing,
control, colour and balance; Christine Brewer's
flawless technique but soulless performance;
and even your mention of the timpanist whom
I remember noticing as well. I particularly
agreed with your comments about Wigglesworth's
"musicality" stemming from his grasp
of symphonic structure, and faithfulness to
the score. And your very pertinent and insightful
observation about why this did not give him
the ovation he deserved.
I become more and more disillusioned with
the reviews I read in the mainstream press
as they seem increasingly to miss the point
(in my opinion). Reviews from Covent Garden
and Glyndebourne in the last couple of weeks
have particularly astonished me in their lack
of insight and musical understanding. So I'm
glad to find (rather belatedly) a review as
insightful as yours. I hope there are more
such available! I'm about to have a look.
I
hope this message finds its way to you.
Yours sincerely,
name
with-held July 2004
Please
excuse my intrusion, but I felt obliged to
write and say that the review of the May 17
Aimard concert sets a standard of excellence
that few attain.....wonderful, wonderful,
wonderful! Please thank Mr. Hodges for his
superb work.
Very sincerely,
Gene Halaburt
Salt Lake City, UT
USA
Ives’
Concord Sonata played by Pierre-Laurent
Aimard, Zankel Hall, New York City, May 17,
2004 (BH)
I
couldn't restrain myself from writing to
express my admiration for
Jonathan Woolf's richly expressive language
about each of the singers
in his critique
of the Guild release of the 1940 Met Tristan.
How
evocative and in such brief terms!
Warmest
thanks,
Richard
Caniell
Archivist
I
have recently begun to read your site's classical
reviews. I am an old hand at reading classical
music reviews and I must say I prefer your site's
to Gramophone, Fanfare or the American Record
Guide. They are professional, passionate and
personal.
Warm
Regards,
William A. Rosen
(Aug
2003)
From
Jonathan Wearn (Producer)
Dear
Rob Barnett
A
wonderful review of the Holbrook which
CD I much enjoyed - but, you did
not mention the marvellous Razumovsky Quartet's
playing which I think is
always extraordinary - (watch this space!!!)
Christopher Wellington the viola now in his
70s - makes the most wonderful
sound and I simply love their playing!!!!!
But your understanding of Holbrook fascinated
me and the article was much
admired - I have sent the page to Christopher
just a few minutes ago.
Best
J
I wonder, if like me, you are old enough to
remember the UK-originated EMG Monthly Letter
of fond memory. I considered this small publication
to have issued the most erudite, informative,
and best-written record reviews of any English
or American publication. Most of your reviews
reach and occasionally surpass that level
of excellence and eloquence. (But, please,
no revisionist criticism of Elgar should be
allowed! He occupies a high place in my pantheon
of composers.)
Rod DeCecco, Rhode Island/USA
Dear
Rob
I
felt that I just had to write and express
my gratitude to you on the most eloquent and
discerning review of my 12
Housman Songs Disc. You have indeed reflected
a sincere insight into my particular and,
if I may say so, my very personal compulsion
towards Housman's unique poetical messages.
You seem to be the first critic who has uncovered
my personal obsession with Housman so accurately.
Actually, when I came across Housman's poems
in the 80s, I had no idea that he was already
so prolifically set by a host of others. I
was so drawn to the opposites of pastoral
beauty and the irony of man's destruction,
the obsession with death, it all seemed to
reflect the tragedies of my own life. You
certainly saw through me. I became immediately
a member of the Housman Society. I have been
performed by a few baritones, but several
of high repute have not shown a preference
for my work.
To
fill in some your unknowns about me, I am
in my early 70s and have set about 90 of Housman's
poems, outstripping all other composers in
this field, being about two thirds of his
total output. I may say also, after some criticism
of my songs by the renowned baritone Stephen
Varcoe, that I have revised a great deal of
the piano parts in the 12 songs on the disc,
which I now consider to be inferior to my
revisions. I intend to produce a 2nd. disc
of Housman in the near future.
Thank
you again for your astonishing perception
of my work.
With
kindest regards,
John
R. Williamson, b. 1929
Just
a few words to thank you for the thoughtful
and extensive review
of my late father's 2-CD set. The comparative
appreciations are essential to understanding
the way my father worked; the immediate grasp
of his determination not to interpose himself
between orchestra and audience is absolutely
crucial. And he was always pleased with the
Piatigorsky performance which they shaped
together in terms of soloist/orchestra relationship.
One
fact to correct, maybe two: my father left
the Soviet Union in 1929 because he had already
had a debut in Western Europe and wanted to
expand his career there. He was, at the time
that he left, still conducing the Leningrad.
And when he and my mother left (I was not
yet born), it was carrying two suitcases.
All assumed, or behaved as if they assumed,
that they would be return. They didn't, not
until 1959 when the Soviets unvited him back
to conduct in Moscow, Kiev and Leningrad.
The US State Department expressed support
for the visit and my parents, both US citizens,
went back. My mother to her dying day wished
they hadn't. She felt, and I did not disagree
after working in the old Soviet Union for
NBC News, that the return broke my father's
heart.
As
for what those who have heard it consider
one of my father's most sublime performances,
it was with the Danish Orchestra and it was
Stravinsky's Petite Suite.
With
all good wishes, George Malko
From:
"john mclaughlin williams" <jmw12@------->
To: <Len@musicweb.uk.net>
Sent: Friday, June 21, 2002 3:56 PM
Subject: musicweb
> I just wanted to say congrats and thanks
for Musicweb. It is a truly great
> site, easily the best and most comprehensive
on the web devoted to good
> music. I've spent countless hours withe
articles, reviews and particularly
> the insightful composer profiles. Andanted
can't match Musicweb for breadth.
>
> So thanks, and keep doing what you do
so well.
> JMW
I
am writing to express my appreciation of the
recent
review of my CD
Transience, that has recently appeared in
your journal. It is wonderful
indeed to find such understanding of what
I am trying to express as was
shown by Mr. Culot. I am delighted that the
music so clearly spoke to him
exactly as I hoped it might speak to an ideally
receptive listener.
Please
convey this message to Mr. Barnett and Mr.
Culot with my thanks
With
all best regards,
Joel Feigin
Sir;
Thank you so much for your your good work,
which just seems to get better and better.
Thanks to you I'm beginning to think I can
safely let my Gramophone Subscription expire.
Keep up the good work.
royknoop@harbornet.com May02
I
just recently signed up for the MusicWeb Reviews.
They are really superb, free of politicizing
and bias, clear and enjoyable to read.
I won't renew my subscription to Gramophone.
Many thanks,
William Rosen May02
I
think that the MusicWeb is a brilliant site
all around and I am telling
friends about it who might not know it exists
-- if they don't know, they
should. Through Rob, of course, I was well
aware of the reviews but I had no
idea how extensive and comprehensive the entire
site is. It is like having a
music encyclopedia available at my fingertips,
one that focuses on topics of
particular interest to me.
Pamela
Blevins
Hello,
I
first of all want to thank you for writing
an intelligent and compelling
review of
Mahler's Sixth Symphony conducted by Michael
Tilson Thomas with
the San Francisco Symphony. I was present
for the September 13 concert and
recording during those dark days following
the World Trade Center disaster.
I must say, it did take a great deal of both
courage and concentration for
the musicians and conductor to turn out such
a pristine and effective
reading of this complex work.
San
Francisco and much of the US (if not the world)
was reeling from these
tragic events and the city felt like a ghost
town. The streets of San
Francisco were empty and at the time, there
was still hope that people would
be found alive inside the ruins of the trade
center. The images were seared
in our collective memories and hope had not
yet left that the tragedy may
not be as disastrous as first feared.
When
I went to the concert, I felt like I was the
only person in the streets
of San Francisco. It was a cold and cloudy
day and I thought about not
attending the concert though my love of Mahler
compelled me to attend. I
had hoped the concert would open with a word
of comfort from the fearless
Tilson Thomas regarding the tragic events.
Instead, a muted applause
greeted him to the stage as he silently began.
I know Mahler is very
complex for performers to truly understand
the music as they perform a
marathon piece such as this one. The orchestra
and conductor displayed
suburb concentration. The rage and energy
of the final movement felt real
and resonated inside me. The sledgehammer
produced a concussion blast that
could be felt from my seat half way down the
hall and it needed that impact.
I
am glad that the energy and performance was
recorded with such precision
and technical refinement so others could enjoy
is as much as I did.
Sincerely,
Karim
Hello,
I've
just visited your website, having recently
discovered what a wonderful composer Benjamin
Frankel was. Your site is incredibly detailed,
with al lthe information I needed to acquire
all of the remaining CPO recordings. I was
greatly impressed with his twelve-tone score
for 'Curse of theWerewolf', and also the CPO
recordings of the complete string quartets.
The
quality of his music goes without saying,
embracing all of the important 20th century
styles in one heady opus.
Your
site is a truly inspired effort !
Kind
regards,
John Harper.
Oxfordshire, UK.
-------------------------------------------------------------------------
Hi
Len,
I would like to extend my congratulations
to you for having (almost without doubt) the
single most comprehensively cross-referenced
and updated list in the world!
I say this with some justification as over
the past 3 months I have attempted to locate
a recording (or even the owners of the recording)
of:
The Coronation Of Her Majesty Queen Elizabeth
I. A Celebration in Music
performed by (amongst others) Philip Cave
and Magnificat (www.magnificat.org.uk)
You will find - on the above link - the album
details as Cantoris Soundalive #CSACD3055.
Your web page is one of only 2 found in the
world (via a lot of search engines, but most
trustedly via www.northernlight.com which
is alleged to have nearly 30% of the entire
internet catalogued) that even refer to this
recording... but the ONLY PAGE OF ITS TYPE
that actually lists (you have a link to) Griffin
Records!!! No other music site I have visited
even lists Griffin Records, and the fact that
you do, AND also refer to the recording mentioned
above, proves you are (in my opinion) the
best classical "music buff & site
hoster" in the world.
(Cantoris Soundalive became Cantoris, and
Soundalive - as you may be aware, and then
Cantoris sold the rights to this recording
to Griffin.... whew!)
Without digressing into my troubles too much
- full marks and WELL DONE!
I mentioned your site (and e-mail address)
to Griffin in my correspondence to them for
the same reason...
I am extremely impressed with (and grateful
for) your knowledge, your ability to stay
VERY up-to-date (some 'competitor sites' to
yours have not been updated since 1999 and
2000!!!), and of course...
Thank you for your love of classical music!
Keep up the great work... you are truly a
World Leader!
Kind regards,
Craig Savill
................................................
Dear
Len,
http://www.musicweb.uk.net/classrev/2001/Aug01/AuberCrown.htm
Could you please pass on to Raymond Walker,
my appreciation for the review he wrote on
Auber's "The Crown of Diamonds".
It has encouraged me to purchase same, and
provides a nice counter to the rather uncomplementary
review by Andrew Farach-Colton in Opera News
(http://www.operanews.com/archives/901/Recordings.901.html).
I will place a link to Raymond's review on
the station web page on Auber that I maintain
at MP3.com http://www.mp3.com/stations/auber
With thanks,
Bruce Livett
Tony
Duggan's Mahler (again)
Gustav
MAHLER (1860-1911) Symphony
No.9 in D Major, Kindertotenlieder*
Janet Baker (Mezzo Soprano)*, Scottish National
Orchestra* London Symphony Orchestra/Jascha
Horenstein (Royal Albert Hall, London 15/9/66
and Usher Hall, Edinburgh 3/3/67*) Restoration
and remastering by Jerry Bruck, Posthorn Recordings
BBC Legends BBCL 4075-2 2 CDs [113.38]
[TD]
Every
Mahlerian should own this recording of the
Ninth Symphony. It should be treasured by
all whose first concern is music and its performance
in front of an audience.
The
above review attracted attention on rec.music.classical.recordings:
....
And what a wonderfully written and conceived
review it is, Tony. This could be
a model for balanced, effective criticism
and vivid writing. I came away from
reading it feeling that even if I never heard
the performance I could know what
it sounded like from the review. Bravo.
Henry Fogel
WOW!
But, yes, I liked the review very much (didn't
hear this Horenstein Ninth yet, only the M
& A one).
regards,
samir golescu
Brilliant
review of an unique recording.
Stephen Hall
Not
that I wish to incite controversy (smirk),
but it is an interesting exercise to
read D. Hurwitz's review in the light of Tony's
review. It's clear (to me at least)
that while Tony may give a bit more of a pass
to some poor execution than others
might, David is so focused on execution that
he can't, or won't, hear the whole.
And then there's his rather tiresome nastiness,
but I suppose we just have to accept
that to get his (sometimes) worthwhile insights.
Bob
Harper
Malcolm
Arnold 80th Birthday celebrations
Well
over a year ago I came across your extremely
useful website. It was largely thanks to this
excellent website (and the ready access to
all the information required) that I was able
to develop these Wigmore Hall programmes.
Thank you so much.
Best wishes ,
Richard Shaw
Dear
Len,
I just received from Zin Young Blondiau at
Cypres' the copy of Hubert Culot's
review of the Rens CD - one of the last
cd's I produced as manager of Cypres. It is
very nice to read.
I would like very much to have a contact with
Hubert Culot to thank him for his continuous
interest shown in my productions. And of course
I share this thanks with you, who are at the
basis of all this huge and useful work.
All the best
Michel Stockhem
July
2004
Norman Lebrecht April 01 writing in the Daily
Telegraph
Cyberspace
spawns a Mahler legend
The
future of classical recording will be driven
by the internet, says Norman Lebrecht
WORD
of mouth, like nostalgia, is not what it used
to be. In the cyber-chat age, when a girl
can have a fun night out and find the intimate
particulars posted on a million screens next
morning, the acquisition of reputation has
become a haphazard thing. Nowhere are the
scales of judgment shifting more decisively
than in music, the most nebulous of performing
arts.
In
September 1999, someone on an internet Mahler
List reported a "remarkable performance" of
the Fifth Symphony given by a youth orchestra,
the Junge Deutsche Philharmonie, in Cologne.
Nothing more was heard until last month, when
word broke that the concert was scheduled
for release on an esoteric US label, Laurel
Record.
Two
cyber-reviews appeared within a week. The
first, by David Hurwitz on classicstoday.com,
acclaimed the performance as "one of the half-dozen
best recordings of the work . . . right up
there with Bernstein, Karajan, Barbirolli
and Tennstedt". The second, by Tony Duggan
on musicweb.uk.net, called it "the finest
recording of the Fifth Symphony currently
available".
These
were not nerdish rants, but scrupulous assessments
by recognised Mahler cognoscenti aimed at
consumers who know their gongs from their
cowbells. Messages soon came pouring in from
Mahlerians who had either bought the disc
or been frustrated in the search. By the beginning
of this week, when I tracked down the producer,
the disc was in its second printing and being
rush-shipped to Europe - all this before a
single word had appeared about it in traditional
print.
The
speed and superlatives of web communications
can create false legends. In this instance,
the new recording fully lives up to its acclaim.
It is searingly well played and uncannily
well shaped, a rare blend of raw excitement
and refined intelligence, with the most transcendent
ending I have ever experienced.
The
cover picture says it all. Neither an airbrushed
image of a primping maestro, nor an art shot
of undulating landscape, it portrays the T-shirted
woodwind section of a youth orchestra, their
instruments tilted forward and upward (just
as Mahler ordered) and blown to all appearances
with the last breath in their bodies.
What
you see is what you get. Such plain-Janery
would never have sneaked past a big-store
buyer in the bad old days. Indeed, no record
of this kind could ever have hit the jackpot
before the internet democratised the means
of distribution and dialogue.
Its
conductor, Rudolf Barshai, is a known commodity.
The outstanding viola player of his generation,
Barshai co-founded the Borodin Quartet and
later the Moscow Chamber Orchestra, which
he conducted in the premiere of Shostakovich's
14th Symphony.
After
leaving Russia in 1976, Barshai had involvements
with the orchestras of Bournemouth and Vancouver,
alongside a lively career as a guest conductor.
That he should belatedly emerge as a Mahler
intepreter is unexpected. But Barshai, in
his late seventies, has been reflecting deeply
on Shostakovich and became absorbed in Mahler
as a primary influence.
Over
the past year he has composed a new realisation
of Mahler's unfinished Tenth Symphony, which
was premiered in St Petersburg and will be
toured by the JDP. In it, Barshai went further
down the dissonant path than Deryck Cooke
and other completionists. "This manuscript
must be made to come alive," he proclaimed.
His
son, a California-based lawyer, took his recent
tapes to major record labels, who balked at
issuing staple works by a non-star conductor
and at Barshai's editorial demands. With options
running out, he found a mom-and-pop label
in Nichols Canyon, Los Angeles, and struck
a chord with its exotic owner.
Herschel
Burke Gilbert is a movie orchestrator who
won two Oscars and was once music director
for CBS TV. Thirty years ago, he founded Laurel
Record as a hobby to issue obscure works by
US composers. When Barshai's son played him
the Mahler tapes, he was smitten, and for
all sorts of reasons. Gilbert, who is 83 this
week, graduated from Juilliard as a viola
player and conductor. He was honoured to represent
a master of his crafts.
Mahler
Fifth is his first mainstream release. It
will be followed by the last concertos ever
played by Sviatoslav Richter, conducted by
Barshai in Japan, along with some Russian
music and probably the Mahler Tenth. "I have
been involved with recording all my life,"
Gilbert told me, "but I have never tasted
such excitement as this."
And
so, thanks to web buzz, Barshai and Gilbert
may enjoy a golden Indian summer and many
of us will relish treasures that we would
never otherwise have accessed. The future
of classical recording, if there is to be
one, will be driven by the internet. The question
is whether earth-bound media will manage to
keep pace.
With reference to Classical CD Reviews
Jan 2001
Thank you for review info - must be a record
- from posting out the CD to publication of
review two days!
Stephen Sutton
The Divine Art Record Company
Len, I just happened on last July's review
of my Parnassus recording of Luening and Starer.
I want to say how pleased I am that
the site covered this recording, and that
Rob Barnett's review was so detailed and full
of interesting musical comparisons. (It suggested
some future listening to me, certainly!) In
our world of sound bites and "noteds in brief,"
which tend to do meager service to the subtleties
of classical music or the performance thereof,
it is heartening to find one's work and that
of one's colleagues treated so attentively
-- a feature I enjoy about the site in general,
BTW.
Cordially,
Danielle Woerner
With reference to Film Music on the Web
following the move to Vavo Dec 00
Your new design is first-rate. Also, your
site is just about the most serious-minded
Film Music site I have found. I cannot imagine
the work involved in setting all this stuff
up, but congratulations from me....
John Morgan
And I can say quite honestly, your site is
terrific. I'm a soundtrack nut and I check
many websites for film music, and enjoy many
of them. But at the first of the month, I
always love to see what intriguing music you
may suggest. Your reviews have rarely led
me wrong, and the intelligent thoughtful insights
are great.
Thanks again and have a good New Year!
Tim
With Reference to Classical Music on the
Web
I just had to write to compliment Prof. Robin
Mitchell-Boyask on the perceptive and
well-written analysis
of the state of the Philadelphia Orchestra.
As a Philadelphian myself with some familiarity
with the ensemble (I produced the Orchestra's
Centennial boxed set), I have to say that
this was as well-done as anything which has
appeared from the music critics of our major
newspaper here. Kudos to Prof. Mitchell-Boyask,
and to you for publishing it.
Yours,Mark Obert-Thorn
-----------------------------------------------------
The website Classical Music on the Web, edited
by the incredibly learned and expert critic
Rob Barnett (a site that offers a good alternative
to the often narrow views of Hurwitz and his
collection of critics) ............
8H Haggis Oct 2000
[we blush on Rob's behalf]
With reference to Film Music on the Web
Just wanted to let you know how useful your
website has proved to a Film Music module
at Leeds University. I am a BA Communications
finalist who is keen to work in film, but
my 14 years of experience as a pianist have
meant this field is of great interest to me.
Your website has provided a great insight
into the thoughts of film composers, especially
with its inspiring interviews.
Emma Melling
Oct 2000
With Reference to Tony Duggan's Mahler reviews
Mr. Duggan's reviews are the most intelligent
and literate I have yet seen. Thank you very
much for forwarding them to me. Given the
quality of your Web site, I will have to make
it a habit to connect with it.
All the best,
Charles
Titanic Records June 2000
With reference to reviews on Seen&Heard
London
International Piano Competition
Dear Mr Woolf
Thank you so much for sending copies of your
various reviews. I am glad the Competition
inspired such mixed reactions and it was good
to read such a well-balanced collection of
critical opinions.
With all best wishes,
Tricia Staple
Event Coordinator May 2000
Dear Mr Woolf
Thank you very much indeed for passing me
the various reviews regarding the World Piano
Competition. It is very good that you found
it of such interest - and that it stimulated
such differing responses! I hope our prize-winners
continue to receive such coverage as their
careers progress.
I would be grateful, however, if you would
correct one point. I would like to assure
you that, far from having the casting vote,
I as Chairman have no more sway than any other
jury member (the total number of jurors being
11 including the chairman). We pride ourselves
on having a transparent voting system which
ensures a total lack of bias and I would be
grateful if this could be made clear to your
readers as soon as possible.
Having said this, I am still very pleased
that you give us such coverage and I look
forward to reading further reviews in the
future.
With thanks and best wishes,
Yours sincerely
Sulamita Aronovsky
Chairman & Artistic Controller
- - - all of us here at this office enjoyed
reading what was a refreshingly thorough piece
of reviewing and we will follow your site
with interest in the future - - -
Their own website is oup.co.uk/music.repprom
Oxford University Press
Hope all is well with you, the site is looking
fantastic!!
Speak soon
Nice wishes
Decca Press Office March 2000
We are a PR agency in the realm of classical
music, and do PR for Ingo Metzmacher, among
others. With great pleasure I read the interview
with Ingo Metzmacher on your website.
March 2000
What they say about Seen
& Heard
Congratulations on creating Seen & Heard:
a much-needed enterprise, especially given
the decreasing space allocated to music journalists
in the national newspapers. I enjoyed Peter
Grahame Woolf's informative and extensive
account of the recent Musica festival in Strasbourg.
Seen & Heard could become an important
part of musical life.
Thalia Myers
Oct 199
What
they say about FILM
MUSIC ON THE WEB
"The
Film Music on the Web site is, quite frankly,
the best in the world when
it comes to film music ... plus its classical
credentials (Classical Music on the Web) are
pretty weighty too; I am sure the site will
continue to
grow in esteem and popularity..."
David
Wishart - the veteran Gramophone Award-winning
film music producer.
"...This
wonderful site..."
Ford
A Thaxton - film music recordings producer
and Host of the real audio radio
series Soundtrack Cinema.
"Film
Music on the Web is simply the finest Film
Music Internet Site on the Web.
Filled with up-to-date reviews of both classic
and contemporary scores,
as well as in-depth interviews and articles
make it a must for serious
fans of both film and music."
John
Morgan - Composer, orchestrator, and producer
- Marco Polo Film Music Series
"I
have been reading reviews and articles on
Film Music on the Web for some months
now and I want to congratulate you and those
who write for this site on
a superb, exceptionally useful and interesting
site. Almost invariably I find
the reviews interesting, well-written, and
invaluable in the information
they provide about the torrent of new releases
that monthly inundate
those of us who love film music. The site's
reviews have guided me to
several releases I otherwise would not have
purchased, as well as provided
many fascinated hours of reading. Many thanks
to all concerned."
Prof.
Michael A. Morrison - Dept. Physics &
Astronomy, University of Oklahoma
"I
absolutely love your film music site. There
is no shortage of fan-run sites,
especially here in the States, but your format
and substance are the best
I've come across on the web. Every review
is persuasive and credibly written. The broad
range of CD reviews
is very informative and refreshing. It also
makes a difference when there
are dual comments on any particular score.
As a long-time film score enthusiast
(and Goldsmith admirer) I find this site a
definitive
resource on the internet and will readily
recommend it to others.
Thanks
for a job well done,
R.
Nelson
"Just
wanted to drop a note letting you know how
much I enjoy your site! The
articles by Ian, Paul Tonks, Rob et al are
wonderful and it's refreshing
to read some really great journalism from
the UK...keep up the wonderful
work!!!!"
Best
Regards,
Vance
Brawley - webmaster ScoreLogue Weekly and
Scorelogue Web Magazine
"Congratulations
are in order to Film Music on the Web which,
under the editorship
of Ian Lace, has now received over 20,000
page views...."
Music
& Vision
Gramophone review of web sites January
2000
Wandering
wide on the WWW
James Jolly presented a grand tour of Music
Web Sites as Editor's Choice. We earned
a picture and a mention in the final sentences
...... and Len Mullenger's fine Music on the
Web site has a long article by Francis Routh
on Rubbra - and masses of other interest besides.
It's well worth a detour.
return to top
Chamber Music of America Vol 17 No
1 Feb 2000
In a survey of 50 music web-sites Cadenza
was first, Music & Vision 2nd and we were
18th. Well done the Brits! Robert Commanday
wrote
This is a very british affair, as is immediately
apparent by the prominent features at the
top - Gerard Hoffnung, British Music Societies,
The Proms - but there's quite a bit more,
CD and book reviews, some amusing light articles.
We also earned a picture, albeit on a separate
page
This
established compendium of CD and book reviews,
composer profiles, interviews and musical
societies stands head andshoulders above many
of its competitors. No fledglings here. Savvy
Search engine
musicweb.uk.net
est un site d'une belle richesse sur la musique
au Royaume Uni. Son auteur, Len Mullenger
est un extraordinaire animateur. Les richesses
de son site sont prodigieuses, avec en particulier
de remarquables biographies, des critiques
de CD...; l'ensemble est tellement riche qu'une
visite s'impose. Et pourcelles et ceux qui
ne parlent pas ou ne lisent pas l'anglais...
et bien... prenez des leçons !
"MWeb is a site of exceptional richness
about music in the UK. The man behind it,
Len Mullenger, is an extraordinary webmaster
of the site whose depth of content is prodigious,
particularly strong in first rate bios. and
CD reviews. In fact the whole site is so rich
that visiting it is practically a requirement.
And for those who neither speak or read English,
start taking lessons!"
abeillemusique.com
In
October 98 I sought views on out Film Music
Review site that did not seem to be visited
as often as I expected. Here are the replies
Lewis
Foreman's review of Searle's Quadrille
with a Raven
Internet
Magazine
review of Film Music
on the Web September1999
Gramophone
Review of Web sites January 2000
Chamber
Music of America Vol 7 No 1 February 2000
I
quote:
"Were
you as a Bax beginner to be seeking out
a recording of the Fourth for
the first time then in fairness you should
go for either the Thomson/Chandos
or the Naxos/Lloyd Jones. This is one for
those who wish to catch some sense
of the Bax revival on the cusp of harvest;
history joyously in the making.
Would that Handley had been let loose on
the other Bax symphonies and the
Moeran symphony back then."
This
is exactly the sort of thing I want to read
in a record review, and
which I never get in a magazine, but only
from Musicweb (from Rob, and Tony
Duggan). I have bought more CDs from Musicweb
reviews in the last five
years than from any other source (and I've
been buying records nearly every
week for 50 years).
Donald
Clarke
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Music on the Web