Grieg: Peer Gynt (CD review)
Of the recordings I've now heard by Paavo Jarvi, this one of Grieg's Peer Gynt finds him most at home. Indeed, it is one of the handful of finest performances of this music I have found, and it is a treat for the ears as well.
People probably know Edvard Grieg (1843-1907) best for his incidental music to the Ibsen's play Peer Gynt as well as for the Piano Concerto, although my guess is that most listeners would be more familiar with one or the other of the Peer Gynt concert suites than with the complete incidental music. In any case, it is not the complete incidental music we get here, anyway; it's an abridged version, about sixty minutes, or two-thirds, of the original ninety minutes of music. If you want the complete score, you'll have to go elsewhere, to Dreier, perhaps, on Unicorn or to father Neeme Jarvi on DG. But for the listener who wants the best possible sound and is willing to give up a little something to have most of the music on one disc, this release should fit the bill.
All of the most familiar pieces are here, from "The Hall of the Mountain King" through "The Death of Ase," "Morning Mood," "Arabian Dance," "Anitra's Dance," "Solveig's Song," to the closing "Solveig's Cradle Song," and many more, twenty of the twenty-six sections in all. The soloists--Peter Mattei, Camilla Tilling, and Charlotte Hellekant--are uniformly beautiful in execution and the two choirs--the Estonian Girls' Choir and the Estonian National Male Choir--are in equally top form. The music still doesn't seem all of a piece to me, but that is the nature of the score, accompaniment as it is to something else.
Virgin's sound, recorded in the Estonia Concert Hall, Tallinn, Estonia, is mostly excellent, perhaps a touch forward and bright in spots and not as dimensional as I'd like it to be, but pretty well balanced all the way around. Bass is adequate without being overpowering; mids are natural except in the highest regions; and treble is light and airy. This is an outstanding set in almost every way.
William (Bill) Heck, Contributing Reviewer
Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.
The audiophile bug bit about the same time that I returned to that classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Recently I’ve rebuilt--I prefer to say reinvigorated--my audio system, with a Sangean FM HD tuner and (for the moment) an ancient Toshiba multi-format disk player serving as a transport, both feeding a NAD C 658 streaming preamp/DAC, which in turn connects to a Legacy Powerbloc2 amplifier driving my trusty Waveform Mach Solo speakers, supplemented by a Hsu Research ULS 15 Mk II subwoofer.