Favorite Recordings of 2011
I don't do "best-of" lists. "Best" is so subjective that it implies too many things to too many people. Besides, "best" suggests that I've sampled everything available in a given category, and even though I review hundreds of discs a year, I confess I have heard but a fraction of what's available. Therefore, I prefer to do "favorites" lists. Here are just a few of the recordings (listed alphabetically, to be fair) I heard last year that I enjoyed enormously for their performance and sound. OK, I know I've forgotten a few; forgive me. These just stood out, many of them new remasters of old favorites.
Bizet: Carmen, complete
Victoria de los Angeles, Nicolai Gedda, Janine Micheau, Ernest Blanc; Sir Thomas Beecham, French Radio Chorus and Orchestra. EMI Classics 50999 9 48215 2 9.
Yvone Kenny, soprano; Paul Esswood, countertenor; Martyn Hill, tenor; Magnus Linden, bass; Anders Ohrwall, members of the Swedish Radio Symphony Orchestra and the Stockholm Bach Choir. First Impression Music LIM UHD 029.
Haydn: Baryton Divertimenti, Vol. 1
Trios Hob. XI: 35, 87, 97, 101, and 124. The Esterhazy Machine. Smithsonian FoM 36-811.
Mozart: Clarinet Concerto
Also, Clarinet Quintet. Sharon Kam, basset clarinet. Osterreichisch-Ungarische Haydn Philharmonie. Berlin Classics 0016672BC.
Choir of New College Oxford; Edward Higginbottom, Orchestra of the Age of Enlightenment. Novum NCR1383.
Rossini: Sonate a quattro
Salvatore Accardo, violin; Sylvie Gazeau, violin; Alain Meunier, cello; Franco Petracchi, double bass. First Impression Music LIM UHD 049.
Smetana: Ma Vlast
Also, Dvorak: In Nature's Realm. Antal Dorati, Royal Concertgebouw Orchestra. Newton Classics 8802073 (2-disc set).
Stravinsky: L'Histoire du Soldat
Also, Respighi: Rossiniana. Robert Mandell, Ars Nova (Stravinsky); Robert Zeller, Vienna State Opera Orchestra (Respighi). HDTT HQCD.
Vivaldi: The Four Seasons
Also, Concertos RV375, RV277, and RV271. Elizabeth Blumenstock, violin; Nicholas McGegan, Philharmonia Baroque Orchestra. Philharmonia Baroque Productions PBP-03.
Also, Lecocq: Mam'zelle Angot. Anatole Fistoulari, Royal Opera House Orchestra, Covent Garden. HDTT HQCD152.
About the Author
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job.
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