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Alban
Berg Quartett - Piano Quintets by
Franz SCHUBERT (1797-1828), Antonín
DVOŘÁK (1841-1904), Johannes BRAHMS
(1833-1897) and Robert SCHUMANN (1810-1856)
Alban Berg Quartett;
various pianists rec. 1985-1993
EMI CLASSICS 5176442 [78:21 + 71:50][ST] 
A
mixed bag - the Schumann being the most well rounded and balanced ...
see Full Review
Mikhail
Arkadiev (piano)
Modest Petrovich MUSSORGSKY (1839–1881)
Pictures at an Exhibition and music
by Alexander SCRIABIN (1872–1915) and Mikhail
ARKADIEV (b. 1958)
Mikhail Arkadiev (piano) rec. 1994
CLASSICAL PIANO ASSEMBLY RCD30108 [75:14][BBr] 
Pictures
is the prize here - a very fine performance ... see Full
Review
Aventure:
Adieu, naturlic leven mijn
Aventure/Ita Hijmans rec. 2007
FINELINE CLASSICAL FL72411 [72:33][JV] 
Sheds
light on a little-known aspect of music in the Low Countries around
1500 ... see Full Review
Surprise
Measha Brueggergosman
William BOLCOM (b.
1938) Cabaret Songs Arnold
SCHÖNBERG (1874–1951) Brettl-Lieder Erik
SATIE (1866–1925) Songs
Measha Brueggergosman (soprano) William Bolcom (piano) BBC SO/David
Robertson rec. 2007
DEUTSCHE GRAMMOPHON 4776589 [60:22]
[CH]
A
gifted singer with a remarkable timbre… at the beginning of her
achievement ... see Full
Review
Maria
Callas – Opera Highlights
Maria Callas (soprano); Cast and recording details at end of review
EMI CLASSICS 3971042 [8 CDs: 60:03 + 61:11 + 59:49 + 53:36 + 55:33 + 52:12 + 58:18 + 55:50][JS]
This
is why Callas is regarded as the greatest
dramatic soprano of recent times ... see Full
Review
Cantilena Graeme
KOEHNE Santa Ana Freeway Galop (from Tivoli
Dances) Ross EDWARDS Ritmico from Veni
Creator Spiritus First Maninya Peter SCULTHORPE Port Arthur – In
Memoriam Night-Song Don KAY Interlude – Land of Moinee Elena KATS-CHERNIN Wild Swans Suite:
Green Leaf, Eliza Aria, Brothers Piano Concerto
No. 2 (II) Malcolm WILLIAMSON Our Man in Havana:
Prelude, Cuban Dances and Waltz Song, Serenade Richard
MEALE Cantilena Pacifica Tasmanian
SO/Richard Mills; David Porcelijn, Ola Rudner. rec. Hobart, Australia,
1992-2005. ABC
CLASSICS 4766342 [73:12] [RB]
An
extremely attractive lyrical left-field anthology ... see Full
Review
RECORDING
OF THE MONTH Chant:
Music for Paradise
The Cistercian Monks of Stift Heiligenkreuz
rec. Sanctuary of the Relic of the Holy Cross,
Stift Heiligenkreuz, Austria, 21st
March-3rd April, 2008. DDD.Booklet
with notes, texts and translations.
UNIVERSAL CLASSICS & JAZZ UCJ176 6016
[52:45] [BW]
Already
a best-seller and deservedly so ... see Full
Review
The Tamara Anna Cislowska Collection
Tamara
Anna Cislowska (piano) rec. 1996-1999
ABC CLASSICS 4766297 [5 CDs 68:14 + 59:34 + 68:19
+ 62:10 + 60:21][RB]
An
original and unhackneyed collection … performances that are brilliant
and sensitive .... see Full Review
Darkness Henryk
GÓRECKI (b. 1933) Kleines Requiem für
eine Polka André LAPORTE (b. 1931) Litanie con epitaffio Stéphane
VANDE GINSTE (b. 1971) Darkness
Emanon Ensemble/Raf De Keninck rec. 2007
PHAEDRA 92053 [52:15][HC]
Very
fine recordings doing full justice to these
rewarding works ... see Full
Review
Dr
Caligari
Mats LARSSON-GOTHE (b.
1965) Dr. Caligari Albert
SCHNEIZER (b. 1972) Solitude Stefan
KLAVERDAL (b. 1975) Dual Chant Benjamin
STAERN (b. 1978) The Lonely One Albert
SCHNELZER (b. 1972) Frozen Landscape Stefan
KLAVERDAL (b. 1975) The Longing of Eurydice Daniel
HJORTH (b. 1973) Modal Move
Björn Kleiman (violin); David Wärn (piano) rec. 2006
C-Y CONTEMPORARY
CY0701 [73:42]
[PG]
On
the line between reality and dream. ... see Full
Review
Duets
for Piano
Includes
Franz SCHUBERT (1797-1828) Fantasie Maurice
RAVEL (1875-1937) Ma Mère l’Oye
Jonathan and
Tom Scott (pianos) rec. 2007
SCOTT BROTHERS DUO SBDRCD002 [66:29]
[JW]
A
well chosen and highly accomplished duo recital ... see Full
Review
Duos for piano and organ
Includes Flor PEETERS
(1903-1986) Concerto for organ and piano Marcel
DUPRÉ (1886-1971) Variations on Two Themes
Tom Scott (piano), Jonathan Scott (organ) rec. 2007
SCOTT BROTHERS DUO SBDRCD001 [60:29]
[JW]
A
terrific disc recorded in a resplendent acoustic ... see Full
Review
Zino
Francescatti Includes Tomaso
VITALI (1663-1745) Chaconne Fritz
KREISLER (1875-1962) Four
pieces of "In
the style of ..." Niccolò PAGANINI (1782-1840) Variations
on “Carnival of Venice” Maurice
RAVEL (1875-1937) Tzigane Camille
SAINT-SAËNS (1835-1921) Introduction and Rondo Capriccioso Zino
Francescatti (violin) Artur Balsam (piano) Philadelphia O/Eugene Ormandy rec.
1947-54 BIDDULPH
802242 [72:27] [JW]
Some
charismatic short performances enshrined in this very welcome disc
... see Full Review
Mirella
Freni
(soprano) - Opera
Arias and Duets Various accompanying artists
rec. 1964-1986. ADD; DDD Detailed track-list
at end of review
EMI CLASSICS ICON 206 2532 [4 CDs: 76.43
+ 78.32 + 77.30 + 77.57] [RF]
A
comprehensive bargain-priced collection of
one of the loveliest soprano voices ... see
Full Review
Wilhelm
Furtwängler - The Early Recordings Volume
1
Johann Sebastian BACH (1685-1750)
Brandenburg concerto 3, Orchestral Suite 3 - Air Wolfgang Amadeus MOZART (1756-1791) Overtures: Le Nozze
di Figaro, Die Entführung aus dem Serail, Serenade “Eine
Kleine Nachtmusik” Franz SCHUBERT (1797-1828) Rosamunde – incidental
music Berlin PO/Wilhelm
Furtwängler rec. 1929-37
NAXOS HISTORICAL 8.111136 [60:27]
[RM]
One
of the most sophisticated orchestras of its era ... see Full
Review
Alexander
Gauk Edition – Historical Russian Archives USSR
State Radio and TV Orchestras/Alexander Gauk
rec. 1944-1961 BRILLIANT CLASSICS
8866 [10
CDs: 688:32] [RB]
Unique
Gauk - could be patchy but here often on song
... see Full Review
RECORDING
OF THE MONTH Karen
Geoghegan plays Bassoon Concertos Johan
Nepomuk HUMMEL
(1778-1837)
Grand Concerto W23 for Bassoon and Orchestra
in F major [23:45]; Carl
Maria von WEBER
(1786-1826) Andante e Rondo
ungarese Op 35 in C minor [9:08]; Franz
BERWALD (1796-1868) Concert Piece
in F major [11:10]; Carl
Heinrich JACOBI (1791-1852)
Introduction and Polonaise Op 9 [9:00];
Sir Edward ELGAR
(1857-1934) Romance Op 62 [5:13];
George GERSHWIN
(1898-1937) Summertime [4:36]
Karen Geoghegan (bassoon) Orchestra of Opera
North/Benjamin Wallfisch rec. 9-10 January
2008, St George’s Hall, Bradford. DDD
CHANDOS CHAN 10477 [51:46] [CR]
Extraordinary,
deeply expressive, bassoon playing ... see
Full
Review
Stephen Hough (piano)
A Mozart Album
Stephen Hough (piano) rec. 2006
HYPERION CDA67598 [70:05][RC]
A
stimulating and rewarding recording which
has given me much pleasure ... see Full
Review
Piano Music by
Icelandic Composers Þorkell
SIGURBJÖRNSSON, Jóhann
G. JÓHANNSSON, Atli INGÓLFSSON,
Haukur TÓMASSON,
Atli Heimir SVEINSSON, Victor
URBANCIC, Jórunn VIÐAR,
Hafliði HALLGRÍMSSON,
Páll ÍSÓLFSSON,
Sveinbjörn SVEINBJÖRNSSON,
Árni EGILSSON , Jón
LEIFS, BJÖRK/Leon
MILO
Susanne Kessel (piano) rec. no details provided
OEHMS CLASSICS OC 813 [76:41]
[RB]
A
provocative, accessible but not facile anthology
... see Full Review
Sonja
Kehler - Singt Brecht, Eisler, Dessau
Sonja Kehler (vocals); various accompanists rec. 1972-8
BERLIN CLASSICS 0184242BC [65:38][GF]
It
is hard to imagine a better advocate for these songs ... see Full
Review
Kogan-Rostropovich-Gilels Trio
Ludwig van BEETHOVEN
(1770-1827) Piano Trios Nos. 6 "Archduke" &
in E flat major WoO 38 Joseph HAYDN
(1732-1809) Piano Trios Hob.VV:19 & XV:16 Robert
SCHUMANN (1810-1856) Piano Trio No.1 Gabriel
FAURE (1845-1924) Piano Quartet No.1
Leonid Kogan (violin); Mstislav Rostropovich (cello); Emil Gilels (piano)
rec. 1950-58 DEUTSCHE
GRAMMOPHON 4777476 [73:43 + 77:22][JW]
Sheer
refinement, pellucid beauty of tone, assertive but never aggressive
... see Full Review
RECORDING
OF THE MONTH Legendary Piano
Recordings The Complete Grieg, Saint-Saëns,
Pugno, and Diémer recordings and other G & T rarities
Edvard Grieg, Jules Massenet,
Claude Debussy, Camille Saint-Saëns, Louis Diémer, Raoul Pugno
(piano) rec. 1903-1919
MARSTON 52054-2 [77:47 + 79:50]
[JW]
Technology
applied with integrity at the service of music. Magnificent ...
see Full Review
Peter
Lindroos (tenor) - Opera Arias and
Songs Finnish
National Opera O/Kari Tikka, Pertti Eerola (piano) rec. 1983-94 FUGA
9250 [79:54] [GF]
Studio
recordings of one of the finest singers to emerge from Scandinavia
... see Full Review
Click
for alphabetical listings by composer:
[Part
1 New] [Part
2 A-B] [Part
3 C-L]
[Part 4 M-R]
[Part 5 S-Z]
[Part 6 Misc A-L]
[Part 7 Misc M-Z]
[Recommended
recordings]
en a profound and melancholy
contemplation and a blazing triumph.” Bax’s
Fifth
Over
a period of three years from December 2003,
I have spent a lot of time in the company
of Harry Partch – not literally, of course,
as he died in 1974, but working my way though
an article and some eight reviews that can
all be found on MusicWeb. Then, at the MusicWeb
annual lunch (January 2007), the name of John
Cage caught my ear. For reasons that my subconscious
was not prepared to divulge, my curiosity
was tickled. Partch and Cage have on occasion
been paired off, as a sort of American "Debussy
and Ravel" – was there any real connection
between them?
This
may come as a bit of an anticlimax but, other
than them both being American originals with
"far-out" ideas, I can’t really
think of one. In fact, they are more on the
lines of diametric opposites: with my tongue
ever-so-slightly in my cheek, I could say
that Partch was a seminal genius who got branded
as a crackpot, and Cage was a crackpot who
got branded as a seminal genius.
John
Cage (1912-92) was nothing if not controversial.
With his rise to prominence, an obliging World
split into two opposing camps. His supporters
saw him as a prime mover in the fields of
experimental and electronic music, with abiding
interests in "chance music", new
ways of using traditional instruments, and
practical application of his Zen Buddhist
beliefs.
His
detractors, the more radical of whom would
have preferred the "nothing" option,
complained that he just made a lot of silly
noise, did unspeakable things to the private
parts of otherwise perfectly respectable musical
instruments, and came up with a load of airy-fairy
claptrap to justify his bizarre buffoonery.
Partch,
who was renowned for his considered and candid
conclusions, didn’t have too high an opinion
of Cage: "When he was younger, I found
him rather charming, albeit shallow. Then
later, when he was famed for the opening of
doors to musical insight, I found myself obliged
to use the word ‘charlatan’ . . . Pretty sounds
do not necessarily make significant music,
and serious words frequently cloak hokum .
. . I’m all for common sounds as valid materials
[but] one has to have control, so that
his common sounds will mean something. . .
I feel that anyone who brackets me with Cage
is bracketing actual music with metaphysical
theories, and what I think is a serious effort
with exhibitionism." [Letter to Ben Johnston,
1952, reproduced in Innova Enclosure 3]
Who
is right – the "pro" camp or the
"anti"? You tell me. The only opinions
I can voice with any certainty are that Cage
was not really a crackpot – even if he did
give that impression to his detractors – and
in all probability he caused the expenditure
of as much hot air as all the other Twentieth
Century composers put together.
For
instance, during the late 1960s, when I was
a university student, Cage was a hot topic
for many an informal debate over a pint or
six of a Saturday night in the pub. It’s true,
I swear! Granted, we also debated rather coarser
matters, interspersed with lots of "rugby
songs", but there was no two ways about
it – in those heady days, Cage was about as
"right on" and as "far out,
man" as you could get.
It
was even possible – but only just – for intense
arguments over Four Minutes and Thirty-Three
Seconds to distract our juvenile minds
from contemplating the aesthetics of passing
bits of mini-skirt! Yet, no matter how much
the said work of art – if that’s how you choose
to define it – resonated with the mood of
the Sixties, it’s as well to remember that
it was written quite a while earlier, in 1952,
while the hippy generation was just learning
to manage without nappies!
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