Camille
SAINT-SAËNS (1835-1921) Violin
Concerto 3 Henri VIEUXTEMPS (1820-1881) Violin Concertos 4 & 5 
Arthur
Grumiaux (violin) Orchestre des Concerts Lamoureux/Manuel Rosenthal
rec.
1963/66 PHILIPS ELOQUENCE 4428561 [BW]
First-class
performances of attractive music. With more than adequate recording,
this bargain-price reissue should find a ready market ... see Full
Review
Franz
SCHUBERT (1797–1828) Lieder
Ian Bostridge (tenor), Julius Drake (piano) rec.
2000 EMI CLASSICS 50999
5 03424 2 6 [77:27][GF]
A
beautifully executed recital, soft and restrained but with intensity
… very much a matter of letting the music speak without unnecessary
pointing of words ... see Full
Review
Robert SCHUMANN (1810-1856)
Piano Concerto see MOZART
Robert SCHUMANN (1810-1856)
Kerner-Lieder; Liederkreis op. 39
Dietrich Fischer-Dieskau (baritone) rec. 1954-5
AUDITE 95.582 [62:25][CH]
Fischer-Dieskau
is in a class of his own and these additional recordings take their place
in history ... see Full Review
Alexander SCRIABIN (1872-1915)
Piano Concerto see TCHAIKOVSKY
Alexander Nikolayevich SCRIABIN
(1872-1915) Piano Sonatas 2, 5 & 9
Four Mazurkas Yevgeny
Sudbin rec. 2006 BIS
SACD1568 [JL]
Fans
of Scriabin will find this voluminous and rich sounding disc an essential
addition … mind-alteringly sublime at best ... see Full
Review
Peter
SCULTHORPE (b.
1929) The Fifth Continent Tasmanian
SO/David Porcelijn
rec. 1996/7 ABC CLASSICS 476
5922 [DW]
This
current superlative disc … offers a fascinating snapshot of Sculthorpe’s
composing career, through both original and re-cycled music. The
results are never less than attractively intriguing … see Full
Review
Johan Peter SELMER (1844-1910) Carnival at Flanders; Prometheus see
SVENDSEN
Fernando SOR
(1778-1839) Etudes Nos. 1, 5, 6, 13, 17, 19 &
20; Grand Solo Op. 14 Mauro Giuseppe
Sergio Pantaleo GIULIANI (1781-1829) Variazioni su un
tema di Handel per Chitarra; Rossiniana No. 1
Roland Dyens (guitar) Quatuor Arthur-LeBlanc rec. 2006
ATMA ACD2 2397 [ZT]
All
in all the creativity, musicianship and superb
sonic qualities of this recording are to be
admired … see Full
Review
Louis
SPOHR (1784-1859) Complete
String Quartets Volume 12 String Quartets 33 & 35,
Potpourri 1 Dima
Quartet, Moscow
rec. 2005/6 MARCO POLO 8.225316 [BW]
Music
which is never less than attractive and often
intense, in performances and recordings which
narrowly fall short of the mark. There are
better ways to explore Spohr’s chamber music
... see Full Review
Sir
Charles Villiers STANFORD (1852-1924) Symphonies
4 & 7 Bournemouth
SO/David
Lloyd-Jones
rec. 2006 NAXOS 8.570285 [JQ]
The
Naxos Stanford cycle is launched auspiciously ... see Full
Review
Sir
Charles Villiers STANFORD (1852-1924) Symphonies
2 & 5 Bournemouth
SO/David Lloyd-Jones
rec. 2006 NAXOS 8.570289 [JQ]
If
you bought the earlier issue, do not hesitate to add this disc
to your shelves ... see Full Review
Max STEINER
(1888-1971) All
This, and Heaven Too (1940) [44:51] A
Stolen Life (1946) [26:11] Score restoration
by John Morgan
Moscow Symphony Orchestra and Chorus/William
Stromberg rec. Mosfilm Studios, Moscow, February-March
2002
NAXOS FILM CLASSICS 8.570184 [71:08] [JW]
Standards
strongly maintained– giving a budget price
injection to a notably well curated series.
... see Full
Review
Max STEINER
(1888-1971)
The Son of Kong (1933) (45:28)
The Most Dangerous Game (1932)
(31:49)
Moscow Symphony Orchestra/William Stromberg
rec. Mosfilm Studio, Moscow, April 2000
NAXOS 8.570183 [77:20] [IL]
Reminds
us of Steiner’s pedigree, Vaudeville and Broadway
before Hollywood. ... see Full
Review
Max STEINER
(1888-1971) The
Treasure of the Sierra Madre (1948) Score
restoration by John Morgan
Moscow Symphony Orchestra and Chorus/William
Stromberg rec. Mosfilm Studios, Moscow, October
1999
NAXOS FILM CLASSICS 8.570185 [60:17] [JW]
Consistently
enjoyable and exciting, glistens with personal
touches ... see Full
Review
Richard
STRAUSS (1864-1949) Also sprach
Zarathustra; Don Juan; Der Rosenkavalier Suite
Radio Filharmonisch Orkest Holland/Edo de Waart rec. 2005
EXTON OVCL 00218 [75:58][DM]
A
very disappointing disc indeed. ... see Full
Review
BARGAIN
OF THE MONTH Richard STRAUSS (1864–1949) Songs
of Love and Death Hedwig
Fassbender (mezzo), Hilko Dumno (piano) rec. 2006 NAXOS
8.570297 [GF]
The
best Strauss recital I have heard for many a moon ... see Full
Review
Igor STRAVINSKY (1882-1971)
Le
Sacre du Printemps (The Rite of Spring) (1911-13) [34:21] Symphony
in Three Movements (1942-45) [22:31]
Bamberger Symphoniker/Jonathan Nott rec. Sinfonie an der Regnitz, Joseph-Keilberth
Saal, Bamberg, Germany, 2-3 February 2006 (Le Sacre) and 19-20 January
2005 (Symphony). DDD.
TUDOR 7145
SACD [56:54] [LW]
From
the very beginning of Nott’s Rite you know
you are in for something rather special ...
see Full
Review
Igor
STRAVINSKY (1882–1971) The
Rake’s Progress Hilde
Güden, Blanche Thebom, Eugene Conley,
Metropolitan Opera Ch& O/Igor Stravinsky rec. 1953 NAXOS
8.111266-67 [GF]
A
special frisson about this first studio recording with a splendid
American cast and the imprimatur of the composer conducting ...
see Full Review
Johan
Severin SVENDSEN (1840-1911)
Sigurd Slembe; Zorahayda Johan
Peter SELMER (1844-1910) Carnival at Flanders; Prometheus
Oslo Philharmonic Orchestra/Michail Jurowski rec.
2003
SIMAX PSC1233 [76:33][KS]
A
refreshing collection of unusual music, all of which is pleasant and
some of which is certain to creep into the top ten of some listeners.
... see Full Review
Karol
SZYMANOWSKI (1882-1937) Fantasia, Masques,
Harnasie Andrzej
Tatarski, Joanna Domańska (pianos)
rec. 1992/2007 DUX 0576 [DM]
A
useful introduction to Szymanowski’s less familiar pieces ... see Full
Review
Sergey
Ivanovich TANEYEV (1856–1915) Complete
String Quartets: Vol. 1 Quartet No. 1; Quartet No. 3
Carpe Diem String Quartet rec. 2006
NAXOS 8.570437 [61:39][MC]
With
assured playing and impressive unity from the Carpe Diem this disc is
a valuable addition to the expanding discography of this still underrated
composer... see Full Review
Pyotr
Ilyich TCHAIKOVSKY (1840-1893) Piano
Concerto No. 1 Alexander SCRIABIN (1872-1915)
Piano Concerto Nikolai
Demidenko (piano); BBC Symphony Orchestra/Alexander Lazarev rec. 1993
HYPERION HELIOS CDH55304
[65:16][DC]
Can
cure you of the need to seek out any other versions ... see Full
Review
Pyotr
Ilyich TCHAIKOVSKY
(1840-1893) Swan Lake
Mariinsky Theatre O/Valery Gergiev rec. 2006
DECCA 4757669 (Highlights disc 4759080) [TH]
The
competition is too fierce for any sort of unqualified recommendation
... see Full Review
Piotr
Ilyich TCHAIKOVSKY (1840-1893) Symphony
5 Modest
MUSSORGSKY (1839-1881) Khovanschina: Act IV Prelude Richard
WAGNER (1813-1883) Tristan und Isolde: Prelude and Liebestod Claude
DEBUSSY (1862-1918) Prelude to the Afternoon of a Faun Stuttgart & Frankfurt
RSO/Leopold Stokowski rec. 1955 GUILD
GHCD2329 [KS]
Splendid,
arduous and muscular readings of these masterworks from one of
history’s greatest sound painters ... see Full
Review
Pyotr
Ilyich TCHAIKOVSKY (1840-1893) Symphony
6, Violin Concerto David
Oistrakh, Philharmonia O, Stockholm Festival O/ Paul Kletzki
rec. 1955/60 MEDICI
MM018-2 [JW]
Testament
to Kletzki’s under-sung symphonic eloquence ... see Full
Review
Georg
Philipp TELEMANN (1681-1767) Twelve Fantasias
for solo violin; Violin Concertos: in E major TWV 51:E2; in B flat major
(apocryphal – J.L.Horn?, 1740?); in G major TWV 51:G7;
in D major TWV 51:D10; in G minor TWV 51:g1
Arthur Grumiaux (violin, fantasias) Iona Brown
(violin, concertos) Academy of St. Martin-in-the-Fields/Iona Brown rec.
1970 (Fantasias) & 1983 (Concertos)
PHILIPS ELOQUENCE 4428291 [63:20 + 51:01][JL]
Almost
lush … Iona Brown soars above it all … Chicken Soup for the Baroque
Soul. ... see Full Review
Virgil
THOMSON (1896-1989) The Plow That
Broke the Plains; The River
Post-Classical Ensemble/Angel Gil-Ordóñez rec. 2005
NAXOS 8.559291 [55:43][BBr]
Superbly
played … music that is delightful, entertaining, elegant … a valuable
addition to our knowledge of Virgil Thomson’s graceful art. ... see
Full Review
RECORDING
OF THE MONTH Michael TIPPETT (1905-1998) Piano
Concerto, Fantasia on a theme of Handel, Piano Sonatas 1-4 Steven
Osborne, BBC Scottish SO/Martyn Brabbins rec. 2006/7 HYPERION
CDA67461/2 [DC]
If
this were a desert island choice, it would be Osborne I would want
to have. ... see Full Review
Ralph
VAUGHAN WILLIAMS (1872–1958)
Fantasia on Christmas Carols, Hodie
Stephen Gadd, Guildford Choral Society, Royal PO/Hilary Davan Wetton
rec. 2007 NAXOS 8.570439
[MM-B]
Not
your usual Christmas offering … the performances are distinctive
and good ... see Full Review
Giuseppe
VERDI (1813–1901) Rigoletto
Chorus and Orchestra of the Teatro dell’Opera di Roma/Francesco
Molinari-Pradelli rec. 1967
CLASSICS FOR PLEASURE 3932822 [54:38 + 61:20][GF]
Not
without merits with Gedda’s ardent Duke of Mantua its finest asset but
MacNeil’s Rigoletto is also deeply involved, albeit too coarse ... see
Full Review
Henri VIEUXTEMPS (1820-1881) Violin Concertos 4 & 5 see SAINT-SAËNS
Antonio
VIVALDI (1678-1741) Concerti
for Viola d’amore Europa
Galante,
Fabio Biondi (viola d’amore; director)
rec. 2004/6 VIRGIN CLASSICS
3951462 [MS]
A
welcome collection of eight delicate yet robust concerti da camera
by Vivaldi using the sweetly rich viola d’amore and played with
feeling and style, appropriate intensity and suitable sensitivity
... see Full Review
Richard WAGNER (1813–1883)
Götterdämmerung
Timothy Mussard, Lisa Gasteen, State Opera of South Australia Ch, Adelaide
SO/Asher Fisch rec. live 2004
MELBA MR 301099-102
[ [GF]
Of
the four Götterdämmerung from the 21st century that
have come my way each and every one has good things to offer but
Asher Fisch and his Adelaide forces definitely carry off the palm.
Adelaide can be proud! ... see Full
Review
Richard
WAGNER (1813-1883) Tristan und
Isolde: Prelude and Liebestod
see
TCHAIKOVSKY
Franz WAXMAN
(1906-1967) Objective,
Burma! (restoration by John Morgan)
(1945) [71:38]
Moscow Symphony Orchestra/William Stromberg
rec. October 1999, Mosfilm Studio, Moscow.
DDD re-issue of Marco Polo 8.225148
NAXOS 8.557706 [71:38] [BBr]
Another
success for Naxos in its Film Music Classics
series ... see Full
Review
Carl
Maria Von WEBER (1786-1826) Konzertstück Op.79; Piano Sonata
No.1 see BEETHOVEN
Silvius
Leopold WEISS (1686-1750) Concerto
in C major for two lutes; Suite in D minor; Sarabande in F major; Ciaconna
in F major; Suite in B major; Sarabande in D minor; Gigue in D minor;
Suite in F major; Suite in D minor;
Bernhard Hofstötter, Dolores Costoya (lutes) rec. 2006
ATMA ACD22538 [74:39][GPu]
A
fine, subtle performance of fine, subtle music, most of it recently discovered
and some of it recorded for the first time here … see Full
Review
Malcolm
WILLIAMSON (1931-2003) Overture
'Santiago de Espada', Symphony 1 'Elevamini', Sinfonia
Concertante, Piano Sonata 2
Martin Jones, composer (piano), Royal Liverpool PO/Sir Charles Groves
rec. 1971/6 LYRITA SRCD281
[EMc]
Something
of a revelation … a composer whose reputation as a purveyor only of
shallow trifles is undeserved ... see Full
Review
Judith
Lang ZAIMONT (b.1945) Bubble-Up Rag;
Reflective Rag; Reflective Rag; Judy’s Rag; Lazy Beguine; Hesitation
Rag; Snazzy Sonata: An Entertainment for Two; Reflective Rag; Serenade;
Various artists
& Judith L. Zaimont (piano)
MSR MS1238 [57:35][GPu]
A
classical musician draws on the traditions of the rag in a variety of
ways – but the results all communicate her genuine joy in one of her
‘native’ musics. Subtle and pleasurable extensions of the tradition
… see Full Review
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[Recommended recordings]
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 swe
