tag:blogger.com,1999:blog-41224665992910538842024-03-17T20:57:45.458-07:00Classical Candor<b>Classical Music Reviews by John J. Puccio</b> Classical Music, Classical Music Reviews, Classical Music Recordings, Classical Music Recommendations, Classical Music Recording Recommendations, Compact Disc Recommendations, CD Recommendations, Music, Music Recommendations, Music Discs, Music RecordingsJohn J. Pucciohttp://www.blogger.com/profile/08993699800288698733noreply@blogger.comBlogger2195125tag:blogger.com,1999:blog-4122466599291053884.post-5072319095713089832024-03-17T20:30:00.000-07:002024-03-17T20:57:13.798-07:00Ravel Orchestral Works (CD Review)<p><span style="font-family: inherit;"><i>by Karl Nehring</i> </span></p><p class="MsoNormal" style="margin: 0in;"><b style="font-family: inherit;"><i>Valses nobles et sentimentales</i>; <i>Ma mère l’Oye (Complete Ballet)</i>; <i>Daphnis et Chloé, Suites Nos. 1 and 2</i>; <i>L’</i></b><b style="font-family: inherit;"><i>Éventail de Jeanne: Fanfare</i>. St. Olaf Choir; Minnesota Orchestra; Stanisław Skrowaczewski, conductor. VOX-NX-3037CD</b></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCZpi2rs16Nr1jkj9U5PXGbvwQDJOvDGvnvqjzuqLs2odw2w0dTftsKuTkV7zdVECBNTH1A0fpG5yfS7JMuos2xGnBMylKzwRJrWr9idu4TUcNW3RwweNBYvO_s-13abz89afTKSkoPr3yqG_aFkqdHnq9IcHxiHFSBIdl1q4gUhbif69-wpPEQyRBhtsU/s436/Ravel%20cvr.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCZpi2rs16Nr1jkj9U5PXGbvwQDJOvDGvnvqjzuqLs2odw2w0dTftsKuTkV7zdVECBNTH1A0fpG5yfS7JMuos2xGnBMylKzwRJrWr9idu4TUcNW3RwweNBYvO_s-13abz89afTKSkoPr3yqG_aFkqdHnq9IcHxiHFSBIdl1q4gUhbif69-wpPEQyRBhtsU/w320-h320/Ravel%20cvr.jpg" width="320" /></a></span></div><span style="font-family: inherit;">Many classical music lovers of a certain age are no doubt familiar with Vox, a budget label that produced some real gems that provided the music lover on a budget an excellent way to expand their classical LP collections at a reasonable price. I can offer a quick example from my own experience: I’ll never forget a day back in the mid-1970s when I was strolling through a Sears department store one afternoon and came across an aisle display that featured the newly released 4-LP Vox Box of Ravel’s orchestral music featuring Stanislaw Skrowaczewski conducting the Minnesota Orchestra. I was back in college on the G.I. Bill after serving 4½ years in the Army, with a wife, two kids, a pair of Bose 901s, a rapidly expanding passion for classical music, and a tight budget. When I saw that this box was on sale for something like seven bucks – well, that settled it, I just had to have it. It sounded pretty darn good through the 901s (purchased in Germany with my reenlistment bonus) when I got home, and I found the music of Monsieur Ravel to be utterly spellbinding. Even though Vox was a budget label, the sound quality on some of their releases could be excellent (the main drawback was the often-substandard quality of their vinyl pressings), and this Ravel set, which was recorded by Elite Recordings (engineer Marc Aubort and producer Joanna Nickrenz), had beguiling sound. Those performances and recordings still hold up as you can see from reviews of digital releases from the Ravel set, such as a review from our own John Puccio that you can <a href="https://classicalcandor.blogspot.com/2013/09/ravel-bolero-la-valse-sacd-review.html" style="color: #96607d;">read here</a>, or an article at the PS Audio website that provides some insight into the recording process, which you can <a href="https://www.psaudio.com/copper/article/a-look-at-ravels-works-for-orchestra/" style="color: #96607d;">find here</a>. <o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvGHwnI1LZ89rpan5Z0HMnyVxioP-jrIGJ1toNFTuHxb8PgmjxZERbbK5f42x7Xh7ROE5c_s1GQVczEHqKrKWRb2P8vnZk1loVMNEKZmKgNEslIQ6Rssdp_WMWyDN5ZNqMZ0kAwh_ePjEzhymBz60EkS1iSfoOkPlmGr-cizDFatRMxFrOB49qKMWL7ca3/s225/Ravel%20Box.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="224" data-original-width="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvGHwnI1LZ89rpan5Z0HMnyVxioP-jrIGJ1toNFTuHxb8PgmjxZERbbK5f42x7Xh7ROE5c_s1GQVczEHqKrKWRb2P8vnZk1loVMNEKZmKgNEslIQ6Rssdp_WMWyDN5ZNqMZ0kAwh_ePjEzhymBz60EkS1iSfoOkPlmGr-cizDFatRMxFrOB49qKMWL7ca3/s16000/Ravel%20Box.jpeg" /></a></span></div><span style="font-family: inherit;">Appearing on the back cover of these new “Vox Audiophile Edition” releases is a highlighted statement affirming that “<i>The recordings of American orchestras produced for VOX by the legendary Elite Recordings team of Marc Aubort and Joanna Nickrenz are considered by audiophiles to be among the very finest sounding orchestral recordings ever made” </i>For this new series of reissues from the Vox catalog, the folks at Naxos have begun to pull some of those tapes out from the vaults and carefully prepare these CDs for release, the end product of their labors being what they describe as <i>“new192 kHz / 24-bit ultra high definition transcriptions of the original Elite Recordings analogue master tapes.” </i>Yes, those Vox Ravel LPs had sounded more than satisfying back in the day when played through that Army-purchased college playback system and continued to sound just fine as that system got upgraded over next decade. As CDs began to gain in popularity in the 1980s and I began to make the transition from LP to CD, I found CD versions of the Minnesota Ravel recordings, which Vox released in remarkably cheap cardboard packaging. It is heartening to see the care that Naxos is taking with this new series.<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"> <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWi4OpcNH6HF_e4xxbn8YN_TpkcHWoAbcaG7YY85VMRuVCumbw9JT9F8PX-oiVfNAld45yO5iPDxqmO9DtciW5fxRS5AClV27EyNw6RaKgwFuin_d930fJeBztGKaW_vugoXyRrnP6rume1lFDkSyrD7iZtvTy3rju9fjAWFUpPkm9MPAXB0cn5hl7H2fa/s262/Skro.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="262" data-original-width="192" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWi4OpcNH6HF_e4xxbn8YN_TpkcHWoAbcaG7YY85VMRuVCumbw9JT9F8PX-oiVfNAld45yO5iPDxqmO9DtciW5fxRS5AClV27EyNw6RaKgwFuin_d930fJeBztGKaW_vugoXyRrnP6rume1lFDkSyrD7iZtvTy3rju9fjAWFUpPkm9MPAXB0cn5hl7H2fa/w235-h320/Skro.jpeg" width="235" /></a></span></div><span style="font-family: inherit;">The one curious decision by the Naxos production team as far as I can see concerns the order of the program; specifically, the decision to close rather than open with the brief (1:55) fanfare from the children’s ballet L’Éventail<i> de Jeanne </i>(“Jean’s Fan”), which premiered in 1929. Ten French composers contributed the music the, including the fanfare by Ravel. Although it is not the fanfare for any of the other compositions included on this disc, it still seems much more fitting for a fanfare to open rather than close a program, <i>n’cest-pas</i>? Other than that, there is nothing about this jam-packed (80+ minutes) release about which to quibble. In our previous <i>Classical Candor</i> posting (<a href="https://classicalcandor.blogspot.com/2024/03/recent-releases-no-72-cd-reviews.html" style="color: #96607d;">Recent Releases No. 72, here</a>), we mentioned another fine Skrowaczewski-led Minnesota performance. The Polish-born Stanisław Skrowaczewski (1923-2017) became Music Director of the orchestra in 1959, a position he held for 19 years. He was then appointed conductor laureate, returning every year to Minnesota to lead his beloved orchestra. In all, his relationship with the orchestra stretched over 56 years. He was instrumental in their getting the acoustically resplendent new concert hall in 1974, the venue in which Elite Recordings was called in to record their complete set of Ravel’s orchestral works for orchestra, of which this new release offers a substantial sampling on one CD.<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">The disc opens with <i>Valses nobles et sentimentales, </i>a beautiful, flowing piece that Ravel said he intended to compose as a series of waltzes following the example of Schubert. The music sweeps the listener along, but with charm rather than the feverish intensity of his other famous orchestral waltz fantasy, <i>La Valse.</i> Next up is what was the highlight of the original Vox Box, the complete score for the ballet <i>Ma mère l’Oye </i>(“Mother Goose”). There is something simply magical about this music, the way the sound of the solo violin can seem to float above the orchestra, the way the orchestra can swoon and sigh. Magic… Then the familiar <i>Daphnis et Chloé, Suites Nos. 1 and 2, </i>derived from Ravel’s self-described “choreographic symphony.” </span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"><br /></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">After such a glorious experience, to end the program with a fanfare? As Joe. E. Brown said to Jack Lemmon at the end of <i>Some Like It Hot</i>, “Well, nobody’s perfect.” Maybe so, but this release is close.</span></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-11397472138516890832024-03-13T20:30:00.000-07:002024-03-13T20:30:00.138-07:00Recent Releases No. 72 (CD Reviews)<p><span style="font-family: inherit;"><i>by Karl Nehring </i></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"><b>Mahler: <i>Symphony No. 8</i>. Carolyn Sampson/Jacquelyn Wagner, sopranos; Sasha Cooke/Jess Dandy, altos; Barry Banks, tenor; Julian Orishausen, baritone; Christian Immler, bass; Minnesota Chorale; National Lutheran Choir; Minnesota Boychoir; Angelica Cantanti Youth Choir; Minnesota Symphony; Osmo Vänskä, conductor. BIS-2496 SACD</b><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvW5NJN4rB93hsWEDm_QZ6sYrPxb8HdUZdsPIiCAk9cqUzeOLsD2-eq9yCmxcPuZ52OKQyNLMFMETLauWFxajXLBms-Rlr0vq8i9PgeO5tDNsANvcvzfpisD1yGfjO2TDD2X08QlsXoQ0lcMWkrIsX8sqRmJBthq63zZYWZoJ9BE8JQCLi2e3nAM_Z8mVz/s436/Mahler%20cvr.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvW5NJN4rB93hsWEDm_QZ6sYrPxb8HdUZdsPIiCAk9cqUzeOLsD2-eq9yCmxcPuZ52OKQyNLMFMETLauWFxajXLBms-Rlr0vq8i9PgeO5tDNsANvcvzfpisD1yGfjO2TDD2X08QlsXoQ0lcMWkrIsX8sqRmJBthq63zZYWZoJ9BE8JQCLi2e3nAM_Z8mVz/w320-h320/Mahler%20cvr.jpg" width="320" /></a></span></div><span style="font-family: inherit;">This recording of Mahler’s <i>Symphony No. 8</i>, a work for which to provoke public interest the organizer of the first public performances, an impresario named Emil Gutman dubbed “Symphony of a Thousand,” was made at the occasion of the final concert in the 19-year tenure of Finnish conductor Osmo Vänskä (b. 1953) as music director of the Minnesota Orchestra. He is now music director laureate, with Danish conductor Thomas Søndergård (b. 1969) succeeding him as music director. At Minnesota, Vänskä has recorded for BIS all of Mahler’s numbered symphonies except for <i>No. 3</i>; the following links will direct you to our reviews of <a href="https://classicalcandor.blogspot.com/2019/12/mahler-symphony-no-1-sacd-review.html" style="color: #96607d;">Symphony No.1</a>, <a href="https://classicalcandor.blogspot.com/2020/08/mahler-symphony-no-7-sacd-review.html" style="color: #96607d;">Symphony No. 7</a>, and <a href="https://classicalcandor.blogspot.com/2021/05/stretching-symphony-cd-reviews.html" style="color: #96607d;">Symphony No. 10</a>. Those reviews were all positive, and this one will continue the trend. Vänskä and his forces, with the expert support of the BIS engineering and production team, bring out the details of Mahler’s complex score with both clarity and power. <o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilpIwE0yAXcUTG9X-hhmmQRCE6uen067uk-WjQDNx3QgFm124p7NfzTvA40Of5gPO4L-V_n2J8fuDlQ34xdfu6_7e6caVLW4je3BuCZ2pJim9QqERXQvu6zavi0c4ttUNqFOWP0rAXRW9mWqRhiBMSNrNNscfjSd2foB7KPn1JaW34HIiduBD1fOshU3ll/s275/Vanska.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="183" data-original-width="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilpIwE0yAXcUTG9X-hhmmQRCE6uen067uk-WjQDNx3QgFm124p7NfzTvA40Of5gPO4L-V_n2J8fuDlQ34xdfu6_7e6caVLW4je3BuCZ2pJim9QqERXQvu6zavi0c4ttUNqFOWP0rAXRW9mWqRhiBMSNrNNscfjSd2foB7KPn1JaW34HIiduBD1fOshU3ll/s16000/Vanska.jpeg" /></a></span></div><span style="font-family: inherit;">The only other recording in my experience in the same league as this one is the Wit on Naxos; however, that one is split over two discs while Vänskä’s release is conveniently contained on one SACD, which has the additional advantages of including a not only an SACD stereo layer for those with SACD players who can take advantage of the higher resolution but also a multichannel layer for those with multichannel playback systems. (My listening was to the CD layer, which was certainly impressive enough.) For Mahler fans, this new release is highly recommended.<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"><b>Bruckner: <i>Symphony No. 9</i>. Manfred Honeck, Pittsburgh Symphony Orchestra. Reference Recordings Fresh! FR-733SACD</b><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgS4xVnj6zNKKG544_kSk6yibVcqaKU78pVj1boxk7xNr2ak-1bnVychwJZ-aDle1PSyqov5lLDdQVeA4W8vqL4rOeCL8rtqOqhNIwFkCWZlglIiviPwHpswPiUBwVk_sdoZNmc3h0n4qFnr5XCg4qxhyo3lK2HW5q5y0IEbEYgz9RrVU2LrXr4mzgyvev/s436/Honeck%20cvr.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgS4xVnj6zNKKG544_kSk6yibVcqaKU78pVj1boxk7xNr2ak-1bnVychwJZ-aDle1PSyqov5lLDdQVeA4W8vqL4rOeCL8rtqOqhNIwFkCWZlglIiviPwHpswPiUBwVk_sdoZNmc3h0n4qFnr5XCg4qxhyo3lK2HW5q5y0IEbEYgz9RrVU2LrXr4mzgyvev/s320/Honeck%20cvr.jpg" width="320" /></a></span></div><span style="font-family: inherit;">To be honest, this release has been on the market long enough now that it does not really count as a “recent release,’ but Bruckner and Mahler are so often thought of together that it seems appropriate to review them in the same posting. From the CD booklet: “Bruckner’s skills as an organist were enthusiastically received. From Notre Dame in Paris to the Royal Albert Hall in London, his artful improvisations were celebrated. It is said that Bruckner humbly replied to the many admirers of his organ playing, ‘I am not a musician, but a composer. What my fingers play will pass, but what they write will stand.’ Soon, Bruckner was called to Vianna as court organist and also began to teach at the conservatory. (Of note, amongst his most famous pupils was none other than Gustav Mahler.) It is from this point forward that Bruckner turned almost exclusively to the symphonic form.” <o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4YjYJYUskqTzFjoLzxyxPBsDOWpAtbcsf3U1zLvHmZ_d8msnV_FqMFlbBtwm3Qh0rXK8lNR3f63XWW0CX8hU9-HihGuN2AAGqMgSnhsiJEFSJoMcQqmZjMmMUSCsxA3dH2R1CL-Xobst0REOoybxC0dX310KWfBGjb_2DQXLfKDjMOtLRVw-o1mkaMD20/s294/images.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="171" data-original-width="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4YjYJYUskqTzFjoLzxyxPBsDOWpAtbcsf3U1zLvHmZ_d8msnV_FqMFlbBtwm3Qh0rXK8lNR3f63XWW0CX8hU9-HihGuN2AAGqMgSnhsiJEFSJoMcQqmZjMmMUSCsxA3dH2R1CL-Xobst0REOoybxC0dX310KWfBGjb_2DQXLfKDjMOtLRVw-o1mkaMD20/s16000/images.jpeg" /></a></span></div><span style="font-family: inherit;">Austrian-born Manfred Honeck (b. 1958) opens his extensive booklet essay with an excerpt from a speech delivered by the late American Maestro Leonard Bernstein: “Perhaps, after all, it is only the artist who can reconcile the mystic with the rational, and who can continue to reveal the presence of God in the minds of men.” He then goes on to reflect: “Long after I was fortunate enough to play Bruckner’s Ninth Symphony under the baton of Leonard Bernstein, this quote by Bernstein himself fell into my hands. I immediately and instinctively connected it with the music as Bernstein’s words serve as a clarion reminder of the role an artist can play in society and our relationship to the divine, the very same thoughts at the heart of Bruckner’s Ninth Symphony. It is in the Ninth that Bruckner invites us into the presence of God to experience the beauty of his world, while also facing the darker and violent abysses.” <o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSie9h7B7Pc529HJwxfubfkLDUe9agGTSxDNo7ODnvU9cH1TuGdrVLrYhVpktqaAwMvBx94elOjH-x7pWO77vHpgztomNtkzBI_MHm6jIYGxGhaGzQJnIbmKvhqfG-grbdpWc7zyKENtUv6Tg2wuAjlRh1X8tTUvXElMhfnuc6jGvgXwuKhDuDNd7_A2ly/s436/Skro%20bruck.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSie9h7B7Pc529HJwxfubfkLDUe9agGTSxDNo7ODnvU9cH1TuGdrVLrYhVpktqaAwMvBx94elOjH-x7pWO77vHpgztomNtkzBI_MHm6jIYGxGhaGzQJnIbmKvhqfG-grbdpWc7zyKENtUv6Tg2wuAjlRh1X8tTUvXElMhfnuc6jGvgXwuKhDuDNd7_A2ly/w200-h200/Skro%20bruck.jpg" width="200" /></a></span></div><span style="font-family: inherit;">Although Bruckner wrote three <i>Masses</i> and a majestic <i>Te</i> <i>Deum</i>, an argument can be made that although he employed no text and never completed a final movement for his <i>Symphony No. 9</i>, it was in this work that he reached the peak of his spiritual and artistic achievement. Honeck and his orchestra deliver a powerful performance that indeed offers glimpses both of the divine and of the existential abyss. The recording was pulled together from live performances by the engineering team from Soundmirror, the recording firm that Reference Recordings employs for their Pittsburgh releases. They do fine work. One of my other favorite recordings of this symphony is also on the Reference Recordings (RR-81) and also features the Minnesota Orchestra, this time under the baton of conductor Stanislaw Skrowaczewski (1923-2017). It is an engineering marvel, not quite as dramatic in performance, although a bit more flowing and lyrical overall. It certainly is startling to discover two such highly recommendable recordings of the same piece with the same orchestra on the same relatively small label. In any event, the Honeck release is something special, well worth an audition by faithful Brucknerians. <o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"> <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"><b>Giorgi Mikadze Trio: <i>Face to Face: Georgian Songbook, Vol. 1. </i>Mikadze: <i>Satchidao</i>; David Toradze: <i>Not Easy to Repeat</i>; Sulkhan Tsintsadze: <i>Dolls Are Laughing</i>; Shota Milorava: <i>Same Garden</i>; Jansungh Kakhidze: <i>The Moon Over Mtatsminda</i>; Mikadze: <i>Nana</i>; <i>After the Tale</i>; Giya Kancheli: <i>A Magic Egg</i>; Nodar Gabunia: <i>To Nodar</i>; Rusudan Sebiskveradze: <i>Wind Takes It Anyway</i>. Giorgi Mikadze, piano, arrangements; François Moutin, acoustic bass; Raphaël Pannier, drums. Peewee! PW1012<o:p></o:p></b></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"><b> </b></span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIU64cuNlSAFuQUmo0XMc9PcpY6LxSowuKISeuJlpkI-gzjohCeDxWHyrQo59sn4bsUig4WaHdbArc7zOWm4WtqV0FyztUUA0xuq2aLWawWisHYD2JtQZ8XGWGYqNP8JgyGqdsBOhDc4DN_RU6wSiyUsiCwlN7vBoSDx8WQi3rtrdKQVCiu-pfwqLIL5gt/s500/Face%20to%20Face%20cvr.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIU64cuNlSAFuQUmo0XMc9PcpY6LxSowuKISeuJlpkI-gzjohCeDxWHyrQo59sn4bsUig4WaHdbArc7zOWm4WtqV0FyztUUA0xuq2aLWawWisHYD2JtQZ8XGWGYqNP8JgyGqdsBOhDc4DN_RU6wSiyUsiCwlN7vBoSDx8WQi3rtrdKQVCiu-pfwqLIL5gt/w320-h320/Face%20to%20Face%20cvr.jpg" width="320" /></a></span></div><span style="font-family: inherit;">Georgian pianist and composer Giorgi Mikadze was educated at Berklee and has had experience playing with some notable jazz figures, which has of course given him plenty of experience playing American jazz standards. However, he found himself reaching a turning point om his musical path. “I started to ask myself, ‘Why should I play American standards when there are numerous melodies written by Georgian composers? I love the American Songbook – that’s how I learned to play jazz. But I would like to offer the world a Georgian Songbook and share all these beautiful melodies from my country.” A glance at the composers listed above should serve as a tip-off that no, this are not tunes from the Great American Songbook. Some classical music fans may recognize the late Georgian composer Giya Kancheli (1935-2019), whose music received a series of excellent recordings for Manfred Eicher’s ECM label. Some of the works featured huge dynamic contrasts for orchestra. <i>A Magic Egg,</i> however, was originally composed as part of the soundtrack for an animated short film in the 1970s, and here Mikadze has arranged it for his trio.<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh93V-RavdQWUHbzNgePrCHHLwfaxjGaHNUb-RVeAogGyYq_xhpt2K-BtAIgACtV7ND1R6rTR0mmR_I6SAOaADy8jhLLa7MlPPcZEuEWMScw1PjdGf1MmpdaIRHv5OEyro4LpxDnmL9tRmIuwr4XmsBLN6IS6ItyZVrk8mXrvpcXvzydTYxPeIRTjFyLoAB/s300/Mikadze%20.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="300" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh93V-RavdQWUHbzNgePrCHHLwfaxjGaHNUb-RVeAogGyYq_xhpt2K-BtAIgACtV7ND1R6rTR0mmR_I6SAOaADy8jhLLa7MlPPcZEuEWMScw1PjdGf1MmpdaIRHv5OEyro4LpxDnmL9tRmIuwr4XmsBLN6IS6ItyZVrk8mXrvpcXvzydTYxPeIRTjFyLoAB/w320-h179/Mikadze%20.jpeg" width="320" /></a></span></div><span style="font-family: inherit;">Mikadze explains that “Georgian classical composers of the ‘60s, ‘70s and ‘80s were heavily influenced by the harmony and freedom of jazz music. Jazz was kind of taboo at the time, but the Georgian people would try to crack old radios to listen to [broadcaster] Willis Conover on the Voice of America.” He goes on to say, “I love the freedom that you have in the trio setting, especially when the musicians are super sensitive about every note. It has the intimacy of chamber music, but you can also achieve a massive sound. Besides, François and Raphael are simply amazing musicians.” The album includes a pleasant mix of tunes, all of them melodic and listenable. For a sample of Mikadze’s style, you can watch <a href="https://www.youtube.com/watch?v=o3bm7_rKQG4" style="color: #96607d;">this video</a>.</span><span style="font-family: Times New Roman, serif;"><o:p></o:p></span><p></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-73120879091035276792024-03-10T20:30:00.000-07:002024-03-10T20:30:00.137-07:00Messiaen: Turangalîla Symphony (CD Review)<p><span style="font-family: inherit;"><i>by Karl Nehring </i></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"><b>Marc-André Hamelin, piano; Nathalie Forget, ondes Martenot; Toronto Symphony Orchestra; Gustavo Gimeno, conductor. Harmonia Mundi 905336</b></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJo0iguhvJPc51ozUdOtByEGNbAfWNDVEoEvF6bdxml-2SPmvQASpsXaPl6ku04liNFpcD_5NRa2V63Dlfoxn-coy85i-RY0WlZ8IRA2g6GW1p_ihZJ6BmSlJu2Sh0JEc3eaChltKZdbuwOHUFVi9wOs7UP8eQl8U7FJQqHwYA4PGpT006wBB7SYQD83AC/s436/Turanga.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJo0iguhvJPc51ozUdOtByEGNbAfWNDVEoEvF6bdxml-2SPmvQASpsXaPl6ku04liNFpcD_5NRa2V63Dlfoxn-coy85i-RY0WlZ8IRA2g6GW1p_ihZJ6BmSlJu2Sh0JEc3eaChltKZdbuwOHUFVi9wOs7UP8eQl8U7FJQqHwYA4PGpT006wBB7SYQD83AC/w320-h320/Turanga.jpg" width="320" /></a></span></div><span style="font-family: inherit;">Those relatively new to classical music who may be unfamiliar with the <i>Turangalîla</i><i> Symphony</i>.by the late French composer Olivier Messiaen (1908-1992) are in for quite the ear- and mind-expanding experience when they first encounter this expansive, expressive, exhilarating 10-movement, 80-minute piece that is scored for piano, ondes Martenot, and orchestra. Nor may many music lovers reading this review be familiar with the ondes Martenot, an electronic instrument with a sound similar to that of a theremin (<a href="applewebdata://5419D1D3-9378-42DA-BB38-28CC8899F9D5/more%20information%20here" style="color: #96607d;">more information here</a> ). In general, Messiaen blends the sounds of the ondes Martenot and the piano with the sound of the orchestra rather than featuring either instrument in a concerto-like fashion, even though in concert performance, both instruments take their place in front of the orchestra, as they would for a concerto. There are passages, however, where Hamelin, one of the world’s finest pianists, has some moments in the spotlight, and Forget on the ondes Martenot gets a few chances of her own to lead the proceedings briefly. There are moments that are boisterous, there are passages that are tender. In terms of size and spectacle, this symphony has some parallels to the works of Mahler, but Messiaen’s musical language is much different. <o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkW6nhw0tTb6tZ1r4OLmq-G3afTt8MQQfyHzJiMk-WLgbEJheoLOQUx7w8Uz7DvQeyOs5bHp-vLAyibHzW_Xdqf6e07OKGgnprhtoXSbL5NO0vvV7hMifHMB-6EFsocPSvJY_-BxtJep2OzffX1Viv69Mmdj4PW4SIdpXZox45xlmD1Rd11kvPmf-y95yu/s300/TSO.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="300" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkW6nhw0tTb6tZ1r4OLmq-G3afTt8MQQfyHzJiMk-WLgbEJheoLOQUx7w8Uz7DvQeyOs5bHp-vLAyibHzW_Xdqf6e07OKGgnprhtoXSbL5NO0vvV7hMifHMB-6EFsocPSvJY_-BxtJep2OzffX1Viv69Mmdj4PW4SIdpXZox45xlmD1Rd11kvPmf-y95yu/w320-h179/TSO.jpeg" width="320" /></a></span></div><span style="font-family: inherit;">Spanish-born conductor Gustavo Gimeno (b. 1976), who is the Music Director of the Toronto Symphony Orchestra, leads his assembled forces in a performance that never goes over the top. There were times when I might have wished for a bit more emotion and excitement; on the other hand, I could also appreciate hearing everything laid out clearly before me. Same for the sonics, which are clean and unexaggerated. My personal favorite recording for both performance and sound is the Wit on Naxos, a 2-CD release which also features an exciting orchestral version of Messian’s <i>L’ascension </i>– but has the distinct disadvantage of spreading the symphony onto two discs (advantage: streaming). The Chung on DG is a delightful performance with so-so sonics. All things considered, this new release from Toronto is a safe bet for those wishing to explore Messiaen’s grand musical testament of love.</span><span style="font-family: Times New Roman, serif;"><o:p></o:p></span><p></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-44093481652391563502024-03-06T20:30:00.000-08:002024-03-06T20:30:00.142-08:00Dvořák: Violin & Piano Concertos (CD Review)<p><span style="font-family: inherit;"><i>by Karl Nehring</i></span></p><p><span style="font-family: inherit;"><b><i>Violin Concerto in A minor, Op. 53, B 108</i>; <i>Piano Concerto in G minor, Op. 33, B. 63.</i> Ruggiero Ricci, violin; Rudolf Firkušný, piano; St. Louis Symphony Orchestra; Walter Susskind, conductor. Vox Audiophile Edition VOX-NX-3035CD</b></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKemGtKADdrB-QgR1qzlTZcfRo9OagkQ84fhyQawdKAT1MdcEe1qNg3iGVQ0ceVYbcaGdTSRQ210WRhysBc3lytL4zn7fdBtm3Me-t8g9ygOOejq11F7TqnKNnLiK-v4GGnKKCrFJ5PZaO-OoSi-JULm-KYXgcbYLH3OkTw_xY3OlFC8hNp0sKE_knWgDU/s436/Dvorak%20cvr.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKemGtKADdrB-QgR1qzlTZcfRo9OagkQ84fhyQawdKAT1MdcEe1qNg3iGVQ0ceVYbcaGdTSRQ210WRhysBc3lytL4zn7fdBtm3Me-t8g9ygOOejq11F7TqnKNnLiK-v4GGnKKCrFJ5PZaO-OoSi-JULm-KYXgcbYLH3OkTw_xY3OlFC8hNp0sKE_knWgDU/w320-h320/Dvorak%20cvr.jpg" width="320" /></a></div>Naxos has obtained the rights to the original master tapes that Elite Recordings made for the Vox label decades ago (many music lovers no doubt remember Vox, who produced many excellent budget recordings that provided a gateway into the world of classical music for those of us with limited means). Appearing on the back cover of these new “Vox Audiophile Edition” versions is a highlighted statement affirming that “<i style="font-family: inherit;">The Elite recordings for Vox legendary producers Marc Aubort and Joanna Nickrenz are considered by audiophiles to be among the finest sounding orchestral recordings.” </i><span style="font-family: inherit;">For these reissues, Naxos engineers have taken those tapes from the vaults and carefully prepared these CDs for release, the end product of their labors being what they describe as </span><i style="font-family: inherit;">“new192 kHz / 24-bit high definition transfers of the original Elite Recordings analogue master tapes.” </i><span style="font-family: inherit;">Of course, all that work would not mean much if the Dvořák concert performances captured by Aubort and Nickrenz were no great shakes to begin with; however, these recordings by Maestro Susskind (1913-1980) and the SLSO featuring violinist Ruggiero Ricci and pianist Rudolf Firkušný were excellent when they were released and they are excellent now.</span><span style="font-family: inherit;"> </span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfWUtOXmh03QoIFeAv46nT6cuX188-m_MVSFHa0AB_QPl3wZgAM55Fwgxu0yVYaG-wbFAq7tAJOa28HDOBwoUerrP0_QM2kaXKzWBm04FgtgtBtuForKgG4IjkErL2fD2lB-kkVeNwgltKLx-mP76gP8gJ2vdEVCVD2qJRMKaCusB-71ZE_EsGL6s8mJfq/s170/Susskind.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="170" data-original-width="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfWUtOXmh03QoIFeAv46nT6cuX188-m_MVSFHa0AB_QPl3wZgAM55Fwgxu0yVYaG-wbFAq7tAJOa28HDOBwoUerrP0_QM2kaXKzWBm04FgtgtBtuForKgG4IjkErL2fD2lB-kkVeNwgltKLx-mP76gP8gJ2vdEVCVD2qJRMKaCusB-71ZE_EsGL6s8mJfq/s16000/Susskind.jpeg" /></a></span></div><span style="font-family: inherit;">Neither concerto really seems to get as much credit or attention as it deserves. Why this is so remains a mystery, for anyone who takes the time to give this recording a serious audition could not help but be thoroughly impressed by both compositions. For whatever reason – and I will confess this is true even in my own case – most of us music lovers get exposed to Dvořák’s magnificent <i>Cello Concerto</i>, fall in love with it, but then never move on to explore either his <i>Violin Concerto</i> or his <i>Piano Concerto</i>. Moreover, recordings by conductors such as the late Prague-borb Walter Susskind (1913-1980) tend to get overlooked these days in favor of those led by conductors, both living and dead, whose names <o:p></o:p></span>and likenesses are being pushed hard by the giant labels. Maestro Susskind served as Music Director of the SLSO from 1968 to 1975, making some excellent recordings with them for Vox. <p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2S7I_6uQuCGeTZlGif6lwSbBEM01Styt7-Fmkbs9C6UlQjgRTTiz1WSCw65UE0N2bu9RsWq1Y2Kj-fpohHpi44uv-_evUIEBoRdjNdCdnWV6LTGsnmc8DxbCasPUKGFsFpFjeWu6hvpBWaT8qgO1AwBM5b3t3uWsTUnSHWBqWYd4pmQCjYUXleZkQMfu3/s248/Ricci.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="248" data-original-width="203" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2S7I_6uQuCGeTZlGif6lwSbBEM01Styt7-Fmkbs9C6UlQjgRTTiz1WSCw65UE0N2bu9RsWq1Y2Kj-fpohHpi44uv-_evUIEBoRdjNdCdnWV6LTGsnmc8DxbCasPUKGFsFpFjeWu6hvpBWaT8qgO1AwBM5b3t3uWsTUnSHWBqWYd4pmQCjYUXleZkQMfu3/w164-h200/Ricci.jpeg" width="164" /></a></span></div><span style="font-family: inherit;">The late American violinist Ruggiero Ricci (1918-2012) recorded the concerto with Susskind and the SLSO in August, 1974. The work is lively, melodic, and flowing, similar in overall form and quality to the more celebrated concerto of Brahms. As the liner notes point out: “Not surprisingly, in light of Dvořák’s newly developed but deeply sincere friendship and admiration for Brahms, the latter’s influence is as prominent in the <i>Violin Concerto </i>as the flavour of Czech folk music, though neither of these elements in any way diminishes the striking originality and individuality which stamp the work as no one but Dvořák’s.” The concerto was a specialty of Ricci’s; he performed it numerous times in concerts worldwide and had made a previous recording with Sir Malcolm Sargent and the London Symphony Orchestra. His familiarity with and affection for the work come through in this beautiful performance, which should go far to win converts to this overlooked masterpiece.<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrbsnk5WTFYai4M5jI7DUA4EJ1lDxwQtpPH8BlV2WhjW0xPmFWLg7XJlY7CuwKuOK5PN15bLpdDKY6gJgPtzveZKvv_YeWhghO4TCbaeH1w4qKk73mXwtX84NVDzo5C3tJSP6smc87ynRZFIO3KBRcV0RhjD7kmt4HVwhnu4RNmAzYjVibvWbGDfw-Vhe5/s255/Firkusny.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="255" data-original-width="197" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrbsnk5WTFYai4M5jI7DUA4EJ1lDxwQtpPH8BlV2WhjW0xPmFWLg7XJlY7CuwKuOK5PN15bLpdDKY6gJgPtzveZKvv_YeWhghO4TCbaeH1w4qKk73mXwtX84NVDzo5C3tJSP6smc87ynRZFIO3KBRcV0RhjD7kmt4HVwhnu4RNmAzYjVibvWbGDfw-Vhe5/w155-h200/Firkusny.jpeg" width="155" /></a></span></div><span style="font-family: inherit;">The <i>Piano Concerto</i> is pleasant and entertaining, if not quite in the same exalted class as the <i>Violin Concerto</i>. The Moravian-American pianist Rudolf Firkušný (1912-1994) was especially fond of the piece and like Ricci with the <i>Violin Concerto</i>, Firkušný often played it in in concert and recorded it several times (with Kubelik, Simogyi, and Neumann in addition to this 1975 effort with Susskind). It is not a virtuoso display piece; instead, it is a melodic essay for piano and orchestra in which they seem to work together, rather than a work in which the piano dazzles while the orchestra is mainly there to provide support. Still, it is an entertaining concerto that deserves a wider audience.<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">If you have not really become acquainted with either or both compositions by Dvořák, this expertly performed and excellently engineered release would be an excellent place to start. Kudos to Naxos for digging into the vault and pulling out this gem to restore for us.</span></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-50885385838746367872024-03-03T20:30:00.000-08:002024-03-03T20:30:00.134-08:00Mozart: Complete Piano Sonatas Volumes 5 & 6 (CD Review)<p><span style="font-family: inherit;"><i>by Karl Nehring</i></span></p><p><span style="font-family: inherit;"><b>Vol. 5 (CD1): No. 7 in C Major K.309; No. 8 in D Major K.311; No. 10 in C Major K.330; Vol. 6 (CD2): No. 14 in C minor K.457; No. 15 in F Major K.533/494. Orli Shaham, piano. Canary Classics CC21.</b></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9Hq45Hll1Z_I3NwkinYOIrbMDCHy16tt1KNOdjeggCVOlvjuUg45EAEOllrelXlbZK78M5pvp3kxeZ04xzI48Zmv9ZeKCnWPAaV1wmDgvFzCeoXf9wNsbyx5eIZCTH8qd92ZbhaA3oW5fVzq6HLGnkE_nqIukt8isQwNDbGrrRZSNno9nqAWpHrIHHz8t/s436/Mozart%20cvr.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9Hq45Hll1Z_I3NwkinYOIrbMDCHy16tt1KNOdjeggCVOlvjuUg45EAEOllrelXlbZK78M5pvp3kxeZ04xzI48Zmv9ZeKCnWPAaV1wmDgvFzCeoXf9wNsbyx5eIZCTH8qd92ZbhaA3oW5fVzq6HLGnkE_nqIukt8isQwNDbGrrRZSNno9nqAWpHrIHHz8t/w320-h320/Mozart%20cvr.jpg" width="320" /></a></span></div><span style="font-family: inherit;">The Israeli-born American pianist Orli Shaham (b. 1975) is a well-traveled musician who has performed with many of the major orchestras around the world and has appeared in recital in venues ranging from Carnegie Hall to the Sydney Opera House. She is also a busy musician, serving as Artistic Director of the Pacific Symphony’s chamber series and of the interactive children's concert series, <i>Orli Shaham’s Bach Yard.</i> She is also a co-host of the national radio program <i>From the Top</i> and serves on the faculty at The Juilliard School. We have reviewed several previous releases by Ms. Shaham in <i>Classical Candor</i> – all featuring music by Mozart. John Puccio reviewed a disc of piano concertos (<a href="https://classicalcandor.blogspot.com/2019/12/mozart-piano-concertos-nos-17-24-cd.html" style="color: #96607d;">you can read his review here</a>), I reviewed Volumes 1-3 of her traversal of the sonatas in <a href="https://classicalcandor.blogspot.com/2022/11/piano-potpourri-no-8-cd-reviews.html" style="color: #96607d;">a review you can read here</a>, followed by <a href="https://classicalcandor.blogspot.com/2023/07/mozart-complete-piano-sonatas-vol-4-cd.html" style="color: #96607d;">my subsequent review of Volume 4</a>. This latest two-CD release signals the completion of the set, and a remarkable set it has turned out to be.<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoeIv7vYGVBnGMjIv11oGxj7d6tkN8UaTLmwXrWToM_uI27hxw9l36HyIrtHIXrcbvsLIthxLa2VCUxbOf0uEkuV6Ke1HMH-J4zGqx333YHeA1xcnpdqz5Ku60KvKw5ECKnY1ASLm6OlOEa3aldIXQkFzQsMuY9PVORHmhp87aSG_WEfxTphybjKSUgaC-/s300/orli.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="300" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoeIv7vYGVBnGMjIv11oGxj7d6tkN8UaTLmwXrWToM_uI27hxw9l36HyIrtHIXrcbvsLIthxLa2VCUxbOf0uEkuV6Ke1HMH-J4zGqx333YHeA1xcnpdqz5Ku60KvKw5ECKnY1ASLm6OlOEa3aldIXQkFzQsMuY9PVORHmhp87aSG_WEfxTphybjKSUgaC-/w320-h179/orli.jpeg" width="320" /></a></span></div><span style="font-family: inherit;">Regarding the question of why we need yet another recorded cycle of the Mozart piano sonatas, Shaham recognizes “that is the key question of the whole project… Part of the answer lies in the personal journey of discovery; part of it is in wanting to share with as many people as possible the results of what could so easily be a selfish process. I’ve found some very cool things along the way… I believe that most of us have understood during the Covid pandemic what performers have known for a long time: that there is no substitute for live music. Although these are recordings, I am trying here to capture the spontaneous feeling of live performance… I believe that contemplating things from the perspective of the voice is crucial for Mozart – very few of his lines in the piano sonatas and other instrumental works are not vocally inspired. Everything is singable; it’s rare to find intervals in Mozart’s music that are not. In so many ways, Mozart taught the keyboard to sing.” There is indeed a fluid, singing quality to Shaham’s playing that is engaging and pleasurable. The shorter sonatas on Vol. 5 highlight more of her playful side, while the final volume of the set shows Shaham bringing out more complex aspects of Mozart’ music – still with an underlying singing quality of expression, but with a wider and deeper range of feeling. <o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxBco542zleM_1ycUKl6MWhvh_7RaXAXt2ura_eRmcfxRUtj-01vbdvEHFrJBCCKvDJ0RKAsV57SnizykewfHrRNm67elOtCuNywzbihyphenhyphenwFVz6sWLZ0Z5jT2KdJ86VX6scz3xOFhuIsqq2kAYunUaSx8kd1h7jsxppJFdxblic0GBk3WSpGD7oKTRQlwlq/s300/orli%20hands.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="168" data-original-width="300" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxBco542zleM_1ycUKl6MWhvh_7RaXAXt2ura_eRmcfxRUtj-01vbdvEHFrJBCCKvDJ0RKAsV57SnizykewfHrRNm67elOtCuNywzbihyphenhyphenwFVz6sWLZ0Z5jT2KdJ86VX6scz3xOFhuIsqq2kAYunUaSx8kd1h7jsxppJFdxblic0GBk3WSpGD7oKTRQlwlq/w320-h179/orli%20hands.jpeg" width="320" /></a></span></div><span style="font-family: inherit;">Although the dark COVID-19 pandemic onset year 2020 is now finally starting to recede into the paat (although the virus is still among us, and precautions – especially vaccinations – are still particularly prudent), it is worth noting that this recording project is yet another that was undertaken under lockdown precautions. Shaham recorded alone onstage in Mechanics Hall in Worcester, MA, on a modern Steinway piano. The recording producer and editor for the series is the veteran Erica Brenner, who worked remotely from Cleveland, OH. The recording engineer for the beginning of the sessions was the late Michael Bishop (1951-2021), whom audiophiles may recognize as the engineer responsible for many of those spectacular Telarc recordings of days gone by. Following the loss of Bishop, engineering duties were taken over by Robert Friedrich, himself a top-rate engineer. Rest assured that Ms. Shaham – and your ears – have been afforded some truly excellent sonics.</span><p></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-76509403981187547712024-02-28T20:30:00.000-08:002024-02-28T20:30:00.138-08:00Susanna Mälkki conducts Sibelius (CD Review)<p><span style="font-family: inherit;"><i>by Ryan Ross</i></span></p><p><span style="font-family: inherit;"><b>Sibelius: <i>Karelia Suite, Op. 11</i>; <i>Rakastava, Op. 14</i>; <i>Lemminkäinen, Op. 22</i>. Susanna Mälkki, conductor; Helsinki Philharmonic Orchestra. BIS-2638</b></span></p><p><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb8LbCMI16wZ4fwtpM-3oNvIhjT2hh3j6bZGnUn2BMJ10mNvM7wWwyL5CITqFOLKtEuraIbPgHJExmAkUC3MdPMkQvWFOs5rCWojr9lKw5EFJk8GzDXz8QS-9oCqOtvhOZ_o9crt7XJhRSgGa20pOWUywIUUmT2ZnnKXvClZwCEQHA83BPDYWbOH4Nqj74/s436/sibelius%20cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb8LbCMI16wZ4fwtpM-3oNvIhjT2hh3j6bZGnUn2BMJ10mNvM7wWwyL5CITqFOLKtEuraIbPgHJExmAkUC3MdPMkQvWFOs5rCWojr9lKw5EFJk8GzDXz8QS-9oCqOtvhOZ_o9crt7XJhRSgGa20pOWUywIUUmT2ZnnKXvClZwCEQHA83BPDYWbOH4Nqj74/w320-h320/sibelius%20cover.jpg" width="320" /></a></div>Anyone who has heard Susanna Mälkki’s performances knows that she approaches conducting with admirable precision and sensitivity. In settings where the music is especially enhanced by these attributes, she’s absolutely first-rate. In situations that call for unbridled passion, however, I’m sometimes left wanting more. This dichotomy plays out across BIS’s new disc of nationally-inflected orchestral fare by Jean Sibelius. By now all of these works have plenty of recordings in the classical catalogue, especially the<span style="font-family: inherit;"> </span><i style="font-family: inherit;">Karelia Suite</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">and Lemminkäinen</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Legends</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">(or “</span><i style="font-family: inherit;">Suite</i><span style="font-family: inherit;">,” as it’s often called). The field isn’t nearly Beethoven Fifth-level crowded, but the bar is not exactly low either. In the music here that plays to her strengths, Mälkki and the HPO give wonderful performances. But there are parts that do not always align with her predisposition, and these (for my taste) lead to middling ventures.</span><span style="font-family: inherit;"> </span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibqGcmtSoA7igCpVNSqFrLCwjy_2NtdimOGw2vyYXBQk5TUnig51achab1NwbV1Bu22aEZQi4bBKrQAlZK0pKtJcWpH_6Kww2dMCJs_-cxqYvGL-WH8Gx__esXzs5cC_WBIX8lx8anp-cHja8-W57Im3EkSiVBHx-yUzDdWZcGOL3_W9Xpml5NCpPaeVRg/s298/Malkki.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="169" data-original-width="298" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibqGcmtSoA7igCpVNSqFrLCwjy_2NtdimOGw2vyYXBQk5TUnig51achab1NwbV1Bu22aEZQi4bBKrQAlZK0pKtJcWpH_6Kww2dMCJs_-cxqYvGL-WH8Gx__esXzs5cC_WBIX8lx8anp-cHja8-W57Im3EkSiVBHx-yUzDdWZcGOL3_W9Xpml5NCpPaeVRg/w320-h181/Malkki.jpeg" width="320" /></a></div>The opening<span style="font-family: inherit;"> </span><i style="font-family: inherit;">Karelia Suite</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">is a good case in point. All of the ingredients would appear to be here for a splendid interpretation. And yet, I’m missing a little extra something that might be called “gusto” or “absolute conviction.” In the first movement (and beyond) we witness Mälkki’s skillfully balanced voices and colors. But perhaps the busy timpani are a bit too soft, the strings too crystalline. The tempo in the</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Ballade</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">is a touch on the deliberate side, which is fine. But here again the punctuating element is dimmed, this time in the pizzicato second violin chords accompanying the dream-like secondary theme’s undulating cello line. To my ears, the finale simply sounds too graceful for an “<i>Alla marcia</i>,” particularly with the knowledge that this music was originally conceived to accompany a tableaux depicting military conquest. Overall, the gestures are too delicate and rounded and the mood overly restrained. I would suggest the wonderful performance by Okko Kamu and the Helsinki Radio Symphony Orchestra (found on Deutsche Grammophon 427 204-2) as an illustrative point of comparison. While lacking Mälkki and the HPO’s finesse, its spirit is unimpeachable.</span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7dMj8pMZml4eXTPChsflFfcKNQtK15ynq83KcQr8xr1XQDwMMv5CO5MMZpK_c0nSUAvJq2-62LcGUMZfp3VSL8JXOqAHNEe06odk006ovWbr34so1KVXCmmhxKQGeegPGYQBP2ULv2n_M40YbE6SNvrPvd50uGcbuLPEPDm60buPmdH_Ljd9VAMAtgZZa/s284/Swan2.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="178" data-original-width="284" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7dMj8pMZml4eXTPChsflFfcKNQtK15ynq83KcQr8xr1XQDwMMv5CO5MMZpK_c0nSUAvJq2-62LcGUMZfp3VSL8JXOqAHNEe06odk006ovWbr34so1KVXCmmhxKQGeegPGYQBP2ULv2n_M40YbE6SNvrPvd50uGcbuLPEPDm60buPmdH_Ljd9VAMAtgZZa/w320-h201/Swan2.jpeg" width="320" /></a></div>The <i style="font-family: inherit;">Lemminkӓinen Legends</i><span style="font-family: inherit;"> present a somewhat mixed bag. We’ll start with the good: these performances of </span><i style="font-family: inherit;">The Swan of Tuonela</i><span style="font-family: inherit;"> and </span><i style="font-family: inherit;">Lemminkӓinen in Tuonela</i><span style="font-family: inherit;"> are among the very best. This is because these movements call more for nuance and contemplation than they do for the kind of virile passion depicted with the eponymous character elsewhere. I don’t know whether I have ever heard a Swan more radiant and mysterious than Mälkki’s, or one that more completely exploits instrumental timbre to such breathtaking effect. Likewise, she pulls off the knotty <i>Lemminkӓinen in Tuonela</i> more convincingly than I have ever heard it done before, owing (again) to her keen grasp of color in addition to her ability make the wispy melodic content cohere sufficiently throughout. (This is NOT easy to do.) But with </span><i style="font-family: inherit;">Lemminkӓinen and the Maidens of the Island</i><span style="font-family: inherit;"> we’re back in a world too lusty for Mälkki’s emotional restraint. This is rousing stuff requiring a certain sympathetic investment to bring off the points of ecstasy that can make the music so irresistible. One such juncture is the exhilarating return of the main theme after many measures of running-strings buildup. To be fair, Mälkki is far from alone in not doing this crucial passage justice. But next to, for example, Jukka-Pekka Saraste’s and the Toronto Symphony’s stupendous romp through the juncture in question (see Finlandia 3984-27890-2), any tepid arrival just won’t do. </span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">With </span><i style="font-family: inherit;">Lemminkӓinen’s Return</i><span style="font-family: inherit;"> the results are better, if not top-tier. The tempo is suitably brisk and the playing very well controlled. But once again I’m missing just a touch of legendary magic that characterizes the best options. (I simply do not understand why so many performances of this piece insist upon </span><i style="font-family: inherit;">ppp</i><span style="font-family: inherit;">, instead of </span><i style="font-family: inherit;">p</i><span style="font-family: inherit;">, statements in important upper woodwind figures, such as those at Rehearsal F. These need to be heard!) On balance, then, this performance of the </span><i style="font-family: inherit;">Lemminkӓinen Legends</i><span style="font-family: inherit;"> is a decent option, weighing two distinguished entries against lackluster and average ones. My top choices for this set of pieces are still Leif Segerstam and the HPO (Ondine ODE852-2), and Neeme Järvi and the Gothenburg Symphony Orchestra (BIS CD-294). These may cede some ground to Mälkki and the HPO in the inner movements, but they are more aesthetically consistent. </span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">I am happy to recommend the <i>Rakastava</i> performance without reservation. Mälkki finds a congenial match for her talents in this tender, plaintive work. It will probably never be among Sibelius’s most loved compositions, but it deserves exposure. We can only hope that this interpretation sparks further interest. Any subsequent recordings will have to be good indeed to merit preference over this one. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">While I cannot give every effort here full-throated recommendation, I do heartily suggest buying this recording. Susanna Mälkki may not always be my ideal match for what she conducts, but she comes across as a highly intelligent musician who brings an impressive toolkit to her various tasks. She seems more at home in the “modernist” repertoire, but the occasions here when her conducting astounds make me interested in what she has to offer elsewhere. This is a release that enriches the catalogue, whatever else might be said.</span><span style="font-family: Times New Roman, serif;"><o:p></o:p></span></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-56693385263682053142024-02-25T20:30:00.000-08:002024-02-25T20:30:00.138-08:00Absolutely on Music: Conversations with Seiji Ozawa (Book Review)<p><i>by Karl Nehring</i></p><p class="MsoNormal" style="margin: 0in;"><b><span style="color: #222222;"><span style="font-family: inherit;">Murakami, Haruki. <i>Absolutely on Music: Conversations with Seiji Ozawa</i>. New York: Alfred A Knopf, 2016.</span></span></b></p><p class="MsoNormal" style="margin: 0in;"><span class="apple-converted-space"><b><span style="color: #222222;"><span style="font-family: inherit;"> </span></span></b></span></p><p class="MsoNormal" style="margin: 0in;"><span class="apple-converted-space"><span style="color: #222222;"><span style="font-family: inherit;"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuM9t37XxWZAK_RkWXx0wYbnIP8wifZBjhMEg3ZcnNhuLH-1oYK2usVT9FtUzcUvmgIgLhBxeV0cfRcAh_96vVTNnN1qy9g-KANNqJPsCOWOlDsYRI_nHp593I8MP2DXE_04pM0wweNk9Rv5yfJZfSEHOMAss3vDDU4WxNkrg00YnXwRcZYhctwl_UFLff/s436/Abs%20cvr.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="287" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuM9t37XxWZAK_RkWXx0wYbnIP8wifZBjhMEg3ZcnNhuLH-1oYK2usVT9FtUzcUvmgIgLhBxeV0cfRcAh_96vVTNnN1qy9g-KANNqJPsCOWOlDsYRI_nHp593I8MP2DXE_04pM0wweNk9Rv5yfJZfSEHOMAss3vDDU4WxNkrg00YnXwRcZYhctwl_UFLff/w211-h320/Abs%20cvr.jpg" width="211" /></a></span></div><span style="font-family: inherit;">The world of classical music lost a legendary figure earlier this month when the revered and beloved Japanese conductor Seiji Ozawa (1935-2024) passed away at the age of 88. February 6 has long been a memorable day in my life, for it was my ETS day – the day I was discharged from active duty in the U.S. Army, way back in 1975. But from now on, February 6, the day of Seiji Ozawa’s passing, will have an additional memory attached to it, making it a bittersweet day of remembrance for the rest of my time here on this watery orb. My guess would be that most lovers of classical music have at least a few recordings in their collection that feature Maestro Ozawa. He was at the helm of the venerable Boston Symphony Orchestra for nearly 30 years and with that orchestra made a number of noteworthy recordings, especially of French music. In particular, his recordings of Ravel with the BSO are among the finest available. Later in his career he returned to Japan and made some outstanding recordings with the Saito Kinen Orchestra, which he founded.<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><span class="apple-converted-space"><span style="color: #222222;"><span style="font-family: inherit;"> </span></span></span></p><p class="MsoNormal" style="margin: 0in;"><span class="apple-converted-space"><span style="color: #222222;"><span style="font-family: inherit;"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnWmCYW4pU0omx87NhprW4XiC4PFuK6TgVRf75Wk4kRbU3Q1LP9ou4U4VJZERA7aFIagbSAB-uMcWhfvHnltz7A2WMmI0J52bvVve6bqYr3wMoNbSQQPwZJ5xKXQVjS5GRYvrTrtICUWSDSpfTZs8A7CYAopfvjgZW3PzMpbLGZ8Dr9vZb94lCFHoYu5IB/s259/Ozawa.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="194" data-original-width="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnWmCYW4pU0omx87NhprW4XiC4PFuK6TgVRf75Wk4kRbU3Q1LP9ou4U4VJZERA7aFIagbSAB-uMcWhfvHnltz7A2WMmI0J52bvVve6bqYr3wMoNbSQQPwZJ5xKXQVjS5GRYvrTrtICUWSDSpfTZs8A7CYAopfvjgZW3PzMpbLGZ8Dr9vZb94lCFHoYu5IB/s16000/Ozawa.jpeg" /></a></span></div><span style="font-family: inherit;">There is most likely a subset of classical musical fans that includes fans of the Japanese author Haruki Murakami. I first became acquainted with his writing when I pretty much randomly picked up a paperback copy some years ago of his novel <i>Kafka on the Shore</i> to read while recuperating from some impending surgery. I found myself spellbound, and since then have read just about every book he has ever published, fiction and non-fiction as well. When Absolutely on Music was first published in 2016, I eagerly borrowed a copy from my favorite library and dug right in. What a delightful, educational, absorbing book it turned out to be!<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><span class="apple-converted-space"><span style="color: #222222;"><span style="font-family: inherit;"> </span></span></span></p><p class="MsoNormal" style="margin: 0in;"><span class="apple-converted-space"><span style="color: #222222;"><span style="font-family: inherit;"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7NAXoW721k-3TKeFGNqB4Xf-TBb5WqhgUe8XsGHoiShWPnmB4ksAq0P7ZHxU8pbDxTmrLw1xS2SOFk3eDcGrzq6l6iA78a9614tBFl5u47-91R417pLm0WGMLEiSlMa5kXbT6sJ8G02va-bs0bQSD2EInl8-x-UQ7VGkVU8i2EcbSXJuvTeWjPr1LbzkV/s259/Murakami.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="259" data-original-width="194" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7NAXoW721k-3TKeFGNqB4Xf-TBb5WqhgUe8XsGHoiShWPnmB4ksAq0P7ZHxU8pbDxTmrLw1xS2SOFk3eDcGrzq6l6iA78a9614tBFl5u47-91R417pLm0WGMLEiSlMa5kXbT6sJ8G02va-bs0bQSD2EInl8-x-UQ7VGkVU8i2EcbSXJuvTeWjPr1LbzkV/w240-h320/Murakami.jpeg" width="240" /></a></span></div><span style="font-family: inherit;">Note the subtitle: <i>Conversations with Seiji Ozawa</i>. Note also that the book is based on some deep, thoughtful conversations rather than some scattered, perfunctory interviews. Murakami had become friends with Ozawa during the conductor’s tenure in Boston, but the two seldom discussed music. Only much later, in Japan in 2009 after Ozawa became ill with cancer, did the two really begin to discuss music. Ozawa was recuperating from treatment; being away from active involvement with music, he now felt he could take the time to reflect and talk about it. Murakami was an interested layman. His principal musical passion is jazz, but as he writes, “I have also been listening to classical music with no less enjoyment, collecting classical records since I was in high school, and going to concerts as often as time would permit.” During one of Ozawa’s visits to Murakami’s home, the conductor began telling an interesting story about the famous concert in New York where Glenn Gould and Leonard Bernstein had a severe disagreement over tempi for the Brahms <i>Piano Concerto No.1. </i>Murakami thought it would be a good idea to get this story recorded. Ozawa agreed, and thus began the series of conversations that eventually led to the book.<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="color: #222222; font-family: inherit;">The book’s contents include:</span><span style="color: #222222; font-family: inherit;"> </span><i style="color: #222222; font-family: inherit;">Introduction</i><span style="color: #222222; font-family: inherit;">: “My Afternoon with Seiji Ozawa”</span><span style="color: #222222; font-family: inherit;"> </span><i style="color: #222222; font-family: inherit;">First Conversation</i><span style="color: #222222; font-family: inherit;">: “Mostly on the Beethoven Third Piano Concerto”</span><span style="color: #222222; font-family: inherit;"> </span><i style="color: #222222; font-family: inherit;">Interlude 1</i><span style="color: #222222; font-family: inherit;">: “On Manic Record Collectors”</span><span style="color: #222222; font-family: inherit;"> </span><i style="color: #222222; font-family: inherit;">Second Conversation</i><span style="color: #222222; font-family: inherit;">: “Brahms at Carnegie Hall”</span><span style="color: #222222; font-family: inherit;"> </span><i style="color: #222222; font-family: inherit;">Interlude 2</i><span style="color: #222222; font-family: inherit;">: “The Relationship of Writing to Music”</span><span style="color: #222222; font-family: inherit;"> </span><i style="color: #222222; font-family: inherit;">Third Conversation</i><span style="color: #222222; font-family: inherit;">: “What Happened in the 1960s”</span><span style="color: #222222; font-family: inherit;"> </span><i style="color: #222222; font-family: inherit;">Interlude 3</i><span style="color: #222222; font-family: inherit;">: “Eugene Ormandy’s Baton”</span><span style="color: #222222; font-family: inherit;"> </span><i style="color: #222222; font-family: inherit;">Fourth Conversation</i><span style="color: #222222; font-family: inherit;">: “On the Music of Gustav Mahler”</span><span style="color: #222222; font-family: inherit;"> </span><i style="color: #222222; font-family: inherit;">Interlude 4</i><span style="color: #222222; font-family: inherit;">: “From Chicago Blues to Shin’ichi Mori”</span><span style="color: #222222; font-family: inherit;"> </span><i style="color: #222222; font-family: inherit;">Fifth Conversation</i><span style="color: #222222; font-family: inherit;">: “The Joys of Opera” / “In a Little Swiss Town”</span><span style="color: #222222; font-family: inherit;"> </span><i style="color: #222222; font-family: inherit;">Sixth Conversation</i><span style="color: #222222; font-family: inherit;">: “There’s No Single Way to Teach. You Make It Up as You Go Along.” </span></p><p class="MsoNormal" style="margin: 0in;"><span style="color: #222222; font-family: inherit;"><br /></span></p><p class="MsoNormal" style="margin: 0in;"><span style="color: #222222; font-family: inherit;">The conversations run deep; for example, in ostensibly talking about the Beethoven concerto, Ozawa reveals some surprising details about Leonard Bernstein’s relationship to the orchestra, while Murakami displays a surprisingly keen ear for musical detail as the two listen to various recordings from Murakami’s collection. Throughout the book, we observe two agile minds engaging each other in lively conversation about a subject about which they are both deeply passionate. Between Ozawa’s musical knowledge and Murakami’s mastery of prose, the end result is a volume that eight years after its initial printing deserves a fresh look. This is not a book just for fans of the late conductor; no, it is a book from which just about anyone with an interest in classical music will be able to draw both musical knowledge and reading pleasure.</span></p><p class="MsoNormal" style="margin: 0in;"><strong><span style="color: #222222;"><span style="font-family: inherit;"> </span></span></strong></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-85358837708704368152024-02-21T20:30:00.000-08:002024-02-21T20:30:00.407-08:00 Pastoral 21: Gabriel Prokofiev, Ludwig van Beethoven (CD Review) <p><i>by Karl Nehring</i></p><p class="MsoNormal" style="margin: 0in;"><span class="apple-converted-space" style="font-family: inherit;"><b><span style="color: #222222;">Beethoven: <i>Symphony No. 6 in F major, Op. 68 “Pastoral” (1<sup>st</sup> Movement, arr. for string sextet by M. G. Fischer)</i>; Gabriel Prokofiev: <i>Breaking Screens – Green Into Red | Fivatak | 1, 2, 3, 4, 5, 6 | ChangeUp | Sad Colours 1 | Memory Fields | Reflessivo</i>; Beethoven: <i>Symphony No.6 (5<sup>th</sup> Movement arr. for string sextet by M. G. Fischer)</i>; G. Prokofiev: <i>Pastoral Reflections - </i></span></b></span><strong style="font-family: inherit;"><i><span style="color: #222222;">I. Allegro ma non troppo (escape into nature) II. Andante con moto (nature reserve with canalised stream) III. Allegro Mechanico (Mega-farm, cyber village) IV. Vivace (Sturm) V. Allegretto (Stadtpark, faint hopes)</span></i></strong><strong style="font-family: inherit;"><span style="color: #222222;">; <i>Breaking Screens – Mobocracy</i>. </span></strong><span class="apple-converted-space" style="font-family: inherit;"><b><span style="color: #222222;">Gabriel Prokofiev</span></b></span><strong style="font-family: inherit;"><span style="color: #222222;">, synthesizers, electronics; UNLTD Collective (Songha Choi, violin; Çiğdem Tunçelli Sinangil, violin; Martin Moriarty, viola; Kinga Wojdolska, viola; Alfredo Ferre, cello; Antonin Musset, cello). Signum Classics SIGCD761</span></strong></p><p class="MsoNormal" style="margin: 0in;"><strong><span style="color: #222222;"><span style="font-family: inherit;"> </span></span></strong></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"><span style="color: #222222;"></span></span></p><div class="separator" style="clear: both; font-weight: normal; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio2bZGGwpMgEwkw_taAopuJJWrKMJl31byUxC8t411HMdKmoP7-SF7zIgbRprjSUXmq4uXZJ-QjdH9uc4og2lUj5M1PL2h_ayjui052YUr2yge3yfNNZdsbDezWtUB5sm_R2bv__9p1X11hSlmthqsNBNXaC5j2PMqvTi5m8sOEWJhXFA5_wcPWLA-mwTb/s436/Prok%20cvr.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio2bZGGwpMgEwkw_taAopuJJWrKMJl31byUxC8t411HMdKmoP7-SF7zIgbRprjSUXmq4uXZJ-QjdH9uc4og2lUj5M1PL2h_ayjui052YUr2yge3yfNNZdsbDezWtUB5sm_R2bv__9p1X11hSlmthqsNBNXaC5j2PMqvTi5m8sOEWJhXFA5_wcPWLA-mwTb/w320-h320/Prok%20cvr.jpg" width="320" /></a></span></div><span style="font-family: inherit;">The British composer, producer, and DJ Gabriel Prokofiev (b. 1975) was born in London to an English mother and Russian father. (And yes, in case you were wondering, he is related to the famous Sergei: Gabriel is in fact Sergei’s grandson.) <span style="color: #343232; letter-spacing: 0.15pt;">After completing his musical studies at Birmingham and York Universities, he grew increasingly dissatisfied with what seemed to him to be the insular world of contemporary classical music. In response, he developed his own parallel musical career as a dance, grime, electro, and hip-hop producer. This background in dance music combined with his classical roots gives his music a unique and strikingly contemporary sound.</span><span style="color: #222222;"> He </span><span style="color: #343232; letter-spacing: 0.15pt;">has built up a growing body of orchestral and chamber works and has composed seven concertos (three featuring turntables), as well as many electronic works, often combining synthesizers and samples with classical instrumentation. We’ve reviewed some of his compositions previously here at <i>Classical Candor</i>, including one of his turntable concertos (</span><a href="https://classicalcandor.blogspot.com/2020/08/gabriel-prokofiev-concerto-for.html" style="color: #954f72;"><span style="letter-spacing: 0.15pt;">you can read that review here</span></a><span style="color: #343232; letter-spacing: 0.15pt;">), a “symphonic remix” of the finale of Beethoven’s 9<sup>th</sup>(</span><a href="https://classicalcandor.blogspot.com/2020/11/some-new-releases-cd-mini-reviews.html" style="color: #954f72;"><span style="letter-spacing: 0.15pt;">review can be found here)</span></a><span style="color: #343232; letter-spacing: 0.15pt;">, and most recently, a composition of his was included on an album by viola player Hiyoli Togawa (</span><a href="https://classicalcandor.blogspot.com/2021/09/recent-releases-no-17-cd-reviews.html" style="color: #954f72;"><span style="letter-spacing: 0.15pt;">review here</span></a><span style="color: #343232; letter-spacing: 0.15pt;">). Looking back over those releases, we see a composer adept at writing for both electronic and traditional instruments, capable of blending them together or deploying them separately in service of his musical vision.<o:p></o:p></span></span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="color: #343232; letter-spacing: 0.15pt;"><span style="font-family: inherit;"> </span></span></p><p class="MsoNormal" style="margin: 0in;"><span style="color: #343232; letter-spacing: 0.15pt;"><span style="font-family: inherit;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg6RdvlGRUKxFZ4Dq9nZm-1yYoVVdFqbS4P7PPJbxCvskwj-1_9uyFz6MyTuZudJ2cAXfIxVbyRkrnMgxb-jh_1phSpHKgooQd2GKc3Tkc5ALGwnOC00Rdk2A7rJq0yPW1W5qomLqMC_W7Sktj7Isf4rmXroO72vOcfzLXC2MoCmpegqBUQdZIHhuBRoi3/s251/Gabe%20photo.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="251" data-original-width="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg6RdvlGRUKxFZ4Dq9nZm-1yYoVVdFqbS4P7PPJbxCvskwj-1_9uyFz6MyTuZudJ2cAXfIxVbyRkrnMgxb-jh_1phSpHKgooQd2GKc3Tkc5ALGwnOC00Rdk2A7rJq0yPW1W5qomLqMC_W7Sktj7Isf4rmXroO72vOcfzLXC2MoCmpegqBUQdZIHhuBRoi3/s16000/Gabe%20photo.jpeg" /></a></span></div><span style="font-family: inherit;">In this newest release, we hear both the traditional classical sound and contemporary electronic elaborations centering around Beethoven’s “Pastoral” Symphony. Prokofiev remarks in the CD booklet that “today, the concept of ‘pastoral’ is bittersweet. We can still experience the beauty of nature, but the traces of humanity and industry are always present, and the spectre of the ever-increasing climate crisis is looming.” The most straightforward, traditional presentation of the symphony – “the beauty of nature” – is provided in its arrangement for string sextet, with its opening and closing movements represented in fine, flowing performances by the UNLTD Collective. Between these two straightforward interpretations of Beethoven’s familiar music are inserted five relatively short movements of Prokofiev’s <i>Breaking Screens</i>, music that is intended to transport the listener away from Beethoven’s countryside into the 21<sup>st</sup> century, where, as Prokofiev maintains, “we spend more time looking at screens than the real world.” Although that description might sound a bit abstract – even daunting – the music is an imaginative blend of acoustic and electronic sounds. (There is plenty of bass energy in screen world, apparently, which makes it a fun place to visit for those listeners with whoopee woofers…)<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="color: #343232; letter-spacing: 0.15pt;"><span style="font-family: inherit;"><br /></span></span></p><p class="MsoNormal" style="margin: 0in;"><span style="color: #343232; letter-spacing: 0.15pt;"><span style="font-family: inherit;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOlYiCdrBVF4sgFHH8IhkrCGjs4tc0o34dLlyaWH7T4KpoYyM5llsGxhc7uG8Fh8ejCehcKpT1qHqmFqiZ21irqxsDdnnEHu02Px-4TcwJY9WNn5iDehStUfTnWi53Quv37_8cSzA1bjhmyAKpnFEkUPKzNN-JQthyphenhyphen1vKm0GcChaeV8gF54FVJORQyzNU5/s259/unltd.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="194" data-original-width="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOlYiCdrBVF4sgFHH8IhkrCGjs4tc0o34dLlyaWH7T4KpoYyM5llsGxhc7uG8Fh8ejCehcKpT1qHqmFqiZ21irqxsDdnnEHu02Px-4TcwJY9WNn5iDehStUfTnWi53Quv37_8cSzA1bjhmyAKpnFEkUPKzNN-JQthyphenhyphen1vKm0GcChaeV8gF54FVJORQyzNU5/s16000/unltd.jpeg" /></a></span></div><span style="font-family: inherit;">Prokofiev considers his composition<i> Pastoral Reflections</i> to be "a direct response to the Pastoral Symphony, which explores what the concept of ‘Pastoral’ means to us today in this time of climate crisis… Imagine if Beethoven came back to the same locations outside Vienna in the 21<sup>st</sup> century… Though he would still find some beautiful scenes of nature, he would certainly be shocked by the omnipresence of modern industrial life: The inescapable background noise of motorways, aeroplanes overhead, insistent signs of human presence in plastic waste, metal fences, concrete-bordered streams, tarmac roads… For Pastoral Reflections I decided to follow most of the tempi of Beethoven’s original, and focus on the same themes for each movement, but with a contemporary view. In addition to the string sextet I have used field recordings that illustrate humankind’s omnipresence.” </span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="color: #343232; letter-spacing: 0.15pt;"><span style="font-family: inherit;"><br /></span></span></p><p class="MsoNormal" style="margin: 0in;"><span style="color: #343232; letter-spacing: 0.15pt;"><span style="font-family: inherit;">Little doubt, his description will sound daunting to some potential listeners, but the music is not as cacophonous as Prokofiev’s provocative prose might make it out to be. For the most part, it is the sound of the string sextet that leads out; the electronic element is there – at times quite noticeably, as intended – but never overbearingly so. No, this is not a work that the most conservative of Beethoven fans will take pleasure, but most listeners should at least find interesting, and some might even find fascinating. <o:p></o:p></span></span></p><p class="MsoNormal" style="margin: 0in;"><span style="color: #343232; font-family: inherit; letter-spacing: 0.15pt;">For whatever reason, the album then concludes with</span><span style="color: #343232; font-family: inherit; letter-spacing: 0.15pt;"> </span><i style="color: #343232; font-family: inherit; letter-spacing: 0.15pt;">Mobocracy</i><span style="color: #343232; font-family: inherit; letter-spacing: 0.15pt;">, a brash and bouncy two-and-one-half minutes of primarily synthesized music – the final movement of</span><span style="color: #343232; font-family: inherit; letter-spacing: 0.15pt;"> </span><i style="color: #343232; font-family: inherit; letter-spacing: 0.15pt;">Breaking Screens</i><span style="color: #343232; font-family: inherit; letter-spacing: 0.15pt;">. Although Prokofiev discusses all the other music on the program in the CD booklet, he makes no mention of this one. Strange, maybe even a bit ominous… Overall, though, Pastoral 21 is a refreshingly different release that cast a musical gaze upon on past, present, and future.</span></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-55651049654608626452024-02-18T20:16:00.000-08:002024-02-28T05:50:48.683-08:00Florence Price: Symphony 4 - William Dawson: Negro Folk Symphony (Streaming Review)<p><i>by Bill Heck</i></p>
<p class="MsoNormal"><b>Florence Price: <i>Symphony 4; </i>William Dawson: <i>Negro
Folk Symphony</i>. Yannick Nézet-Séguin, Philadelphia Orchestra. <span style="mso-spacerun: yes;"> </span>DG CC 72970</b></p>
<p class="MsoNormal">A few weeks ago, I was first exposed to the music of William
Dawson (1899 - 1990) in the form of a concert featuring the <i>Negro Folk
Symphony</i>. What an introduction that was! This is the kind of work that, as
the saying goes, brings down the house, and it certainly did that evening. Naturally
I went looking for a recording of the piece only to find that it was part of a
recent DG release, and thus an obvious choice for a review here. Nice
coincidence, eh?</p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOtYNOnvgq9eZ0GJ66OSYiGNQFSnj8vyKP2IpgiqzhoN6CH6pWouZOetuHRV9orbJN-gm9B84cUVFeMF2sEKof_JGJ473sPchqW7oCxyMIPDDNoO6Rcj7pbVbzNcRMcEMi1sjqZGiZKsOz9DA9xQpkLFgMVnxEahWQLqqQb4-LTO4ScwDEH_4yvFpKuFjh/s600/Price-Dawson.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOtYNOnvgq9eZ0GJ66OSYiGNQFSnj8vyKP2IpgiqzhoN6CH6pWouZOetuHRV9orbJN-gm9B84cUVFeMF2sEKof_JGJ473sPchqW7oCxyMIPDDNoO6Rcj7pbVbzNcRMcEMi1sjqZGiZKsOz9DA9xQpkLFgMVnxEahWQLqqQb4-LTO4ScwDEH_4yvFpKuFjh/w257-h257/Price-Dawson.jpg" width="257" /></a></div>This release is the final one of a series of recordings
produced by DG featuring orchestral music of Florence Price played by the
Philadelphia Orchestra conducted by Yannick Nézet-Séguin. Indeed, one of the
CDs in this series (Symphonies 1 & 3) was already reviewed by
our own KWN <a href="https://classicalcandor.blogspot.com/2022/04/recent-releases-no-27-cd-reviews.html">here</a>.
So, you may be wondering why this article is marked as a “streaming review”? What happened to the CD? Well, for whatever reason, DG saw fit to make this one
a streaming-only version. Maybe they ran out of silver discs. So far, I've been
unable to find a downloadable version either, and I’ve been unable to find a booklet
or, as we used to say, liner notes. All this means that you will need to locate
this recording through your favorite streaming service. But there's good
news: it’s well worth the effort. Read on to find out why. <p></p>
<p class="MsoNormal">Let’s start with the Price Symphony 4, which is the first of
the two works in this release. A few years ago, readers might have been
mystified as to who Florence Price was, but now her music has been revived with
multiple recordings. Please do check out KWN’s review for background
information on Price; I won't repeat all that here. </p>
<p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizRC_0t4xPW9_slDpIWuDuP5hh9VczaVDvm4YTRpvenA4Pm-8s5W3y8aGpp-qGcgnjeLKiyKfRJwXwThRPenzkMptgkGKIjBThnNkCg8YCOve2KiQL_KP4mb_d799RfYSdeN1nYPt9dee6NY-6SYI6eSIrtZhHmJCn99xGumD7c-mZjdzCiluCoACIWmul/s1021/Composer_Florence_Price_(cropped).jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1021" data-original-width="800" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizRC_0t4xPW9_slDpIWuDuP5hh9VczaVDvm4YTRpvenA4Pm-8s5W3y8aGpp-qGcgnjeLKiyKfRJwXwThRPenzkMptgkGKIjBThnNkCg8YCOve2KiQL_KP4mb_d799RfYSdeN1nYPt9dee6NY-6SYI6eSIrtZhHmJCn99xGumD7c-mZjdzCiluCoACIWmul/w216-h276/Composer_Florence_Price_(cropped).jpg" width="216" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Florence Price<br /></td></tr></tbody></table>Readers who heard some of Price's earlier orchestral works
will not be surprised at the style of music presented here: incorporating
themes from historically Black music, such as spirituals, as well as some jazz
elements, while at the same time looking backwards in the sense of using
traditional Western classical music forms. In this symphony, the first movement
is built upon the motive of the familiar spiritual tune <i>Wade in the Water</i>.
(Those of us of a certain age may be more familiar with that tune from the
Ramsey Lewis Trio 1966 instrumental recording than from any more traditional
presentations.) While the movement contains stretches of appealing music, I
find that the “Wade“ motive is being asked to carry more than it can bear, so
to speak, with the music beginning to be a little repetitious without clear
progression. Things improve significantly in the beautiful second movement, in
which multiple themes, mostly fragments of spirituals, intertwine and are
punctuated by dramatic crescendos. The movement is spellbinding; when I first
heard it, it seemed to drift by in a few moments, but it really is a leisurely
seven minutes. The third movement, an even shorter five minute "juba",
is where the jazz influence shows up most prominently, as Price plays with off
beats and drifting themes. Quite a fun bit; my only complaint was that it ended
too soon. Finally, the fourth movement is a jaunty scherzo, again short at just
five minutes, which brought to mind on first hearing an Irish jig. Yes, that's
just my idiosyncratic (or possibly idiotic) reaction, but the music really does
dance along in a most captivating way. All in all, the symphony is more than
worth a listen, although we might wish that Price had had the time to perhaps
refine the first movement. Meanwhile, the recorded sound is excellent: full and
natural, approaching demo quality, and of course the Philadelphia Orchestra is
in fine form, as expected. <p></p>
<p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguf0WtVbvun_2Mrg-JqhUQGWpoLUvMgo-yVWzbIOJnLGDq7CYdf9VzgGVTYLaPHKeEYwkvJuxgIlIQK3jQeZCBM0TnJk-ukrOUc-EjzjfklFQJYcUO-qHXKO9y36CTvsXTn31nXvdJ6rCvQ1CxPJeytgw0mLMh_j44bFIpIAp-M05Apz3RP7Ns53tHOsv9/s500/WilliamDawspm.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="500" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguf0WtVbvun_2Mrg-JqhUQGWpoLUvMgo-yVWzbIOJnLGDq7CYdf9VzgGVTYLaPHKeEYwkvJuxgIlIQK3jQeZCBM0TnJk-ukrOUc-EjzjfklFQJYcUO-qHXKO9y36CTvsXTn31nXvdJ6rCvQ1CxPJeytgw0mLMh_j44bFIpIAp-M05Apz3RP7Ns53tHOsv9/w261-h261/WilliamDawspm.jpg" width="261" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">William Dawson<br /></td></tr></tbody></table>For me, though, the second work on the program is the real
star of the show. Dawson also uses traditional tunes, but he tends to choose
lesser known ones and weaves them subtly into the overall piece. His
transformations, variations, and linkages are imaginative and yet seem
perfectly logical as they emerge. <p></p>
<p class="MsoNormal">The first movement alternates between energy and struggle,
between light and dark. Dawson intended this to reflect the struggles and
travails of Blacks in America, but the music can stand alone without reference
to that (or any) program. Energy is abundant: the musical twists and turns
leave us gasping for breath but excited to be along for the ride. The second
movement begins almost as a dirge but is harmonically inventive; had someone
told me that it was written by, say, Rachmaninoff (perhaps a Rachmaninoff who
had quaffed a couple of energy drinks), I might have believed it. The music
accelerates with a theme that is reminiscent of something by Dvorak, then slows
abruptly as if worried that misfortune will overtake us if we are too happy.
The dirge theme reappears with a flute floating high above, the sun then breaks
through again; life is complicated, with both highs and lows, yearning,
striving; the themes come together and fade out dramatically to end the
section. The third movement starts with turmoil, searching for stability until
a quiet theme rises up in the woodwinds; the music still seeks restlessly,
until all comes together in a burst of confidence for a joyous conclusion.</p>
<p class="MsoNormal">As to the sound here, I believe that this work was recorded
in a different venue than the Price symphony. Although the sonics are good, the
sound is not quite so natural and is a little on the diffuse and recessed side.
For a work that should have major sonic impact, it's a pity that we don't have
quite the level of sound reproduction as some other recent DG efforts. </p>
<p class="MsoNormal">Returning for a moment to my own reaction upon first hearing
this work, the obvious question was this: where had this music been all my
life, i.e., why had I not heard this work before, or indeed heard of Dawson at
all? Surprisingly, the <i>Negro Folk Symphony</i> had been premiered by this
very same orchestra, the Philadelphia, under Leopold Stokowski in 1934. By
accounts of the time, not only was the critical reception positive but the
audience was enthralled. There were a few more performances, also well received
– and then the work effectively disappeared. There may have been multiple
reasons, but at least one was that no publisher would take it on, and without a
publisher – specifically one that could provide orchestral parts – performance could
not happen. It's hard to know exactly what was going on, but presumably racism, and
racist presumptions, were at work. (Surely the public would not want to hear
that odd Black music; never mind that the public had heard and loved it
earlier). Dawson went on to other things, never composing another such work,
although he made some revisions to the original score in 1952.</p>
<p class="MsoNormal">If you want to hear some other approaches to Dawson's
masterpiece, you now have choices. An early one was Stokowski's own with
the "American Symphony Orchestra" in 1963, in stereo no less. (The
ASO was formed by Stokowski and is not to be confused with the other, real
American Symphony Orchestra – and no, I'm not going down that rabbit hole.)
This performance appeared on multiple labels over the years and is still
available as part of a DG two CD set (477 6502). The sonics aren't bad for the
time: a little harsh in a few spots and with a lot of spotlighting, which
actually brings out some of the nuances of orchestration. The Neeme Jarvi /
Detroit Symphony on Chandos seems to me just too fast, not allowing the music
to bloom. But the Arthur Fagen / ORF Vienna Radio SO release on Naxos gives us
excellent sound and is sort of between Stokowski and Nezet-Seguin
interpretively. <br />
<br />
So am I recommending the performances actually under review? Yes, but with a
qualifier: if you find the Dawson work a little laid back, check out one of the
other performances mentioned above; it may be the recorded sound that’s letting
you down. Meanwhile, if you spot the <i>Negro Folk Symphony</i> coming up on a
live concert program, go for it!<b></b></p>
Bill Heckhttp://www.blogger.com/profile/03670564817061467454noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-19195531336317657092024-02-14T20:30:00.000-08:002024-02-14T20:30:00.134-08:00 Copland Conducts Copland: The Complete Columbia Album Collection (CD Review)<p class="MsoNormal" style="margin: 0in;"><i><span style="font-family: inherit;">by Karl Nehring </span></i></p><p class="MsoNormal" style="margin: 0in;"><i><span style="font-family: inherit;"> </span></i></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIBuVUolHn7dzBZJMG4NnM9LA-4-axIJ0CzWWVn-X4B632RDSNiwampga8UKuWZikGmT0_8y0GTDcxFPrj24u03-R39OF7kWxYnr20FBqs9buuuXDcG9m8eoXG14kTk96WnTPly_gdQXLwJGhwNx48C1ouh5Sra7L6n1oeaF953PMrYyCuW7w7yeYatSyY/s610/Copland%20cvr.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="610" data-original-width="610" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIBuVUolHn7dzBZJMG4NnM9LA-4-axIJ0CzWWVn-X4B632RDSNiwampga8UKuWZikGmT0_8y0GTDcxFPrj24u03-R39OF7kWxYnr20FBqs9buuuXDcG9m8eoXG14kTk96WnTPly_gdQXLwJGhwNx48C1ouh5Sra7L6n1oeaF953PMrYyCuW7w7yeYatSyY/w320-h320/Copland%20cvr.jpg" width="320" /></a></span></div><span style="font-family: inherit;">This 20-CD box set from Sony Classics (20 CD 19439977462) includes Aaron Copland’s complete own recordings for Columbia Masterworks from 1935 to 1976 plus his first recording of <i>The Tender Land Suite</i> and the first recording by the composer of <i>Appalachian Spring</i> for RCA Red Seal on 19 CDs. The set also includes recordings an additional CD featuring two of his works conducted by Leonard Bernstein. Although Sony Classical had issued many of Copland’s CBS/Columbia recordings on CD before, including a major 5-disc set in 2013, this new collection marks the first all-inclusive compilation of his authoritative interpretations along with the composer’s six early recordings for the first time on Sony Classical CD. The 20 discs are enclosed in sleeves that are replicas of the original LP covers – a nice touch (although the tiny font on the rear of those sleeves is one of the very few negatives of the transition from LP to CD) – and the discs themselves replicate the look of the original vinyl LPs. The box also includes a substantial booklet of 67 pages with some notes on the music and a number of photographs from representative moments in Copland’s recording career. <o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">Here are the contents of the 20 discs:</span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"><b>DISC 1:</b> <i>Concerto for Clarinet, Strings & Harp</i> with Benny Goodman (1950); <i>Piano Quartet</i>; <i>Piano Variations</i> (1930); <i>Nocturne</i> (1928); <i>Vitebsk, Study on a Jewish Theme for Piano Trio</i>; <i>Ukulele Serenade</i>; <b>DISC 2:</b> <i>Old American Songs</i>with William Warfield (1951/53); <i>Twelve Poems of Emily Dickinson</i> with Martha Lipton; <b>DISC 3: </b><i>Appalachian Spring (Ballet for Martha); The Tender Land: Suite; Concerto for Clarinet, Strings & Harp</i> with Benny Goodman (1963); <i>Old American Songs</i> with William Warfield (1962); <b>DISC 5:</b> <i>Piano Concerto</i>; <i>Music for the Theatre (Suite in 5 Parts for Small Orchestra)</i>; <b>DISC 6:</b> <i>The Tender Land (Opera in Three Acts); </i><b>DISC 7:</b> <i>Music for a Great City; Statements for Orchestra; </i><b>DISC 8:</b>; <i>Twelve Poems of Emily Dickinson</i> with Adele Addison; <i>Las Agachadas; In the Beginning; Lark; </i><b>DISC 9:</b> <i>Piano Quartet</i>; <i>Sextet for Clarinet, Piano and String Quartet</i>; <i>Vitebsk, Study on a Jewish Theme for Piano Trio</i>; <b>DISC 10:</b> <i>Short Symphony "Symphony No. 2"</i>; <i>Dance Symphony; </i><b>DISC 11:</b> <i>An Outdoor Overture; Our Town Suite</i>; <i>2 Pieces for String Quartet (Instrumental)</i>; <i>Quiet City; </i><b>DISC 12:</b> <i>Billy the Kid </i>Suite; <i>4 Dance Episodes from Rodeo</i>; <b>DISC 13:</b> <i>Fanfare for the Common Man</i>; <i>Lincoln Portrait</i>; <i>Appalachian Spring</i>;<i> </i><b>DISC 14:</b> <i>Symphonic Ode</i>;<i> Preamble for a Solemn Occasion</i>; <i>Orchestral Variations</i>; <b>DISC 15:</b> <i>Appalachian Spring</i>;<i> </i>Copland Rehearses <i>Appalachian Spring</i>; <b>DISC 16:</b> <i>Sonata for Violin and Piano (1942/3)</i> with Isaac Stern; <i>Duo for Flute and Piano</i> with Elaine Shaffer; <i>Nonet for String Orchestra</i>; <b>DISC 17:</b> <i>Danzón Cubano</i>; <i>3 Latin American Sketches</i>; <i>El Salón México</i>;<i> Dance Panels</i>; <b>DISC 18:</b> <i>The Red Pony Suite</i>;<i> John Henry</i>;<i> Music for Movies</i>; <i>Letter from Home</i>; <i>Down a Country Lane</i>; <b>DISC 19:</b> <i>Symphony No. 3</i>; <b>DISC 20:</b> <i>Inscape; Connotations </i>conducted by Leonard Bernstein<i> </i><br /><br /><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw-dxel0v9e7D47E32H6bXDrDR4vlPZUg9Pm0_HnovfMG95zO2I8UNjAl_TpkxVo1aM1Cfax0_r6DaU7Aklz2IDJqDKXFBTmdVChhXbj5ntza8WaLANkCB3NixTyOxbcBHUnR7ljzrUJG28Nwn92HGBXm6ajDWtjTtxj6uPHgJ_iJZENne2-qs14fXBCQQ/s300/Copland%20photo.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="300" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw-dxel0v9e7D47E32H6bXDrDR4vlPZUg9Pm0_HnovfMG95zO2I8UNjAl_TpkxVo1aM1Cfax0_r6DaU7Aklz2IDJqDKXFBTmdVChhXbj5ntza8WaLANkCB3NixTyOxbcBHUnR7ljzrUJG28Nwn92HGBXm6ajDWtjTtxj6uPHgJ_iJZENne2-qs14fXBCQQ/w320-h179/Copland%20photo.jpeg" width="320" /></a></span></div><span style="font-family: inherit;">Fans of Aaron Copland may already own a few of the performances included in this boxed set. Many Copland fans may own recordings of some Copland works conducted or performed by others that they prefer over Copland’s own versions. Regardless, the importance, appeal, and value of this new release is next to impossible to overstate. Aaron Copland is arguably the most important American composer of the 20<sup>th</sup> century; what this set presents is his best effort to present his musical vision to the world, and Sony Classics has presented his efforts to us in an attractive, comprehensive package that is being made available at a reasonable price. For fans of American music in general – and fans of Aaron Copland in particular – this new box set should prove to be an irresistible temptation – and for good reason. It’s a spectacular release.</span><span style="font-family: Times New Roman, serif;"><o:p></o:p></span><p></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-47628508098040768232024-02-11T20:30:00.000-08:002024-02-12T19:17:22.157-08:00 Marc-André Hamelin: New Works for Piano (CD Review)<p><span style="font-family: inherit;"><i>by Karl Nehring</i></span></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; margin: 0in;"><b>Hamelin: <i>Variations on a Theme of Paganini</i>; <i>My Feelings about Chocolate</i>; <i>Suite a l'ancienne (Suite in Old Form)</i>; <i>Barcarolle</i>; <i>Variation diabellique sur des themes de Beethoven</i>; <i>Pavane variee</i>; <i>Chaconne</i>; <i>Meditation on Laura</i>; <i>Toccata on “L'homme armé”</i>. Marc-André Hamelin, piano. Hyperion CDA68308</b></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAiDe7qJaseHnPJSX7_q8tHihTDCSCo7tMVv7bJuUJuL6uCjcGkXG6ULoLaVfcaMZlWJhDF2OGCG0bl-ATXK9uQVb5GpKBAtvqzi7Rme9v2v3z9qwYhDwkZ62fHCkpjsSisOHJXozrL-GNTwiYdBelciBULgW9NG2ThRjEgJTWIA5Y_1L1p8d4a8z2PuE4/s436/Hamelin%20cvr.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="436" data-original-width="436" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAiDe7qJaseHnPJSX7_q8tHihTDCSCo7tMVv7bJuUJuL6uCjcGkXG6ULoLaVfcaMZlWJhDF2OGCG0bl-ATXK9uQVb5GpKBAtvqzi7Rme9v2v3z9qwYhDwkZ62fHCkpjsSisOHJXozrL-GNTwiYdBelciBULgW9NG2ThRjEgJTWIA5Y_1L1p8d4a8z2PuE4/s320/Hamelin%20cvr.jpg" width="320" /></span></a><span style="font-family: inherit;"></span></div><span style="font-family: inherit;">Canadian pianist and composer Marc-André Hamelin (b. 1961) is widely known both for his technical prowess and his willingness to perform and record music outside the classical keyboard mainstream. We have previously reviewed a couple of excellent releases that featured him as a performer. The first was of works from quite a ways out of the classical mainstream, the piano rags of the American composer William Bolcom (b.1938), <a href="https://classicalcandor.blogspot.com/2022/07/piano-potpourri-no-7-cd-reviews.html" style="color: #954f72;">a review that can be found here.</a> The second CD featured Hamelin playing some piano music of a composer who, although his name is more familiar to most classical music fans, his piano music is still pretty much out of the classical piano music mainstream: the French composer Gabriel Fauré (1825-1924). Our review of Hamelin’s gorgeous Fauré disc <a href="https://classicalcandor.blogspot.com/2023/09/faure-nocturnes-barcarolles-cd-review.html" style="color: #954f72;">can be found here</a>.<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbL30oJ2aB3GbFNEiljd_P1i3EFsAgC4I4dWsckXuzMjDyShrx6lRxr6jtsoEypH4tXaxpaB6LGMa1f4ffCgacn7iKBwT2YX6H8R-DfamGuJpDqpcxli8qQk4_-StrBp0Yec7lZQRi6BwFBE89DOOZZ-8Q1ArXAmyS5DtTzkfQqLIeV2G69gfcb3xzuUI9/s299/Hamelin%20photo.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="299" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbL30oJ2aB3GbFNEiljd_P1i3EFsAgC4I4dWsckXuzMjDyShrx6lRxr6jtsoEypH4tXaxpaB6LGMa1f4ffCgacn7iKBwT2YX6H8R-DfamGuJpDqpcxli8qQk4_-StrBp0Yec7lZQRi6BwFBE89DOOZZ-8Q1ArXAmyS5DtTzkfQqLIeV2G69gfcb3xzuUI9/w320-h180/Hamelin%20photo.jpeg" width="320" /></a></span></div><span style="font-family: inherit;">On this new release Hamelin steps way outside the classical keyboard mainstream: the “new works for piano” of the album’s title are new works by none other than pianist and <i>composer</i> Marc-André Hamelin. In his CD booklet essay, British composer, pianist, and academic Francis Potts (b. 1957) writes, “Marc-André Hamelin sees himself as a pianist who composes, yet he carries forward a noble tradition of excelling in both domains. Questioned regularly by interviewers on his legendary pianistic powers, he has emphasized not hours of practice but the importance of having what he calls ‘a good mind for music,’ attributing a significant part of his superhuman agility to a highly developed intellectual and instinctive grasp of harmonic structures and their attendant shapes… In enjoying the allusive maze of historical echoes into which Hamelin’s own piano music leads us, we should remember that it rests upon dispassionate analytical insight; such adventures coalesce with the most exactingly serious exercise of musical intellect. They also feed off encyclopedic knowledge of the piano’s vast literature.”</span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">Those familiar with Hamelin’s playing from his previous recordings will already be aware of his impeccable technique. However, his playing on this album should be sufficient to expand the admiration of even his most ardent fans, for it is amazing indeed. Just listen to his opening composition, his </span><i style="font-family: inherit;">Variations on a Theme of Paganini</i><span style="font-family: inherit;">, a dazzling romp through Paganini’s theme by way of Hamelin’s musical insight and imagination, including a jolly jolt of Beethoven along the way. And so the program continues, varying in musical style, from the reflective rumination on chocolate, the poetic four-movement</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Barcarolle</i><span style="font-family: inherit;">, the technically dazzling and dynamically contrasting</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Variation diabellique sur des themes de Beethoven</i><span style="font-family: inherit;">, the pensive</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Meditation on Laura</i><span style="font-family: inherit;">, and as they say on TV,</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">much, much more</i><span style="font-family: inherit;">…</span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">Potts’s notes on the music are brief but informative and the engineering is up to Hyperion’s usual high standard. Listening to Hamelin play his own compositions offers a glimpse of what it must have been like to hear composers such as Brahms, Liszt, or Rachmaninoff to play their own works for piano. This is a truly compelling release, one which those who enjoy virtuoso piano performance should eagerly seek to audition.<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><br /></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-50869116249154325092024-02-07T20:30:00.000-08:002024-02-07T20:30:00.162-08:00Helvi Leiviskӓ: Orchestral Works, Vol. 1 (CD Review)<p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"><i>by Ryan Ross</i></span></p><p class="MsoNormal" style="margin: 0in;"><b style="font-family: inherit;"><i><br /></i></b></p><p class="MsoNormal" style="margin: 0in;"><b style="font-family: inherit;"><i>Sinfonia brevis, Op. 30</i>; <i>Orchestral Suite No. 2, Op. 11</i>; <i>Symphony No. 2, Op. 27</i>. Dalia Stasevska, conductor; Lahti Symphony Orchestra (Sinfonia Lahti). BIS-2701</b></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOuKsw5isfStcUeziDbltrMJM6DP8PmE7n751Mx0nTGvDCMZjMTB6CGIY8LkrDS7jJUsQTee16NiFOcakny7eZ9Y91-JFfHfs7vIQYo2KOVAc7cjpeM4_2v2Y51elhy9Db_B73ugqhpX1qVOxfkl7-CAab4PtwQCUbSluPt8RYHOE0gENqDRqQLds9GU7E/s522/Leviska%20cvr.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="522" data-original-width="522" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOuKsw5isfStcUeziDbltrMJM6DP8PmE7n751Mx0nTGvDCMZjMTB6CGIY8LkrDS7jJUsQTee16NiFOcakny7eZ9Y91-JFfHfs7vIQYo2KOVAc7cjpeM4_2v2Y51elhy9Db_B73ugqhpX1qVOxfkl7-CAab4PtwQCUbSluPt8RYHOE0gENqDRqQLds9GU7E/w320-h320/Leviska%20cvr.jpg" width="320" /></a></span></div><span style="font-family: inherit;">I wish performers and critics would spend more time promoting music like Helvi Leiviskä’s. True, it comes off as fairly conservative and will not titillate too many elite tastes. If her style occupies a middle ground between Romanticism and Modernism (traditionally defined), it nonetheless favors the former. Somewhat unfairly, Finnish classical music after Sibelius often gets measured by his example – a ridiculously steep benchmark against which Leiviskä acquits herself very respectably. But to anyone for whom these things aren’t the kiss of death, much joyful discovery awaits. What we have here are gorgeous, sumptuously scored orchestral works that deserve exposure. Dalia Stasevska and the Lahti Symphony Orchestra make a good case for them with a recording that goes firmly into the “recommended” category. <o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5WKC4Issz3g135garW07khnZ85whIRVNUajnIkWPjbSYyTN76iT4__NnT1-JsYknWZdIAe7MAdU2VuOk8uaWSEaN7qND_KwT90Fhfeh5__YjmFPwlKvU-91A2hwgMJikilb_79z5YTefMaWlDN-0IC54u2i_5d31QqWxrzwbjGwfdqknZtso14MzQ0jmg/s271/Stasevska.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="186" data-original-width="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5WKC4Issz3g135garW07khnZ85whIRVNUajnIkWPjbSYyTN76iT4__NnT1-JsYknWZdIAe7MAdU2VuOk8uaWSEaN7qND_KwT90Fhfeh5__YjmFPwlKvU-91A2hwgMJikilb_79z5YTefMaWlDN-0IC54u2i_5d31QqWxrzwbjGwfdqknZtso14MzQ0jmg/s16000/Stasevska.jpeg" /></a></span></div><span style="font-family: inherit;">The most immediately appealing music on this disc is the <i>Orchestral Suite No. 2</i> (1937-1938). It consists of four brief to medium-length pieces (“The Coming of Spring,” “Humoresque,” “Lullaby,” and Epilogue”), which originated in a score composed for Nyrki Tapiovaara’s film <i>Juha</i>. Eila Tarasti’s fantastic liner notes relay that this was one of the first Finnish films to have specifically composed music featured throughout its run time. I would be curious to hear it in such a setting. As merely a standalone orchestral suite, it shows Leiviskä at her most melodious, much more extroverted than in both accompanying symphonies here. <o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRPrJjiz9t9GsD2dh0zjdqs5_ayNQnowAX4YUHwVO4Dr50IoTtcYnX-J7kMJMu7wHiQd2TnEwWQwMZFcrTX6PKuqcp_4dCMc1TKZuuzMWiWEjdPrIjNiz_6aDlG47IQYPagbRjIIeLuTdZyjb2LpXuuAZM3VrROpljKIFXPTQ1aSGWH4pBZZ7Scqz52304/s283/Lahti.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="178" data-original-width="283" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRPrJjiz9t9GsD2dh0zjdqs5_ayNQnowAX4YUHwVO4Dr50IoTtcYnX-J7kMJMu7wHiQd2TnEwWQwMZFcrTX6PKuqcp_4dCMc1TKZuuzMWiWEjdPrIjNiz_6aDlG47IQYPagbRjIIeLuTdZyjb2LpXuuAZM3VrROpljKIFXPTQ1aSGWH4pBZZ7Scqz52304/w320-h201/Lahti.jpeg" width="320" /></a></div>As a symphonist Leiviskä was nothing if not assured. Both the<span style="font-family: inherit;"> </span><i style="font-family: inherit;">Sinfonia brevis</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">and the</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Second Symphony</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">testify to her keen grasps of thematic integration, dramatic contrast, and timbral color. These works predictably require more focused listening than the suite, but they are quite followable and compelling given that. The</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Sinfonia brevis</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">is a good introduction to Leiviskä’s symphonism both because of its shorter length and its concentration on just a couple of juxtaposed musical ideas. The first of these is an elegant theme that recurs in different settings, and acts as the chief thread throughout the whole structure. The</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Second Symphony</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">actually predates the</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Sinfonia brevis</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">(in its pre-revised version) by nearly a decade. It is a back-weighted work, the three movements of which get successively longer. The first two of these proceed through a wider range of expression than the</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Sinfonia brevis</i><span style="font-family: inherit;">, increasing in overall intensity until just before the finale. But this last movement for me is the most poignant part of the whole work. Here the tempo slows to</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Andante cantabile</i><span style="font-family: inherit;">. As the liner notes suggest, this calm stretch reminds one of Shostakovich. But there is something else present, too. The closing moments exude a special magic as the solo violin with sparse accompaniment states and elaborates upon portions of the plaintive main theme. It would not take much imagination to connect this passage to Leiviskä’s personal brand of mysticism.</span><span style="font-family: inherit;"> </span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">In recent years Helvi Leiviskä’s music has enjoyed rediscovery. Some quick internet searching makes it difficult to offer more than a fair estimate, but it seems that we can expect another several discs in BIS’s new series devoted to her orchestral works. Remaining to be recorded in it, ostensibly, are two more numbered symphonies, a piano concerto, and various other works. Perhaps more will come to light than is immediately apparent. In the meantime, we have an extremely good start with this first installment. This is music of craft, beauty, and integrity. It won’t beat anyone over the head, but maybe that’s just what listeners might find they want if they try it.</span></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-14614992353477162502024-02-04T21:46:00.000-08:002024-02-05T09:38:47.304-08:00(Semi) Recent Releases No. 71 (CD Reviews)<p><i><span style="font-family: inherit;">by Karl Nehring</span></i></p><p><b><span style="font-family: inherit;">Debussy: <i>Preludes, Books I & II</i>. Hiroko Sasaki, piano (Pleyel 1879). Piano Classics PCL0064</span></b></p><p class="MsoNormal" style="margin: 0in;"><b><span style="font-family: inherit;"><o:p></o:p></span></b></p><p class="MsoNormal" style="margin: 0in;"><b><span style="font-family: inherit;">Ethan Iverson: <i>Technically Acceptable</i>. Iverson: <i>Conundrum</i>; <i>Victory Is Assured</i>; <i>Technically Acceptable</i>; <i>Who Are You, Really?</i>; <i>The Chicago Style</i>; <i>It’s Fine to Decline</i>; <i>The Way Things Are</i>; Charles Fox / Norman Gimbel: <i>Killing Me Softly With His Song</i>; Thelonious Monk / Charles Cootie Williams: <i>‘round Midnight</i>; Iverson: <i>The Feeling Is Mutual</i>; <i>Piano Sonata – I. Allegro Moderato; II. Andante; III. Rondo</i>. Ethan Iverson, piano (all selections); Thomas Morgan, double bass; Kush Abadey, drums; Vinnie Sperrazza, drums; Simón Willson, double bass; Rob Schwimmer, theremin.</span></b></p><p class="MsoNormal" style="margin: 0in;"><b><span style="font-family: inherit;"><o:p></o:p></span></b></p><p class="MsoNormal" style="margin: 0in;"><o:p><b><span style="font-family: inherit;"> </span></b></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7rUQDSKNtu5M3iA4ER6w31RQ46tp69qa6ivNCJ0CbT0RtNrIt7LDVpZuKw9ad44cJxPlvtoCk6XGMGqIpF7UvQR1FwBd9UBQQlMayQrgryUAGFpBzyx6n-f8PNZqSg994pddMw6NdcTZREisEUfjbAtk_PGZZsyWnGpUQpyguiHegESsbKyh9l8xabEn_/s436/Sasaki%20cvr.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7rUQDSKNtu5M3iA4ER6w31RQ46tp69qa6ivNCJ0CbT0RtNrIt7LDVpZuKw9ad44cJxPlvtoCk6XGMGqIpF7UvQR1FwBd9UBQQlMayQrgryUAGFpBzyx6n-f8PNZqSg994pddMw6NdcTZREisEUfjbAtk_PGZZsyWnGpUQpyguiHegESsbKyh9l8xabEn_/s320/Sasaki%20cvr.jpg" width="320" /></a></span></div><span style="font-family: inherit;">I am reviewing these two albums together because although they are on the surface quite different, one being a solo piano album of music by the French composer Debussy, the other being a jazz album, there are some significant overlaps between the two releases. First of all, the Wisconsin-born Iverson and Japan-born Sasaki are friends, both currently residing in New York. In a recent posting on Iverson’s <i>Transitional Technology</i> (“TT”) he not only offers some background on their friendship but also some hint of his familiarity with the classical repertoire: “Hiroko Sasaki and I met in the early 1990s when we were both college students. I’ve always admired her playing, but only just recently have we started getting together and collaborating at the piano. The first fruits of our teamwork was the discovery of an unheralded Chopin variant, written up here at TT last month: “The Mystery of Chopin’s Thirds.” Now that Hiroko and I are practicing a bit of four-hand Schubert and Dvořák repertoire, I’ve started making sketches for my own four-hand arrangements and compositions.”<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj0P3ficiwHgCRa6sFRA57Wr4Goo5kCEiGmUfIKtjING50j2YYQHg_pGxZVgJ5SwCfFJsu2MHEq10aBxpYvjiCylEVCONhtWaAv59VGTmvbQcYbzpVeIzoQBGTyeWRHU4P9t6LVG_VB0llLwrDhQMtf1QLmabh5rBO97xgad09V9CsTXz7gp27F2SlTlYg/s226/Sasaki%20photo.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="226" data-original-width="223" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj0P3ficiwHgCRa6sFRA57Wr4Goo5kCEiGmUfIKtjING50j2YYQHg_pGxZVgJ5SwCfFJsu2MHEq10aBxpYvjiCylEVCONhtWaAv59VGTmvbQcYbzpVeIzoQBGTyeWRHU4P9t6LVG_VB0llLwrDhQMtf1QLmabh5rBO97xgad09V9CsTXz7gp27F2SlTlYg/s1600/Sasaki%20photo.jpeg" width="223" /></a></span></div><span style="font-family: inherit;">We shall get to some of Iverson’s compositions before long, but first, let’s read a bit of what Iverson has to say about his friend’s Debussy recording: “Hiroko’s recording of both books of Debussy’s Preludes is a significant disc, both for the stellar playing and the unique instrument. Debussy composed the preludes between 1909 and 1913. We will never know what his pianos sounded like, but they undoubtedly were closer to the 1873 Pleyel on Hiroko’s record than a perfectly regulated modern Steinway that exhibits no blemishes whatsoever. Under Hiroko’s hands, the bass notes on the Pleyel grunt, the middle register is exceptionally mellow, and the high octaves have a bit of screech. To be clear, it’s still very tasteful! Often ‘historical piano’ recordings are simply too extreme and weird, but this record offers exceptional atmosphere as well as exceptional playing.”<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">Well, yes, they are friends, so yes, we expect him to say nice things about her album. On the other hand, as a top-flight pianist himself, he knows what he is talking about. His discussion of the music itself is quite fascinating. His full posting from January 20, 2024, can be</span><span style="font-family: inherit;"> </span><a href="https://iverson.substack.com/p/tt-353-hiroko-sasaki-plays-debussy" style="color: #954f72; font-family: inherit;">found here</a><span style="font-family: inherit;">. I’d like to quote one brief passage just to give a quick sense of the relation between Debussy and jazz: “Several Debussy pieces foreshadow late ‘50s jazz harmony. I’d bet my bottom dollar that Bill Evans played through the phrases of</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Feuilles mortes</i><span style="font-family: inherit;">. One can almost hear ‘Kind of Blue’ at certain moments. Even the title relates to a famous jazz standard that Bill Evans played on countless gigs: ‘Autumn Leaves’ is based on</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Les Feuilles mortes</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">by the French composer Joseph Kosma. (Apart from the title, the two pieces are not related musically, although Evans would play plenty of stuff on ‘Autumn Leaves’ that he seemed to have learned from Debussy.)” The rest of his posting about her album contains many more insights about Debussy’s music and Sasaki’s playing that are well worth reading. And beyond this particular essay (“TT 353: Hiroko Sasaki Plays Debussy”), there are many other insightful, delightful, penetrating entries. For music lovers, especially those who might have an interest in music history and theory, jazz, and the contemporary music scene,</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Transitional Technology </i><span style="font-family: inherit;">could be a valuable resource well worth the relatively modest investment required for a monthly or annual subscription.</span><span style="font-family: inherit;"> </span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">Having offered Iverson’s thoughts on Sasaki’s album above, of course I need to offer a few observations of my own. When I received the album, I was curious about how the Pleyel piano would sound in this music; indeed, I was concerned that it might come across as a bit too tinny or “plinky” (not a real word, but I believe most readers will know what I am trying to express) sounding, but a few minutes of listening allayed those fears. At that point, I was able to simply sit back and enjoy a fine set of Debussy <i>Preludes</i>. Clean, articulate playing, natural sound quality, emotion without exaggeration. Highly recommendable.<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfwWIDkNgrvYq_gl_4JEOplYVjTJVtBPuvZaKfa6aNhugWBjzXVO-qHtxInGqHrYzMPA-vOSTPqIOcahHzLPgF5fz9QlkEL1dP6IoR0HKonxmpvm12d4SYrFO7Ya74vQ3EwWZbVqinenDCR7ZVlOgWCL3KstK9vwjF7KU0Qm_NHXW6cp_E8PV3ZKmlF3zY/s436/Iverson%20cvr.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfwWIDkNgrvYq_gl_4JEOplYVjTJVtBPuvZaKfa6aNhugWBjzXVO-qHtxInGqHrYzMPA-vOSTPqIOcahHzLPgF5fz9QlkEL1dP6IoR0HKonxmpvm12d4SYrFO7Ya74vQ3EwWZbVqinenDCR7ZVlOgWCL3KstK9vwjF7KU0Qm_NHXW6cp_E8PV3ZKmlF3zY/w320-h320/Iverson%20cvr.jpg" width="320" /></a></span></div><span style="font-family: inherit;">On to Iverson’s release, then. Two years ago, we reviewed his previous release on the venerable Blue Note label, <i>Every Note Is True</i>, on which he was accompanied by jazz veterans Larry Grenadier on bass and Jack DeJohnette on drums. On <i>Technically Acceptable</i>, things are a bit more varied in terms of both personnel and compositions. On the first seven tunes, all composed by Iverson, he is accompanied by Thomas Morgan on bass and Kush Abadey on drums. All are standard jazz piano trio pieces, but the opening piece, <i>Conundrum</i>, is through-composed, with no improvisation – unusual for a jazz trio.<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">On the eighth (</span><i style="font-family: inherit;">Killing Me Softly With His Song, </i><span style="font-family: inherit;">made famous in the 1970s in a vocal arrangement by Roberta Flack) and tenth (Iverson’s</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">The Feeling Is Mutual)</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">tracks, Iverson is joined by Simón Willson on bass and Vinnie Sperrazza on drums, musicians with whom he had developed a rapport playing together in support of the Mark Morris Dance Company. Iverson says that they were going for a ‘60s sound for these tracks, which they recorded in the same room together, without wearing headphones.</span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5NqV-AMLv5gcoy4_ob9ADmBoy0xS3RFCTpkBTzpTQZgX0s46C9wrvkd4oqFw8OKjT0BhDhB1mFOsVNOLBbPecFbNRnjldhTbRoI7YUEy6IgeGjTAuAWhGCjYE8NwaSXy8jw-b1fOpMZZ_-QgSd2YdgQ0u4bNm4X-z8BNFzF8Xg_DmYvz28mXfvVJBLZl4/s275/Iverson%20photo.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="183" data-original-width="275" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5NqV-AMLv5gcoy4_ob9ADmBoy0xS3RFCTpkBTzpTQZgX0s46C9wrvkd4oqFw8OKjT0BhDhB1mFOsVNOLBbPecFbNRnjldhTbRoI7YUEy6IgeGjTAuAWhGCjYE8NwaSXy8jw-b1fOpMZZ_-QgSd2YdgQ0u4bNm4X-z8BNFzF8Xg_DmYvz28mXfvVJBLZl4/s1600/Iverson%20photo.jpeg" width="275" /></a></span></div><span style="font-family: inherit;">Now we come to the two most fascinating tracks on the album. <i>‘round Midnight </i>is a standard that by now even most people otherwise unfamiliar with jazz are probably familiar, for it has been played by so many different musicians in so many different arrangements. However, Iverson has come up with something unexpected. First, he says he was inspired by the late Ornette Coleman to write an intro to the piece that would be unrelated to the main melody. Then, rather than playing the familiar melody on his piano, as you would naturally expect, he assigns that part to – of all instruments – the theremin, which under Rob Schwimmer's expert hands (Schwimmer had also played previously with Iverson in a Mark Morris production) sounds much like an operatic soprano singing vocalise. In the long, distinguished history of the Blue Note label, this is the first time a theremin has ever made an appearance. <a href="https://www.youtube.com/watch?v=E4phFiDdCkY" style="color: #954f72;">You can hear it for yourself here.</a><o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">The final composition on the album is Iverson’s first published piano sonata. Although of course informed by his experience as a jazz musician, it is a serious “classical” composition. As he says, “I’ve always played sonatas, now I’ve written one.” Blue Note has made available on YouTube a video where you can follow the score of the opening movement (</span><a href="https://www.youtube.com/watch?v=pbY3Vp3aTLU&t=42s" style="color: #954f72; font-family: inherit;">you can see that video here</a><span style="font-family: inherit;">). The sonata joins the theremin in being a first on Blue Note. Although the program might look to be a jazz album with a piano sonata unexpectedly tacked on at the end, the sonata has just enough of a jazz sensibility to it to keep it from feeling completely out of place. Taken as a whole,</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Technically Acceptable</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">is much more than that; it is musically stimulating, sonically superb, and well worth an audition by jazz and classical fans alike.</span></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-70555297851328107922024-01-31T20:30:00.000-08:002024-02-01T11:53:36.865-08:00Recent Releases No. 70 (CD Reviews)<p><span style="font-family: inherit;"><i>by Karl Nehring</i></span></p><p><b style="font-family: inherit;">Haydn: <i>48 Piano Sonatas</i>. Daniel-Ben Pienaar, piano. AVIE AV257</b></p><p><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgco5rsYxj62Z4HhSovWN8B1Nhl3WRpQnjlOB6PFWhgF5UFtt2wvkUvF6bM1QtCN-as6UoNCcQbqLet75N7DN2hzoJg7p1gJPZiLYk-xQDxMw1Jc4bOPjLHTjj8w3J1PV6_06cc3j_V1vYjq-ohyphenhyphenKx3z3pVpnasatPfQ2BKNYarAzecoqJ0OGnnCnWd3n_7/s436/Haydn%20cvr.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgco5rsYxj62Z4HhSovWN8B1Nhl3WRpQnjlOB6PFWhgF5UFtt2wvkUvF6bM1QtCN-as6UoNCcQbqLet75N7DN2hzoJg7p1gJPZiLYk-xQDxMw1Jc4bOPjLHTjj8w3J1PV6_06cc3j_V1vYjq-ohyphenhyphenKx3z3pVpnasatPfQ2BKNYarAzecoqJ0OGnnCnWd3n_7/s320/Haydn%20cvr.jpg" width="320" /></a></div>In yet another project undertaken in the dark days of the COVID-19 pandemic, South African pianist Daniel-Ban Pienaar has produced this imposing box set containing eight compact discs on which he has recorded as the cover declares “the 39 authenticated multi-movement solo keyboard works from 1765 onwards and nine earlier works presumed to be Haydn’s, or probably his, by the vast majority of scholars.” These works include: Four early Sonatas (listed in Haydn’s<span style="font-family: inherit;"> </span><i style="font-family: inherit;">Entwurf-Katalog</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">of 1765); Six Sonatas (1765-1772); Six Sonatas dedicated to Prince Nicolas Esterh</span><span style="font-family: inherit;">á</span><span style="font-family: inherit;">zy (</span><i style="font-family: inherit;">c.</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">1773, published in 1774); Six Sonatas (1774-?76); Six Sonata dedicated to Katharina and Marianna Auenbrugger (published in 1880); Three Sonatas (published in London in 1783); Three Sonatas for Princess Maria Esterh</span><span style="font-family: inherit;">á</span><span style="font-family: inherit;">zy (published in 1784); Two Sonatas (1789-90); Three English Sonatas (1794-95); plus Variations in F minor (1793) and nine early Sonatas widely presumed to be by Haydn. Pienaar’s liner notes go into great detail about the difficulty of making a “definitive cycle” of Haydn’s works for piano owing to questions of authenticity. He also offers some remarks concerning how to approach performing these works today.</span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"></span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhw7Y8sRg1U3mKaq7lXKY7BjAwagGBTLDV3jza15ujLh5YI1cRdqs7c_8b38YLDKRAKM3a_wnBwUZx4vJuIyukl9Se5yXdy2gzkJZSzBk6JMsong9kmHWtBoxzta_H-xDpgdkQpDCVjxoX5eLoPZx9LtYD-834AD80_AAvhPPSWXAtt0LKL6XO06F95x_v/s299/Pienaar.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="169" data-original-width="299" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhw7Y8sRg1U3mKaq7lXKY7BjAwagGBTLDV3jza15ujLh5YI1cRdqs7c_8b38YLDKRAKM3a_wnBwUZx4vJuIyukl9Se5yXdy2gzkJZSzBk6JMsong9kmHWtBoxzta_H-xDpgdkQpDCVjxoX5eLoPZx9LtYD-834AD80_AAvhPPSWXAtt0LKL6XO06F95x_v/w320-h181/Pienaar.jpeg" width="320" /></a></span></div><span style="font-family: inherit;"> </span><span style="font-family: inherit;">I was surprised to discover in the liner note credits that for this release Pienaar had done his own recording and editing. Above the list of credits here is a photo of his piano with the following caption: “The Angela Burgess Recital Hall at the Royal Academy of Music, London. The recording took place in a series of overnight sessions in late 2020, with no engineer or producer present. A single pair of suspended omni-directional microphones was used.” Pienaar is on the faculty at the Royal Academy of Music, which gave him easy access to this recording venue and the associated equipment; still, it is unusual for an artist to record without the assistance of an engineer or producer.</span><span style="font-family: inherit;"> </span><span style="font-family: inherit;"> </span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">There is a helpfully informative article by Pienaar in the November 14, 2023, issue of the</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">International Piano Newsletter</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">in which the pianist discusses this recording in considerable detail; I recommend it highly. As with the liner notes, he discusses the difficulties involved in putting together the set of sonatas to record and his approach to performing them. But as something of a hopeless old boomer audiophile, I could not help but be particularly fascinated by Pienaar’s account of the recording process:</span><span style="font-family: inherit;"> </span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0in 0.5in;"><span style="font-family: inherit;">“I started recording at the end of the summer, at the Royal Academy of Music in London. The Academy’s Angela Burgess Recital Hall is fitted with a single pair of omnidirectional mics that are pretty good – so I just positioned the piano in the best way I could and played and played, without an engineer or producer. I got permission to access the building overnight, and I tended to work on Saturday nights. I would record about one CD’s worth of music on each of these nights, spending altogether eight nights between September and December. It then took me about five weeks to choose takes and edit everything (I always edit my own work). It was especially important for me that everything should remain ‘fresh’ and that I should capture a feeling of making music for myself, allowing myself to be surprised by Haydn’s music, and exploring in the way I do every day at the piano – thus working in an intimate hall, on my own, and using the simplest means of recording… Every album of mine has been a kind of experiment in avoiding the glossiness that seems almost de rigueur nowadays when it comes to recorded sound. The question to ask is: what are we trying to achieve with recorded sound? Are we just evoking a space? As a listener I don’t really want to be transported to an empty concert hall. And it is important to engage the imagination of the listener – does the recorded sound allow that to happen? It feels to me that the mind is better at filling in some ‘gaps’ in audio information than subtracting it in the case of unrealistic, excessive amounts of resolution and detail.”<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">The sound quality is quite satisfying. The first noticeable quality is that there seems to be just the right amount of distance between the microphones/our ears and the piano. This is not one of those piano recordings where we hear every little click of the keys or creak of the piano bench. On the other hand, it is also not one of those recordings with an abundance of ambient background room or hall sound. At the same time, the sound is full-bodied and dynamic, sounding very much like a <i>piano. </i><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><i><span style="font-family: inherit;"> </span></i></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">Later in this same article, Pienaar goes on to comment about the music, using a term that I found surprising: “The combination of elements in Haydn’s music strikes me, perhaps more than anything, as rather mysterious. There is something one can’t quite put one’s finger on which makes it beautiful in a special way – very different from the totally disarming sensuality and emotion of Mozart.” It’s the word “mysterious” that caught me off-guard, for it is not the word that I would think of to describe this music, which sounds to my ears as something of a mixture of Bach and Mozart, but leaning more to the latter than the former. But I am not a pianist, nor a musician. I have no adequate words to describe Haydn’s keyboard music, other than to say I find it spirited and enjoyable. Pienaar is certainly WAY more qualified than I to describe this music; upon reflection, I find his use of the term “mysterious” stimulating and delightful.<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">Those same terms – “stimulating” and “delightful” – are also apt descriptions of this boxed set as a whole. There is much delight to be discovered in the piano music of Haydn, and this set offers the music lover a way to sit back and dig in. Whether one might want to methodically work their way through the whole set from start to finish or instead randomly listen to a few selections here and there while perusing the CD booklet for background information, this release offers those opportunities in a package of excellent quality. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><b><span style="font-family: inherit;"><i>The Complete Beethoven Piano Concertos</i>. (CD1) <i>Piano Concerto No. 1 in C Major, Op. 15</i>; <i>No. 2 in B-flat Major, Op. 19</i>; (CD2) <i>No. 3 in C minor, Op. 37</i>; <i>No. 4 in G Major, Op. 58</i>; (CD3) <i>No. 5 in E-flat Major, Op. 58</i>; <i>Overture to The Creatures of Prometheus, Op. 43</i>. Garrick Ohlsson, piano; Grand Teton Music Festival Orchestra; Sir Donald Runnicles, conductor. Reference Recordings FR-751SACD<o:p></o:p></span></b></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqXY90l0BkDXswH56ENj8uGdiSM72XnvJWpQ3dNg0wwPK6N8vgaPcUX7iTCh3A8_hLi9NLa5Hdt1s0EBPY5R3iBHZKxNHlRBstMbyQrBOD4pR0rKQ5SwnSYNd2Z4SgtkHFaMh6WgKWdwZ8_frzvbVPQCpuIXFw3WPu2CEKzjKgQiu_bZVeDRrb2_9ud4PJ/s436/beethoven%20cvr.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqXY90l0BkDXswH56ENj8uGdiSM72XnvJWpQ3dNg0wwPK6N8vgaPcUX7iTCh3A8_hLi9NLa5Hdt1s0EBPY5R3iBHZKxNHlRBstMbyQrBOD4pR0rKQ5SwnSYNd2Z4SgtkHFaMh6WgKWdwZ8_frzvbVPQCpuIXFw3WPu2CEKzjKgQiu_bZVeDRrb2_9ud4PJ/w320-h320/beethoven%20cvr.jpg" width="320" /></a></span></div><span style="font-family: inherit;">I must preface this review by shamefacedly admitting that it is inexcusably late in seeing the light of day. Poor Garrick Ohlsson, Sir Donald Runnicles, and the entire Grand Teton Music Festival Orchestra (or, more precisely, this particular copy of their Beethoven concertos recording) somehow managed to disappear in my listening room for a period of many months, cleverly evading my determined search. Happily enough, though, I finally came upon it – pretty much by accident, of course – and am finally able to pass along the recommendation that I should by all rights have passed along many months ago. In the CD booklet, pianist Garrick Ohlsson (b. 1948) remarks that over the course of his long career he has performed each of the Beethoven concertos more than 100 times and that he was excited to have the opportunity to collaborate with Sir Donald Runnicles to record these works over the span of a week of concert performances in Jackson Hole, Wyoming. The CD booklet includes an essay by producer Vic Muenzer in which he goes into a fair amount of detail about the recording process in some detail.<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidBP7ocl6HjdBormDxVu9AAj1hhLj3FqbOmKnF1LyiGE8uWWSpO31DSqhIPAnx_CWZDlI0Dp-vYblzg0lcD8lRg0Rbm6ObHhcdepZTVbdw74M9fBJUJ2VBYtUBP3TcoAq4lQWOPVp49YXmWuNTVtklbBMj4S2xeCvyq55PYCGB0DOi3vEhsbiYztJuWYAF/s225/Ohlsson.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="225" data-original-width="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidBP7ocl6HjdBormDxVu9AAj1hhLj3FqbOmKnF1LyiGE8uWWSpO31DSqhIPAnx_CWZDlI0Dp-vYblzg0lcD8lRg0Rbm6ObHhcdepZTVbdw74M9fBJUJ2VBYtUBP3TcoAq4lQWOPVp49YXmWuNTVtklbBMj4S2xeCvyq55PYCGB0DOi3vEhsbiYztJuWYAF/s16000/Ohlsson.jpeg" /></a></span></div><span style="font-family: inherit;">The end result is set of Beethoven concertos that is warm and comfortable both in sound and performance. This is not the lean and swift sort of Beethoven playing that we have come to hear more often owing to the many “historically informed performance” and/or “original instruments” Beethoven recordings in the marketplace. Ohlsson’s playing on his Steinway sounds rich and expressive, and the sound quality is on the warm and full side. It just all sounds, well, comfortable – and quite enjoyable for all that. My favorite sets of Beethoven piano concertos have been Fleisher/Szell/Cleveland and Bronfman/Zinman/Tonhalle Zurich. This new release from Reference Recordings supplants neither of those, but it is still worthy of consideration by those looking for an entertaining and rewarding set of the Beethoven piano concertos. It's a first-class set both musically and sonically.</span><p></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-57604605856050316382024-01-28T20:30:00.000-08:002024-01-29T06:09:01.897-08:00The Muse (Piano Music by Brahms)<p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
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</p><p class="MsoNormal"><i>by Bill Heck</i></p>
<p class="MsoNormal"><b>Brahms: <i>Händel Variations & Fugue op. 24; Rhapsodies
Op. 79; Intermezzi Op. 117</i>; Clara Schumann: <i>Three Romanzes, Op. 21 (No
1)</i>. Challenge Classics CC 72970</b></p>
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</p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF1-BnbNm5P4-NUV0ESYhPX-r7foYmd53DpjDIkFCpZ04WFUOIt2c-q_PM4JnSVb1uimYTvwd5Q3ihPdNdwhHjBlWo9IaVIC4vQGlA0KUM0oW_46f1jJPBrQXatCGhj3T5NYBQ-L-NWBiTIC3zZYdlUTzVDKnpeoTopQRUw8ZlcfPOtdPkcC0rKbw_k3xv/s911/Muse-Gvetadze.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="840" data-original-width="911" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF1-BnbNm5P4-NUV0ESYhPX-r7foYmd53DpjDIkFCpZ04WFUOIt2c-q_PM4JnSVb1uimYTvwd5Q3ihPdNdwhHjBlWo9IaVIC4vQGlA0KUM0oW_46f1jJPBrQXatCGhj3T5NYBQ-L-NWBiTIC3zZYdlUTzVDKnpeoTopQRUw8ZlcfPOtdPkcC0rKbw_k3xv/w320-h296/Muse-Gvetadze.jpg" width="320" /></a></div>Long-time readers may recall that I favorably reviewed an
earlier album of Schumann works played by the Georgian pianist Nino Gvetadze
(see review <a href="https://classicalcandor.blogspot.com/2020/11/schumann-einsam-cd-review.html">here</a>). In the current album, Gvetadze takes on a set of works by
Brahms, along with an "epilogue" piece by Clara Schumann.<p></p>
<p class="MsoNormal"></p>First – and I am summarizing from the interesting liner
notes in what follows – the works presented here are in some sense inspired by
two muses: Clara Schumann and Elisabet von Herzogenberg. We don’t have space
here to repeat – or even start – the topic of Johannes’s complex relationship
with Clara (wife of Brahms champion and friend Robert Schumann and virtuoso
pianist in her own right), but there can be little doubt of the depth of his
feelings and his respect for her. Brahms presented the <i>Handel Variations</i>
to her for her 42<sup>nd</sup> birthday in 1861; she premiered the work later
that year. <p></p>
<p class="MsoNormal">In turn, the <i>Rhapsodies</i> were dedicated in 1879 to
Elisabet. At the least, he was fond of her; the nature and depth of that
fondness is difficult to assess from our distance across time, but we know at
least that he corresponded with her for years. </p>
<p class="MsoNormal">And perhaps both of these women were more indirectly muses later
in Brahms’s life. By the time of the <i>Interezzi</i> of Op 117, Brahms wrote
of “sorrows”: among other things, Elisabet had died and Brahms was aging,
perhaps looking back on “almost” romantic interests that had not come to
fruition. </p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLreuvR58p27FKPTFU1XZFoIMfT5-g_4tWYo3YSArbD8USSei8V8uLGn3hSXqn4dm2G9Nl9kcZoGwoDt2lxfHCCkO6h2hXfb-I-fDggBlPiVVa6nza3ReDKdyYwDat1-CGISW74c21ZH7Vv56ck6Y8LJx57MYUAHov3rIFZ2SpTaypLJzh01npdU9kwBP-/s600/ClaraSchumann.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="471" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLreuvR58p27FKPTFU1XZFoIMfT5-g_4tWYo3YSArbD8USSei8V8uLGn3hSXqn4dm2G9Nl9kcZoGwoDt2lxfHCCkO6h2hXfb-I-fDggBlPiVVa6nza3ReDKdyYwDat1-CGISW74c21ZH7Vv56ck6Y8LJx57MYUAHov3rIFZ2SpTaypLJzh01npdU9kwBP-/w251-h320/ClaraSchumann.jpg" width="251" /></a></div>Finally, we return to Clara Schumann. Was Brahms her muse? Her
<i>Romances</i> were composed at a difficult time of her life, while her
husband Robert was in mental decline just before his attempted suicide and subsequent
institutionalization. These are lovely works, if melancholy; Clara was not in
the same compositional league as Brahms, but Gvetadze makes a good case for
them.<p></p>
<p class="MsoNormal">Rather than focus on individual works here, let’s talk about
Gvetadze’s playing throughout this album. For one thing, it is marked by more rhythmic
freedom than is sometimes given to compositions by Brahms. I admit that, on
first hearing, I thought that it was a little <i>too </i>free at a few points,
but repeated hearings have changed my mind. Brahms, after all, was a great
composer of <i>leider</i> and, despite his break with the hyper-romanticism of
Liszt and Wagner, he was perhaps the artist who most successfully joined the
classical tradition with romanticism. In this light, I hear Gvetadze’s accents and
dynamic shifts as the singing lines that Brahms gave to the piano. (And don’t
forget that Brahms’s first instrument was the piano.) Moreover, in the <i>Handel
Variations</i>, Gvetadze seems to create a different mood for each variation –
by turn introspective, joyous, extroverted, quiet – you get the idea. Certainly,
this is not the only legitimate style for Brahmsians, but it does make for
lovely and engaging playing. Another characteristic is careful attention to
dynamic balances, with seemingly each note judged and allocated its proper
emphasis in the whole, and not just between the lines being played by two hands
but individual note by note. Here’s just one example that caught my ear: in the
final <i>Fugue</i> movement of the <i>Handel Variations</i>, at about 38
seconds, the right hand is repeating a single note, but so subtly that it only dawns
on consciousness slowly and to good effect.</p>
<p class="MsoNormal">Then there’s the pianist’s secret weapon: the recording team
from Challenge Classics who capture every nuance of the tones that she produces
from her Steinway instrument. The sonic image is relatively close but coherent: no
ten-feet-wide keyboards here. Moreover, the full range is present, the lower
registers with incredible weight; just listen to the resonances in the solemn
low notes at the beginning of the second Rhapsody. (It helps if you have
speakers with real dynamic capability.) Gvetadze’s fine control of dynamics,
which I mentioned as one of her expressive strengths, comes through unscathed.</p>
<p class="MsoNormal">Is the sonic presentation such a big deal? Well, I think it
is. Compare, for example, Radu Lupu’s playing in the <i>Rhapsodies</i>. There’s
no doubt that the playing is awesome (in the full sense of that overused word).
But the recorded sound is, by today’s standards, tubby and overly reverberant,
detracting from the sheer enjoyment of listening. (I wonder if Lupus’s great
Brahms recording might one day be remastered?) That’s a somewhat extreme
example, but it’s just easier and downright more fun to listen to the newer
recording.</p>
<p class="MsoNormal">In the end, there are oodles of choices for all of these
works, save perhaps the Clara Schumann one; judging as if there is some
competition among the better ones seems pointless. (This despite a widespread
cultural attitude saying that we <i>must</i> rank order everything and declare
a winner!) But Gvetadze’s account joins the ranks of worthy entries that cast light
on some wonderful, timeless music.</p>
Bill Heckhttp://www.blogger.com/profile/03670564817061467454noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-63097268822586502582024-01-24T20:30:00.000-08:002024-01-24T20:30:00.131-08:00Recent Releases No. 69 (CD Reviews)<p><span style="font-family: inherit;"><i>by Karl Nehring</i></span></p><p><span style="font-family: inherit;"><b>Mozart: <i>Piano Concertos Nos. 19 and 25 (orchestra parts transcribed for string quartet and double bass by Ignaz Lachner)</i>. Alon Goldstein, piano; Fine Arts Quartet (Ralph Evans, violin I; Efim Boico, violin II; Gil Sharon, viola; Niklas Schmidt, cello); Lizzie Burns, double bass. Naxos 8.574477</b></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibWHiRyuAURHPXMAo1_TwDgtlk7eQfQJqNDNEIk0f9NN_nR8zEUlcMPTuX9uIftGf4WSNVm6rQTSn9K6uYfCTRmXeT5Yz1t7PwH2jENYGcmZv7hu1OaFz6fokIOLRQZRaxt-KKN02EsREjn-Dcv4cnbPAJq8oXd6Ka9qIi_Yfp9AV4uH0kV-GdoKrRMXNs/s440/Mozart%20cvr.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="440" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibWHiRyuAURHPXMAo1_TwDgtlk7eQfQJqNDNEIk0f9NN_nR8zEUlcMPTuX9uIftGf4WSNVm6rQTSn9K6uYfCTRmXeT5Yz1t7PwH2jENYGcmZv7hu1OaFz6fokIOLRQZRaxt-KKN02EsREjn-Dcv4cnbPAJq8oXd6Ka9qIi_Yfp9AV4uH0kV-GdoKrRMXNs/w320-h317/Mozart%20cvr.jpg" width="320" /></a></div>Pianist Alon Goldstein remarks of these two particular pieces that they are his personal favorites from among all of Mozart’s piano concertos, then goes on to explain about the arrangements in which they appear on this recording: “Rearrangement of music was very common in the 18<sup style="font-family: inherit;">th</sup><span style="font-family: inherit;"> </span><span style="font-family: inherit;">and 19</span><sup style="font-family: inherit;">th</sup><span style="font-family: inherit;"> </span><span style="font-family: inherit;">centuries. The composer and conductor Ignaz Lachner rearranged 19 Mozart concertos, including the two featured on this recording for piano and string quartet with double bass, most likely for the simple pleasure of domestic use m—having the opportunity to play these beloved works without the need of a full orchestra.” Surely the vast majority of those reading this review are much more likely to be playing this music in their homes through loudspeakers rather than by assembling a group of their chamber music friends to perform it themselves on the appropriate instruments. Those who do listen to this release either by CD (which is how I auditioned it) or through streaming will be rewarded by some richly melodic music abounding in expression, energy, and emotion. What started out as a piano concerto reduces well to a chamber work. Goldstein’s piano part carrying over unchanged. If anything, the work becomes more intimate, more intense, if not quite so rich in color and texture. For those who love the Mozart piano concertos – and I doubt there are many classical music lovers who do not – this recording will not only prove rewarding in its own right, but it will complement and enhance other recordings of these concertos. Highly recommended.</span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><b><span style="font-family: inherit;"><i>Mozart’s Jazz Requiem</i>: The Queen’s Cartoonists (Joel Pierson, piano, arrangements;</span></b></p><p class="MsoNormal" style="margin: 0in;"><b><span style="font-family: inherit;">Rossen Nedelchev, drums; Mark Phillips, clarinet, alto sax, flute, soprano sax; Greg Hammontree, trumpet, trombone; Drew Pitcher, tenor sax, bass clarinet; Steve Whipple, bass); Special Guests – Jon Singer, xylophone, marimba;; Samantha Lake, tuba (3, 6); Jen Wharton, bass trombone; Tatum Greenblatt, trumpet; Wayne Tucker, trumpet. 7 Train Records (digital release)<o:p></o:p></span></b></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2h0rcaLOs01HhrMXWkqhozq-rXz6HOiqbFPBv43w9cvJtvQdSG5f657-Oj5j19D4EqSp2D4z-W-0BmOiw3DzAhBkvFVDBoOaPfU2z7dQQwbGfLlbpau8Bnsq8LuMA2-NNJU9_P964B-GJEsCt-pxVSNpcaQv0k7AIL5YCK7PGxNrhxzHW592gKmHUhEaf/s3000/vcsPRAsset_3119393_80964_30e5854a-c428-4697-b42c-b120e7b4bab1_0.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3000" data-original-width="3000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2h0rcaLOs01HhrMXWkqhozq-rXz6HOiqbFPBv43w9cvJtvQdSG5f657-Oj5j19D4EqSp2D4z-W-0BmOiw3DzAhBkvFVDBoOaPfU2z7dQQwbGfLlbpau8Bnsq8LuMA2-NNJU9_P964B-GJEsCt-pxVSNpcaQv0k7AIL5YCK7PGxNrhxzHW592gKmHUhEaf/w320-h320/vcsPRAsset_3119393_80964_30e5854a-c428-4697-b42c-b120e7b4bab1_0.jpeg" width="320" /></a></span></div><span style="font-family: inherit;">Well, there are arrangements and then there are <i>arrangements.</i> Ignaz Lachner’s arrangements of Mozart’s piano concertos, for example, kept the piano part intact but reduced the wind and string parts down so they could be played by a small ensemble such as string quartet augmented by a double bass. But what we have here is something completely different. Joel Pierson’s arrangement of Mozart’s unfinished <i>Requiem</i> into <i>Mozart’s Jazz Requiem</i> is meant not as a meticulous downsizing of the score for performing by smaller forces, as was Lachner’s; rather, it is meant as a kind of jazz tribute to what the musicians of the Queen’s Cartoonist’s esteem as one of the greatest pieces ever written. The entire piece has been re-composed in a boisterous jazz style. Using Mozart’s renowned sense of humor as their guide, the band presents a wildly original take on Vienna’s greatest export. The record is being released as a visual album, with the tracks synchronized to old cartoons, which will be screened at performances of the work. It’s wildly irreverent, enthusiastically energetic – not exactly the characteristics we normally associate with a requiem, n’cest-pas? Obviously, to enjoy this piece, you have to be willing to enter into the spirit of the thing. Some listeners will find this sort of thing sacrilege, others will find it good-natured fun and admire the skill and enthusiasm that the Queen’s Cartoonists bring to their project. For a taste of what they are up to, you can check out <a href="https://www.youtube.com/watch?v=Y1zwCT28oRQ&list=PLkFmzFbiN8FNyxfcZGjBGsqlKZHcXoojg&index=4" style="color: #954f72;">this video</a>. Have fun! </span><span style="font-family: Times New Roman, serif;"><o:p></o:p></span><p></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-61085445678198758412024-01-21T20:30:00.000-08:002024-01-21T20:30:00.138-08:00Peter Jonatan: Psalms Symphony (CD Review)<p><span style="font-family: inherit;"><i></i></span></p><div class="separator" style="clear: both; text-align: left;"><span style="font-family: inherit;"><i>by Karl Nehring</i></span></div><p></p><p><span style="font-family: inherit;"><b>Jasper Soffers, piano; Aram Kersbergen, bass; Martijn Vink, drums; Metropole Orkest conducted by Jukka Lisakkila; Netherlands Radio Choir conducted by Benjamin Goodson. <a href="https://peterjonatan.com/psalms-symphony" style="color: #954f72;">CD available here</a>, also available on streaming platforms</b></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHaJFlFt8XWgy-wGyvI-Xzzp-wm1Z8Od6n2_0cPNbR29NlvTCCnT4nTk-LtVQtcwUAW1OKJ8ukz0W37lT7XnqQwiW41Gls1VYOcQEu6Hy6RQwS-_4Jy2hUYHxtr1_hPvtVGBg6uNXwcMtQAJDCFDdADqU2yv7WxWj8BpZOrGSe9k4AIQKTftIh3FUn-loB/s1500/Psalms%20cvr.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHaJFlFt8XWgy-wGyvI-Xzzp-wm1Z8Od6n2_0cPNbR29NlvTCCnT4nTk-LtVQtcwUAW1OKJ8ukz0W37lT7XnqQwiW41Gls1VYOcQEu6Hy6RQwS-_4Jy2hUYHxtr1_hPvtVGBg6uNXwcMtQAJDCFDdADqU2yv7WxWj8BpZOrGSe9k4AIQKTftIh3FUn-loB/w320-h320/Psalms%20cvr.png" width="320" /></a></span></div><span style="font-family: inherit;">The Jakarta-born, Boston-based composer and pianist Peter Jonatan, has long been drawn to hybrid forms of jazz and classical music, and the Metropole Orchestra is considered by many in the industry to be the gold standard for performing such music. Vince Mendoza, its former director, was a major artistic influence on Jonatan – you can read our review of a</span><span style="font-family: inherit;"> </span><a href="https://classicalcandor.blogspot.com/2021/12/recent-releases-no-22-cd-reviews.html" style="color: #954f72; font-family: inherit;">Mendoza release here</a><span style="font-family: inherit;">. This new composition takes as its subject matter four chapters from the Bible’s Book of Psalms, which Jonatan chose for their expressive and musical potential. Broadly speaking, the work’s four movements follow standard symphonic form: I.</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">“God, the Magnificent King”</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">(Psalm 29) - a big opening theme and variations; II.</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">“God, the Merciful”</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">(Psalm 136) - an adagio; III.</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">“God, the Protector”</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">(Psalm 121) - a scherzo; IV.</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">“God, the Savior and Holy Judge”</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">(Psalm 96) – finale, with full choir and soloists.</span><span style="font-family: inherit;"> </span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioU1uf6967madb5YqpweQv6mMEcbBhJi7glhuScY9_reg-8sARm9lNxQfwLqz59ywZ9_Ibg80UD7lvcwbR7Dp9BKFfw2qfnWXcdm03M8fpFEu-8M_RdtC8frK72gH0tC1T_DrXNx_xG3OcGAQ9vbwbU6KW3D5o_6HVkvZyvKED0oXhoazMoCWa3FOefshQ/s533/Piano.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="457" data-original-width="533" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioU1uf6967madb5YqpweQv6mMEcbBhJi7glhuScY9_reg-8sARm9lNxQfwLqz59ywZ9_Ibg80UD7lvcwbR7Dp9BKFfw2qfnWXcdm03M8fpFEu-8M_RdtC8frK72gH0tC1T_DrXNx_xG3OcGAQ9vbwbU6KW3D5o_6HVkvZyvKED0oXhoazMoCWa3FOefshQ/w320-h274/Piano.png" width="320" /></a></span></div><span style="font-family: inherit;">“Each movement describes God’s character as portrayed by the Psalmist,” says Jonatan. “There is a singular recurring motive, depicting God, appearing in different variations throughout all four movements. Stylistically, the symphony merges classical and jazz with influences from different genres such as gospel, film and video game scores. These are all musical styles that have shaped me as a composer.” The jazz element is strong, with the trio of pianist Jasper Soffers, bassist Aram Kersbergen and drummer Martijn Vink functioning as a band within the larger forces – improvising, but also holding down parts of the written orchestration. The Metropole Orchestra sounds more like a large dance band (“big band”) with strings than a symphony orchestra. In addition, the recorded sound tends toward the bright and forward, which emphasizes the brassy, jazzy aspects of the score. <o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">It is the very variety of musical influences and styles of which Jonatan testifies that serves as both the strength and a weakness of the music. It’s not quite classical, not quite jazz, but not so much a blend as a conglomeration. That is not to say it is not an interesting and entertaining composition, for it has more than its fair share of musical highlights. It’s a fascinating piece; not for everyone, but something that there are many – myself included – can enjoy for its energy and originality. For a quick preview of the </span><i style="font-family: inherit;">Psalms Symphony</i><span style="font-family: inherit;">, you can check out </span><a href="https://www.youtube.com/watch?v=vl9Jo4TdvKA" style="color: #954f72; font-family: inherit;">this brief video</a><span style="font-family: inherit;">.</span></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-30386441872124387122024-01-16T20:30:00.000-08:002024-01-19T21:09:28.253-08:00Mikyung Sung: The Colburn Sessions<p><i>by Bill Heck</i><br /><!--[if gte mso 9]><xml>
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Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
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</p><p class="MsoNormal"><b>Bottesini: <i>Tarantella, Capriccio di Bravura, Elegy No.
1 in D Major</i>; Massenet: <i>Meditation from Thaïs</i>; Hindemith: <i>Sonata
for Double Bass and Piano</i>; Montag: <i>Sonata in E Minor for Double Bass and
Piano</i>; Mendelssohn: <i>Cello Sonata No. 2 in D Major</i>; Rachmaninoff: <i>Sonata
in G minor for Cello and Piano, Op. 19 (third movement)</i>; Franck: <i>Sonata
in A major for Violin and Piano</i>. Jaemin Shin, Mikyung Sung. Modus Vivendi
Media MVM2301</b></p>
<p class="MsoNormal">When I first happened upon this album, I was dumbfounded. So
far as I can tell, it should be physically impossible to play a double bass in
the manner that Ms. Sung does. Flying through endless quick series of notes
with on the nose intonation along the extended neck with thick strings of this
instrument: how in the world does she do that?</p><p class="MsoNormal">But, of course, there is more to this two-CD set than mere technical brilliance,
so let’s explore. </p><p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQMxA607S583JQFoviFJFJyreHskNZxaj1O78ELST9u79hX8EGFNa5wBdOiBRrp3_OURY_uYuKTWZfY7ahD4FVgErUg1p9UnbxBewtQIiQT9gfCswP4NBlbs5GU9Q6wcBex4C6mL2A3xrwejjYavqVq8Atn8vthAIA1YAwUgXDs-I9mWmhO0HhQnM4a691/s302/Giovanni_Bottesini.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="302" data-original-width="221" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQMxA607S583JQFoviFJFJyreHskNZxaj1O78ELST9u79hX8EGFNa5wBdOiBRrp3_OURY_uYuKTWZfY7ahD4FVgErUg1p9UnbxBewtQIiQT9gfCswP4NBlbs5GU9Q6wcBex4C6mL2A3xrwejjYavqVq8Atn8vthAIA1YAwUgXDs-I9mWmhO0HhQnM4a691/w188-h256/Giovanni_Bottesini.jpg" width="188" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Giovanni Bottesini<br /></td></tr></tbody></table>The first disc opens with three works by Giovanni Bottesini (1821 – 1899),
considered in his time as the “Paganini of the Double Bass”, and who moved from
virtuoso command of that instrument to conducting and composing. The first piece, <i>Tarantella</i>,
certainly is a showpiece for the double bass, with shifting tempi and virtuoso
runs: If you do think of Paganini on the bass instead of the violin, you’ll
have the general idea. The next, <i>Capricio di bravura</i>, begins as a
soulful singing piece that moves across the entire range of the instrument. It
breaks into a lively dance, and back and forth we go, ending it all with a
flourish; the overall feel is reminiscent of a dance scene from an opera. Finally,
we have the <i>Elegy</i>, several minutes of quite lovely playing. Showpieces
all, the music is interesting and enjoyable, and in any case bravura playing is
enough to carry the day.<p></p><p class="MsoNormal">Massenet’s <i>Meditation from Thais</i> is one of those works that you’ve heard
somewhere, even if you didn’t know what it was. Originally composed for violin
and orchestra, in the wrong hands it can degenerate into a rather saccharine
tearjerker, but the transposition of the work to double bass with piano
accompaniment gives it a whole new sound, perhaps more straightforward than the
original. In any case, Sung’s playing is moving without turning into treacle.</p><p class="MsoNormal">Next up are two more recent works also originally composed for the double bass, namely Paul Hindemith’s <i>Sonata for Double Bass and Piano</i>,
followed by Vilmas Montag’s work of the same name.</p><p class="MsoNormal">The Hindemith <i>Sonata</i> is in much the same vein as some
of his better know and more popular works, such as the <i>Mathis der Maler</i>
or the <i>Metamorphosis (on Themes by Weber)</i>. Although there are moments of
dissonance, the composition still is tonal, with a mood best described as
mysterious, and developed mostly in minor keys. Personally, I found it quite
engaging and I’m glad to have made its acquaintance.</p><p class="MsoNormal">I’m less certain of the Montag composition but can say with
confidence that Sung makes the best possible case for it. Her playing, especially
in the lower register of the instrument, is lovely and powerful at the same
time.</p><p class="MsoNormal">This is a good time to mention that the contributions from pianist
Jaemin Shin are beyond mere accompaniment: there’s no doubt that the album is
about Sung, but she and Shin are very much partners in music making.</p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrObc0fi3Il6lMwxswUs49yO84ZY-t4PwYnWZ5Y0IfM4xTwV5oIZOL7kvkO1Yj8qJV8x6RIs85zZo_k-cUSm-lhY9yrLWxo8z4kABSa3hI50DahqU5ePxjBAiil9-e3wfNkBcsl6EQGp3_teYSHUS-VVbL7tFuDu-wJgLq0xKKKF3MStIL084Gtt75VieQ/s550/MikyungSung_ColburnSessions_cover.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="550" data-original-width="550" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrObc0fi3Il6lMwxswUs49yO84ZY-t4PwYnWZ5Y0IfM4xTwV5oIZOL7kvkO1Yj8qJV8x6RIs85zZo_k-cUSm-lhY9yrLWxo8z4kABSa3hI50DahqU5ePxjBAiil9-e3wfNkBcsl6EQGp3_teYSHUS-VVbL7tFuDu-wJgLq0xKKKF3MStIL084Gtt75VieQ/w239-h239/MikyungSung_ColburnSessions_cover.jpg" width="239" /></a></div>The second disc contains works originally composed for other instruments and
redone for the double bass. There are three: Mendelssohn‘s <i>Cello Sonata No.
2</i>, Rachmaninoff’s <i>Sonata in G minor for Cello and Piano (third movement)</i>,
and Franck’s <i>Sonata in A for Violin and Piano</i>. You may be familiar with
these works in their original versions, so I won’t go into a lot of description
here. What I will say is that all of them sound absolutely natural when played
on the double bass; indeed, if you didn’t know that they were originally
composed for different instruments, you could easily presume that they were
composed for the bass. (That’s not too surprising in the first two works, as
the move from cello to bass at least seems like a plausible idea. But it really
is amazing that the third piece loses nothing in the translation.) In all
three, what could have sounded just gimmicky are instead propelled by Sung’s musical
sensitivity as well as her virtuosity and come across simply as wonderful
music. Yes, the bass gives the pieces more sonic weight, but it never weighs
them down.<p></p><p class="MsoNormal">The sound on both discs is clean and natural, although that
on the second is just a touch more distant that on the first. (The recording
venues were different.) I listened to the album on my streaming service; sadly,
the CD booklet was not available there. (I wish I knew <i>why</i> booklets are
or are not available on streaming service that support them; they are for some newer works but not for all.)
The CD is generally available, but you also can purchase a digital download of
the entire thing at <a href="https://mikyungbass.com/shop">Mikyung Sung’s
website</a>. </p>
Bill Heckhttp://www.blogger.com/profile/03670564817061467454noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-26452294250431515222024-01-14T20:30:00.000-08:002024-01-14T20:30:00.160-08:00Penitence & Lamentation (CD Review)<p><span style="font-family: inherit;"><i>by Karl Nehring</i> </span></p><p><b><span style="font-family: inherit;">Nicolas Gombert: <i>Lugebat David Absalon</i>; William Byrd: <i>Domine secundum actum meum</i>; Thomas Tallis; <i>In jejunio et fletu</i>; <i>Absterge Domine</i>; Thomas Crecquillon: <i>Pater peccavi</i>: Robert Ramsey: <i>How are the mighty fallen</i>; William Byrd: <i>Emendemus in Melius</i>; <i>Ye sacred muses</i>; <i>Ne irascaris Domine</i>; Nico Muhly: <i>Fallings</i>; Robert Carver: <i>O bone Jesu</i>. Byrd Ensemble; Markdavin Obenza, artistic director. Scribe Records SRCD12</span></b></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6bQkOkOnZskfUTYO9NbXVU3L0bRvETv-YIDjYbdgfbG7VmeOOoJfaXABC_p1IrLu0oQV-vKrBOqlDKNfDArKOT2Bp3uZn78vuwL-YJRCkrHx6bGdy6UobIMZNDcqGSUxpKnvDdEEnLm8djcPYWp0vU7DwoKLNhjsGYJsV6V9jEKdSxRGKdfVbKDo_omlf/s436/Penit%20cvr.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6bQkOkOnZskfUTYO9NbXVU3L0bRvETv-YIDjYbdgfbG7VmeOOoJfaXABC_p1IrLu0oQV-vKrBOqlDKNfDArKOT2Bp3uZn78vuwL-YJRCkrHx6bGdy6UobIMZNDcqGSUxpKnvDdEEnLm8djcPYWp0vU7DwoKLNhjsGYJsV6V9jEKdSxRGKdfVbKDo_omlf/w320-h320/Penit%20cvr.jpg" width="320" /></a></span></div><span style="font-family: inherit;">As music lovers and listeners with seemingly infinite options from which to choose when we decide we have the time and the means to listen to music, whether that be on earbuds as we exercise or commute, headphones or desktop speakers as we work at our computers at home or in the office, or best of all, through a carefully chosen and set up audio system in our own familiar listening room at home, we are free to choose the mood of the music to which we are going to listen. There are times when we might want to hear something energetic, perhaps a vigorous recording of Beethoven’s <i>Symphony No. 7</i>, but then there are times when we might want to hear something of an entirely different nature. The liner notes to <i>Penitence & Lamentation</i> begin in a way that let us know we are hardly going to be in for the “apotheosis of the dance” offered us by Beethoven: “The unifying theme of this disc is guilt and grief. These pieces tell stories and paint pictures much like the Frederic Leighton painting on the cover, in which David mourns the death of his son Absalom, a moment portrayed by the Gombert piece that opens the disc. Although these are religious texts, one not need be a believer to appreciate the drama of these stories or to relate to the universal human experiences they depict. In orienting the program around the sentiments expressed in the music, we invite listeners to take in not only the aural sound world but also the meanings of the texts, as well as the composers’ techniques for conveying meaning through music.”<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRTjuGXDrNWfYKHkHL05b2TpTv0wMZdCrV_YBzDdtRDBcPlY0dURkKFElt0zm-qs5_25yGVyFReRL9v8YOY6a8hLp3vAP6oNQ-p_9q3EKv_tX47nvb5E8ovTG7SZZ8RAEkJujrAjMF89Z9ADSSrLZ7yF8WfeT6uBg699W5QoWHvdtQJJg4fPGQc2l4zJS-/s286/Byrd.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="176" data-original-width="286" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRTjuGXDrNWfYKHkHL05b2TpTv0wMZdCrV_YBzDdtRDBcPlY0dURkKFElt0zm-qs5_25yGVyFReRL9v8YOY6a8hLp3vAP6oNQ-p_9q3EKv_tX47nvb5E8ovTG7SZZ8RAEkJujrAjMF89Z9ADSSrLZ7yF8WfeT6uBg699W5QoWHvdtQJJg4fPGQc2l4zJS-/w320-h197/Byrd.jpeg" width="320" /></a></span></div><span style="font-family: inherit;">Now, different listeners will listen to this music at different levels; in fact, the same listeners may listen at different levels at different times. What do I mean by this? There are times when listeners will simply enjoy the sound of the music without any regard whatsoever to what the <i>words</i> even <i>are</i>, much less what the <i>text </i>might <i>mean</i>. Many – my guess would be most, actually – listeners (and I am not ashamed to count myself in that group) will continue to enjoy the music at this level, even though they may well read the supplied texts in the liner notes and come to an understanding of and appreciation for their meaning and significance. Although the compositions may be about grief, they of course do not invoke a feeling of grief in those who listen. Given the sheer depth of beauty of the singing by the Byrd Ensemble, a Seattle-based early music choir that has was originally formed in 2004, listeners are far more likely to feel their spirits lifted up rather than in any way pulled down. <o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">The program maintains a remarkably consistent sonority throughout the first nine tracks, then changing – not surprisingly given the quantum leap forward in time from William Byrd (1543-1623) to Nico Muhly ( b. 1981) – but not at all jarringly so. Muhly’s</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Fallings</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">brings a subtle sense of drama to the flow of the music, but then we jump back again several centuries to encounter the music of Robert Carver (1485-1570), ending the program with the longest composition on the disc, his serenely devotional</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">O bone Jesu</i><span style="font-family: inherit;">.</span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">Scribe Records is to be commended for putting together a first-class product. The cover art, the liner notes, the sonics – all are excellent. For fans of this kind of choral music, <i>Penitence & Lamentation</i> is a release well worth an audition; indeed, anyone looking for music to calm the mind and soothe the soul might well want to set aside some time to give it a listen. </span></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-16594146885543005572024-01-10T20:30:00.000-08:002024-01-10T20:30:00.253-08:00Bruckner: Symphony No. 3 (CD Review)<p><span style="font-family: inherit;"><i>by Karl Nehring</i></span></p><p><span style="font-family: inherit;"><b><i>First version, 1873 (edited by Leopold Nowak)</i>. Gürzenich-Orchester Köln; François-Xavier Roth, conductor. Myrios Classics MYR033</b></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6v3VPBKwdScQ2PH8wWr7GoQxc-JjVBPVItunT5ZZz_oHjfLsldiHu7y-cLtMSJc2Nc6DnwU50iMTIr8JjQ6X0suL2pX7XFWJaKeH16c2jaMYsAbnAE46O4mKmlcHbiGen5pKwqznu5R2U87QtPnuYD1_9LrFgZNypv79qZQb217Ink_sscg5s8IBZ-I89/s436/Bruck%20cvr.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6v3VPBKwdScQ2PH8wWr7GoQxc-JjVBPVItunT5ZZz_oHjfLsldiHu7y-cLtMSJc2Nc6DnwU50iMTIr8JjQ6X0suL2pX7XFWJaKeH16c2jaMYsAbnAE46O4mKmlcHbiGen5pKwqznu5R2U87QtPnuYD1_9LrFgZNypv79qZQb217Ink_sscg5s8IBZ-I89/w320-h320/Bruck%20cvr.jpg" width="320" /></a></div>One of the most fascinating yet frustrating bodies of work left by a major musical figure is the set of symphonies of the Austrian composer Anton Bruckner (1824-1896). There are the nine numbered symphonies (i.e.,<span style="font-family: inherit;"> </span><i style="font-family: inherit;">Symphonies Nos. 1-9</i><span style="font-family: inherit;">), some of which exist in several different versions, having been revised by Bruckner himself and/or various others. In addition, there are two other symphonies, including a D minor Symphony, which he retracted, but which has been published and is referred to today as</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Symphony No. 0 (‘Die Nullte’)</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">and an F minor symphony, which he rejected, but was finally published in 1973 and is sometimes referred to as</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Symphony No. 00 (‘Study Symphony’)</i><span style="font-family: inherit;">. Particularly complicated has been the story of his Symphony No. 3, as this explanation from the Hyperion website makes clear: “Of all the Bruckner symphonies, No. 3 is the most fraught with editorial ‘problems’. At least eight versions are known to exist: the original version of 1873 (not published until 1977); the first revision (1874, also unpublished); a ‘rhythmic revision’ (1876); a third revision, published in 1878 as the first edition (used for the premiere); a ‘Fritz Oeser’ edition of 1877; and two other versions from 1889, one edited by Nowak. Bruckner called No. 3 his ‘Wagner Symphony’ and it contains many quotations from the Wagner operas including the famous cascading strings from the Tannhäuser Overture.” You can also find some information about versions of the work in</span><span style="font-family: inherit;"> </span><a href="https://www.youtube.com/watch?v=hE-jh4rH2I4" style="color: #954f72; font-family: inherit;">this YouTube video by music critic David Hurwitz</a><span style="font-family: inherit;">, who favors the 1877 version.</span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihNjEOCz5EVdXrmc40_QYBqWtSx31q6I8zNywB0u23vHXcT4jnrnwjz1uJwQHNhdl7dMUJmXhOIBlqOyBnNT2ymMH97W0ebDGiaTaKgGtf28yZeuyj0PSSs5SvyzewjudTH6R3sRn0hUiS22fXIdFCOMACAXqnF3DTbeTHUloRpMyk-V4pZTHm18uRNr6H/s318/Orch.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="159" data-original-width="318" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihNjEOCz5EVdXrmc40_QYBqWtSx31q6I8zNywB0u23vHXcT4jnrnwjz1uJwQHNhdl7dMUJmXhOIBlqOyBnNT2ymMH97W0ebDGiaTaKgGtf28yZeuyj0PSSs5SvyzewjudTH6R3sRn0hUiS22fXIdFCOMACAXqnF3DTbeTHUloRpMyk-V4pZTHm18uRNr6H/w400-h200/Orch.jpeg" width="400" /></a></div>What we have here is a recording of the original 1873 version. If you watch the Hurwitz video, you will discover that although he finds the 1877 version to be his favorite, he has good things to say about Georg Tintner’s Naxos CD of this same 1873 version, which Tinter recorded with the Royal Scottish National Orchestra in 1998 and Naxos released early in 2000. Now we have a fresh new recording by the Gürzenich Orchestra of Cologne, Germany, under the direction of French conductor Fran<span style="font-family: inherit;">ç</span><span style="font-family: inherit;">ois-Xavier Roth (b. 1971), who is perhaps most familiar to classical music listeners from his many recordings with Les Siècles, the period-instrument orchestra that he founded. However, Roth has conducted many other orchestras, and in 2015, he was appointed Gürzenich Principal Conductor as well as General Music Director of the City of Cologne. In addition, the G</span><u style="font-family: inherit;">ürzenich</u><span style="font-family: inherit;"> </span><span style="font-family: inherit;">Orchestra, which was founded in 1827, has been associated with the music of Bruckner for more than a century, the liner notes pointing out that “among all chief conductors after the Second World War, Günter Wand is remembered for having featured Bruckner’s symphonies most prominently; he made them the mainstay of the orchestra’s repertoire during the entire course of his long tenure as General Music Director until 1974… Under Wand’s successors Yuri Ahronovitch and Markus Stenz, the symphonies of Anton Bruckner continued to play a key role in Gürzenich Orchestra concert programmes.”</span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"><br /></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYs-2LUlm0s34QiqRbdiZiLbEMmN3X2Yw314FTZW6ssds7Oj-qEjpM2O56Nc_55byW34U2vWb4WjQLeErIgp8eUw30IIPIMnDOIc_lzsu78485FumaGzTbhqt3GTETq98-KS8lqmJYH2lWXtrCGm8w63MuklG-2x7IGzQU1YhkZDkACJ-hCFgMDi4ZNBX5/s436/Tint.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYs-2LUlm0s34QiqRbdiZiLbEMmN3X2Yw314FTZW6ssds7Oj-qEjpM2O56Nc_55byW34U2vWb4WjQLeErIgp8eUw30IIPIMnDOIc_lzsu78485FumaGzTbhqt3GTETq98-KS8lqmJYH2lWXtrCGm8w63MuklG-2x7IGzQU1YhkZDkACJ-hCFgMDi4ZNBX5/w200-h200/Tint.jpg" width="200" /></a></div>The notes go on to point out that in his first concert as Principal Conductor, Roth led the orchestra in Bruckner’s<span style="font-family: inherit;"> </span><i style="font-family: inherit;">Symphony No. 4, </i><span style="font-family: inherit;">and that he and the orchestra will be marking the Bruckner bicentennial by recording the complete set of symphonies, of which the present recording is apparently the first installment. It’s a good start, as this is a fine recording. For those veteran Bruckner fans who may be familiar with the 1873 version from Tintner’s Naxos disc, Roth’s version offers quite a different perspective on the score, with Roth being both livelier in pace and less inclined toward long pauses. Comparing timings by movement between the two conductors we find the following: I. Gemäßigt, misterioso (Roth, 22:59; Tintner, 30:39) II. Adagio: Feierlich (Roth, 16:20; Tintner, 20:40) III. Scherzo: Ziemlich schnell (Roth, 6:07; Tintner, 6:50) IV. Finale: Allegro (Roth, 16:15; Tintner, 19:21). There is much to be said for Tintner’s version, which brings a sense of majesty and wonder to the score; on the other hand, Roth’s approach sounds more natural, more rational, more refined. Devoted Brucknerians might well wish to acquire both. But for those who have never before heard this early version of the score, this Roth recording is the one with which to start. The Gürzenich players obviously are familiar both with Bruckner and with Roth, the end result being a recording that sounds just right, aided by excellent engineering. We are going to be flooded with Bruckner recordings in 2024; let’s hope at least some of them rise to the standard of this one from 2023.</span><p></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-87336030559857962092024-01-07T20:30:00.000-08:002024-01-07T20:30:00.134-08:00 Miloš Baroque (CD Review)<p><i><span style="font-family: inherit;">by Karl Nehring</span></i></p><p><b><span style="font-family: inherit;">Scarlatti: <i>Sonata in D Minor, K. 32 (arr. for Guitar by Michael Lewin)</i>; Vivaldi: <i>Concerto No. 2 in G Minor, RV 439 “La Notte”: VI. Allegro (arr. for Guitar & Baroque Ensemble by Michael Lewin)*</i>; Rameau: <i>The Arts and the Hours (arr. for Guitar by Michael Lewin)</i>; Handel: <i>Suite in B‐Flat Major, HWV 434: IV. Menuet (arr. for Guitar by Michael Lewin)</i>; Vivaldi: <i>Concerto in B Minor, RV 580: I. Allegro (arr. for Guitar & Baroque Ensemble by Michael Lewin)*</i>; Silvius Leopold Weiss: <i>Passacaglia</i>; Scarlatti: <i>Sonata in F Minor, K. 466 (arr. for Guitar by Michael Lewin)</i>; Vivaldi: <i>Concerto in B Minor, RV 580: III. Allegro (arr. for Guitar by Michael Lewin)*</i>; Bach: <i>Partita No. 2 in D Major, BWV </i>1004: <i>Chaconne (arr. for Guitar)</i>; Alessandro Marcello: <i>Concerto in D Minor: II. Adagio (arr. for Guitar & Baroque Ensemble by Michael Lewin)*</i>; Boccherini: <i>Quintet No. 4 in D Major, G 448: IV. Fandango (arr. for Guitar & Baroque Ensemble by Michael Lewin)*</i>; Weiss: <i>Fantasie</i>; Couperin: <i>Les Barricades mystérieuses (arr. for Guitar)</i>; Vivaldi: <i>Trio Sonata in C Major, RV 82: II. Larghetto (arr. for Guitar & Baroque Ensemble by Michael Lewin)*</i>. Miloš Karadaglić, guitar; *Arcangelo, directed by Jonathan Cohen. Sony Classical 19658822942</span></b></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq9vI6vuJNAxX6n8aggFeiCyLNPalymHFIZoZQd7abPR_VoE2fKRZC6mkwDW7JxLTaIfvsDIcEI9VQ3_chqEEU6u5Yy9lyy7SZFA1vAa8pM29ek6pPv1uyhQmi4M3N9r84S7QNHJC0lJFIL34koWOd38ZgeIRqwVwvBpeAslwzacYRNX1NEB5LY9nV6e0m/s436/Miols%20cvr.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq9vI6vuJNAxX6n8aggFeiCyLNPalymHFIZoZQd7abPR_VoE2fKRZC6mkwDW7JxLTaIfvsDIcEI9VQ3_chqEEU6u5Yy9lyy7SZFA1vAa8pM29ek6pPv1uyhQmi4M3N9r84S7QNHJC0lJFIL34koWOd38ZgeIRqwVwvBpeAslwzacYRNX1NEB5LY9nV6e0m/w320-h320/Miols%20cvr.jpg" width="320" /></a></div>Classical guitarist Miloš Karadaglić (b. 1983), known professionally by his first name, Miloš, (sorry, but I can’t help but think of the inept tennis pro from<span style="font-family: inherit;"> </span><i style="font-family: inherit;">Seinfeld</i><span style="font-family: inherit;">) was born in Montenegro but now lives in England. He has released a number of albums, several of which have been reviewed here at</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Classical Candor</i><span style="font-family: inherit;">. Back in 2011, John Puccio reviewed his album Mediterraneo, which, as you might guess from the title, included music by Mediterranean composers such as Albeniz, Tarrega, and Granados, along with some lesser-known names (</span><a href="https://classicalcandor.blogspot.com/2011/06/mediterraneo-cd-review.html" style="color: #954f72; font-family: inherit;">you can find that review here</a><span style="font-family: inherit;">). A year later, John reviewed the young guitarist’s next album,</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Pasio</i><span style="font-family: inherit;">, which featured music from Latin America by tango master Astor Piazzolla and others (</span><a href="https://classicalcandor.blogspot.com/2012/08/pasion-cd-review.html" style="color: #954f72; font-family: inherit;">that review can be seen here</a><span style="font-family: inherit;">). In 2014, John gave a listen to Miloš’s recording of Rodrigo’s touchstone guitar concerto, a piece that has been recorded by nearly every classical guitarist of note (</span><a href="https://classicalcandor.blogspot.com/2014/11/rodrigo-concierto-de-aranjuez-cd-review.html" style="color: #954f72; font-family: inherit;">Concierto de Aranjuez review here</a><span style="font-family: inherit;">). Then in 2021, I reviewed a release titled</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">The Moon and the Forest</i><span style="font-family: inherit;">, wherein Miloš performs guitar concertos by contemporary composers Jody Talbot and Howard Shore (</span><a href="https://classicalcandor.blogspot.com/2021/07/recent-releases-no-13-cd-reviews.html" style="color: #954f72; font-family: inherit;">see that review here</a><span style="font-family: inherit;">), concertos that he believes young listeners who have heard and enjoyed the Rodrigo will also find enjoyable.</span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">On his newest album on the Sony Classics label, Miloš turns his attention to the Baroque period, bringing us music from Bach, Boccherini, Vivaldi, and others, some on solo guitar, some accompanied by the Arcangelo chamber orchestra. Miloš opines in the liner notes that “the Baroque age is a wonderful, mysterious, and exceptionally exciting period. At the same time the Baroque is the starting point for the way in which musical history went on to develop… I find it extraordinarily exciting to carry over into my music making the contrasts between light and shade that left their mark on Baroque art. This aspect emerges, for example, from the often abrupt shifts and the sudden interplay between solo instrument and orchestra. For me as a guitarist, there is something special about immersing myself in this music because it represents a completely different world from the one with which my instrument is traditionally associated.”</span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguKANxQjBeFAaKI8GZaAvuAG1caeskcjlBLh06FktoYD_y1LNElciYewpaIOtcpT05wnfHJUZW9cF2cGpu2KWVTu7UpF_wy0HFaoeNbdYo-2DEG_12vcZz88RVSZLVSEuVWl9oNTvoAAom6GZV8-WwoerwCO0QSE74mjrXXMCwMm4ur1L7aohGYjwJECPB/s275/Milops2.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="183" data-original-width="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguKANxQjBeFAaKI8GZaAvuAG1caeskcjlBLh06FktoYD_y1LNElciYewpaIOtcpT05wnfHJUZW9cF2cGpu2KWVTu7UpF_wy0HFaoeNbdYo-2DEG_12vcZz88RVSZLVSEuVWl9oNTvoAAom6GZV8-WwoerwCO0QSE74mjrXXMCwMm4ur1L7aohGYjwJECPB/s16000/Milops2.jpeg" /></a></span></div><span style="font-family: inherit;">Once again we find a recording that has been shaped in some measure by the COVID-19 pandemic. Although Miloš had begun his preparations for this album before the advent of the virus, its emergence and resultant cancellation of touring and other normal activities allowed him to increase his efforts. “While the rest of the world was holding its breath and came to a standstill, I found that for me it was a time when I felt even more inspired than usual,” he recounts. </span><span style="font-family: inherit;">The album is generally arranged in a way that highlights the dynamic shadings that Miloš mentions. For example, the program opens with the restrained Scarlatti sonata, which Miloš plays on his solo guitar, but then the next selection, a movement from a Vivaldi concerto, ramps up the energy as Miloš’s guitar is joined by the strings of the chamber ensemble Arcangelo (which is, by the way, based in the UK), and then we are back to a more reflective solo guitar piece, an arrangement of Rameau’s</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">The Arts and the Hours. </i><span style="font-family: inherit;">It was hearing Icelandic pianist Vikingur Olafsson’s arrangement (</span><a href="https://www.youtube.com/watch?v=DvYQUIKjtZk" style="color: #954f72; font-family: inherit;">you can see him playing it here</a><span style="font-family: inherit;">) on his</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Debussy-Rameau</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">album (</span><a href="https://classicalcandor.blogspot.com/2020/04/debussy-rameau-cd-review.html" style="color: #954f72; font-family: inherit;">see my review here</a><span style="font-family: inherit;">) that introduced me to this music, which I found enchanting; hearing it again in a different arrangement on a different instrument has been another charming experience.</span><span style="font-family: inherit;"> </span><p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"><br /></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL9w59-giJEt6XYzKaS4qfkRui1EtoySzc9N2xk43U3vLauiB0ahjomQsvt3JhZoUrBTPC9BkQztwRkrYuCuVtvytFEo5JZ5q6aHbpNRn1FG1BAKCXUcyVXZQXlpm7UU1jqZKCWM_7lr_-Iw7XzFJkoe8Ypu0k5g0Gx6Lob024mSIFK48f24Fk4HbHDQLQ/s259/Milos.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="194" data-original-width="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL9w59-giJEt6XYzKaS4qfkRui1EtoySzc9N2xk43U3vLauiB0ahjomQsvt3JhZoUrBTPC9BkQztwRkrYuCuVtvytFEo5JZ5q6aHbpNRn1FG1BAKCXUcyVXZQXlpm7UU1jqZKCWM_7lr_-Iw7XzFJkoe8Ypu0k5g0Gx6Lob024mSIFK48f24Fk4HbHDQLQ/s16000/Milos.jpeg" /></a></div>The whole album is wonderfully entertaining, full of nothing less than refined music making. Two more cuts that really captured my fancy were the Weiss<span style="font-family: inherit;"> </span><i style="font-family: inherit;">Fantasie,</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">from a composer previously unknown to me</span><i style="font-family: inherit;"> </i><span style="font-family: inherit;">and the Couperin</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Les Barricades mystérieuses, </i><span style="font-family: inherit;">a piece with which I was previously familiar from hearing it played on piano recordings by Simone Dinnerstein (</span><a href="https://classicalcandor.blogspot.com/2022/02/simone-dinnerstein-undersong-cd-review.html" style="color: #954f72; font-family: inherit;">see review here</a><span style="font-family: inherit;">) and Khatia Buniatushvili (</span><a href="https://classicalcandor.blogspot.com/2021/08/recent-releases-no-16-cd-reviews.html" style="color: #954f72; font-family: inherit;">see review here</a><span style="font-family: inherit;">). Once again, Miloš makes both these pieces come to life from the strings of his guitar. Truth be told, the whole album is full of life; it is truly one of those releases that should appeal to a broad spectrum of music lovers. </span><p></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-46529955091612558972024-01-03T20:30:00.000-08:002024-01-03T20:30:00.146-08:00Igor Levit: Fantasia (CD Review)<p><span style="font-family: inherit;"><i>by Karl Nehring</i></span></p><p><span style="font-family: inherit;"><b>Bach, J S: <i>Orchestral Suite No. 3 in D major, BWV1068: Air ('Air on a G String') (arr. for piano by A. Siloti)</i>; <i>Chromatic Fantasia & Fugue in D minor, BWV903</i>; Liszt: <i>Piano Sonata in B minor, S178</i>; <i>Der Doppelganger (No. 12 from Schwanengesang, S560, after Schubert)</i>; Berg: <i>Klavierstück in B minor</i>; <i>Piano Sonata, Op. 1</i>; Busoni: <i>Fantasia Contrappuntistica</i>; <i>Nuit de Noël</i>. Igor Levit, piano. Sony Classical 19658811642</b></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0K8pMXdS7YXFn-sR1eOtjYrO2ngDpaqW3ob_EOZUX7KLCwocgkVUCUsnKpRx4JsBYFR8CGFxdAdNCiUQkFPB9IBIr7jsKcOkA0XWvC9JjtEwLbuVM7XpC11BKHPySuoLTsGiznl0UtjiOEAd2ZEAp2UmbSd8ytsjKNroqU_ipMd1JIMIuNotzG9LPj36X/s436/Fant%20cvr.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0K8pMXdS7YXFn-sR1eOtjYrO2ngDpaqW3ob_EOZUX7KLCwocgkVUCUsnKpRx4JsBYFR8CGFxdAdNCiUQkFPB9IBIr7jsKcOkA0XWvC9JjtEwLbuVM7XpC11BKHPySuoLTsGiznl0UtjiOEAd2ZEAp2UmbSd8ytsjKNroqU_ipMd1JIMIuNotzG9LPj36X/w320-h320/Fant%20cvr.jpg" width="320" /></a></div>Russian-German pianist Igor Levit (b. 1987) seems never to do things in a small way. When the pandemic shut things down back in 2020, for example, he began posting a series of videos on Twitter that featured his playing of a variety of works for piano.<span style="font-family: inherit;"> </span><span style="font-family: inherit;"> </span><span style="font-family: inherit;">His recordings have typically been multi-disc releases with some sort of unifying theme. We have reviewed several of those recordings in the past, starting with</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Encounter</i><span style="font-family: inherit;">, a two-CD set that saw Levit playing music by Busoni (his arrangements of works by Bach and Brahms), Reger, and Morton Feldman</span><span style="font-family: inherit;"> </span><span style="font-family: inherit;"> </span><span style="font-family: inherit;">(</span><a href="https://classicalcandor.blogspot.com/2021/03/piano-potpourri-cd-mini-reviews.html" style="color: #954f72; font-family: inherit;">you can read that review here</a><span style="font-family: inherit;">). Later in 2021, we reviewed his album titled</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">On DSCH</i><span style="font-family: inherit;">, another two-CD set that includes the</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">24 Preludes and Fugues</i><span style="font-family: inherit;">by Shostakovich plus the fascinating</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Passacaglia on DSCH</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">by the late Scottish composer Ronald Stevenson (1928-2015)</span><span style="font-family: inherit;"> </span><span style="font-family: inherit;"> </span><span style="font-family: inherit;">(</span><a href="https://classicalcandor.blogspot.com/2021/09/recent-releases-no-19-cd-reviews.html" style="color: #954f72; font-family: inherit;">that review can be found here</a><span style="font-family: inherit;">). Then late in 2022 we reviewed another two-CD recording by Levit, this one titled</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Tristan</i><span style="font-family: inherit;">, which as you might expect from the title contained some music by Wagner along with some Liszt, Henze, and a piano transcription of the opening</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Adagio</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">from the</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Symphony No. 10</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">by Mahler (</span><a href="https://classicalcandor.blogspot.com/2022/11/igor-levit-tristan-cd-review.html" style="color: #954f72; font-family: inherit;">that review is located here</a><span style="font-family: inherit;">). In addition, there is yet another two-CD release from Levit titled</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Life</i><span style="font-family: inherit;"> </span><span style="font-family: inherit;">that I greatly enjoyed but did not review. It includes music by Busoni, Brahms, Schumann, Liszt, Wagner, and – glory be! – Bill Evans. It’s an album to be cherished.</span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkEvaXt1dhVxp02iu8qTU-if4JH8ZpftPXz8hWnAfW_SmsRecvNrZ7iQrmrijH7BLTRFt0i9biQor-5n-m7ZYHisXbjJuwXeSTJnfnKacf8cEoBAqR3fQ4w5vucH2X2ygUc6tX1fzKET89V3cpxw0MwJyb3ajD8_AxKyFTBVzRjHmk6E0f2OhF7fElZkSV/s436/71uCvJSHQoL._AC_UY436_QL65_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkEvaXt1dhVxp02iu8qTU-if4JH8ZpftPXz8hWnAfW_SmsRecvNrZ7iQrmrijH7BLTRFt0i9biQor-5n-m7ZYHisXbjJuwXeSTJnfnKacf8cEoBAqR3fQ4w5vucH2X2ygUc6tX1fzKET89V3cpxw0MwJyb3ajD8_AxKyFTBVzRjHmk6E0f2OhF7fElZkSV/w200-h200/71uCvJSHQoL._AC_UY436_QL65_.jpg" width="200" /></a></span></div><span style="font-family: inherit;">Now we have another two-CD release from this prodigious pianist, which this time begins with music by Bach. However, Levit has not chosen selections from among Bach’s many compositions for keyboard; rather, he begins his program with a transcription for piano of a work that Bach originally composed for a string ensemble, a piece with a melody familiar to us today as the “<i>Air on a G String</i>.” Only then does he move on to a Bach keyboard composition, the <i>Chromatic Fantasia & Fugue in D minor, BWV903, </i>which he plays with a crispness of tone – especially in the opening Fantasia – which reminds the listener of a harpsichord. Then it is on to the grand sonata by Liszt, one of the true touchstones of pianistic romanticism, to which Levit brings clarity, precision, and grace, making of the piece a guided tour through a magnificent jewelry exhibit. The Liszt/Schubert song transcription that follows (<i>Der Doppelganger</i>) acts as a calming, placid encore to end CD1.<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;">. </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8r3T1B81j7sij39BZjg73pxS2bjGMAnw4LTJC6Lbhg5xqJQPcG7zyuDIr7jF817NZ_wmbbP5LfPRYtndzJnOdnnbDAklwZGU2VLrRVBs41bW4Y7tqSENPeT-ZIM5r8plydiW9w9ZpXMP0VBD65EGdwDe23Kdej-046vIioxvd76dUqMEQOQDJ_vTWySnJ/s436/Life%20cvr.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8r3T1B81j7sij39BZjg73pxS2bjGMAnw4LTJC6Lbhg5xqJQPcG7zyuDIr7jF817NZ_wmbbP5LfPRYtndzJnOdnnbDAklwZGU2VLrRVBs41bW4Y7tqSENPeT-ZIM5r8plydiW9w9ZpXMP0VBD65EGdwDe23Kdej-046vIioxvd76dUqMEQOQDJ_vTWySnJ/w200-h200/Life%20cvr.jpg" width="200" /></a></span></div><span style="font-family: inherit;">On CD2, Levit takes us forward in time, starting with a brief (15 bars, lasting only a minute) early scrap of a composition by Berg that was not even published until 1985, 50 years after the composer’s death. Then Levit plays Berg’s much more familiar <i>Piano Sonata,</i> his first published work, an utterly fascinating piece that Levit lays out before the listener with conviction and heart. Berg is the romantic of the serialists; you can sense the passion in this 12-minute, single-movement piece. It is a jewel that Levit has polished to perfection. Then comes the sprawling, 34-minute Busoni <i>Fantasia Contrappuntistica, </i>which Levit has looked forward to recording for a long time an considers the centerpiece of the album, not just for its length, but also for its “larger than life quality,” which he says it has in common with “the ‘Hammerklavier’ Sonata and the Goldberg Variations, both of them charismatic works that look far into the future,” It is a fascinating piece, one that demands repeated listening. The album end with some strange Christmas music by Busoni, possibly originally meant to serve as a kind of brief (4:30) soundtrack for a macabre French silent film with the same title. It’s not unpleasant music – just not quite what you would expect given the title. The booklet notes are insightful, the engineering is excellent, and the program has been well-chosen. Levit has put together another highly recommendable recording.</span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-6336307303738064042023-12-31T20:30:00.000-08:002023-12-31T20:30:00.128-08:00BH’s Favorite Recordings of 2023<i>by Bill Heck</i>
<p class="MsoNormal">I’ve managed to avoid doing a “favorite recordings” list for
the past couple of years, but our persuasive editor, KN, convinced me that I
should do so this time around. You know what? It turned out to be fun to look back through 2023
reviews on <i>Classical Candor</i>, not just my own but those of my colleagues,
KN and RR, as well. (But JJP, when will we be treated to another review
from you? It’s been too long!)</p>
<p class="MsoNormal">Before proceeding, though, I should clarify how my “favorites”
made the list. These are not to be considered somehow “the best” of the year;
instead, they are simply a few recordings that I found both interesting and well
done, ones that I found myself returning to long after their reviews appeared in <i>Classical Candor</i>. Nor
does the ordering of the list reflect some sort of “quality” ranking; it’s
simply in chronological order by review date.</p>
<p class="MsoNormal"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQJvII78mah8_84ulBme5a6pU16NqORNkR_XVg2E3u-LwnjVFb5-jhMnGvLlVIFeyDILrcDpdQGCCjLxusAvSeSzA5DvPN65aZqxsnRzlebXuT28Ao2kgKm7VQ0U-upmvw4beHZVIP_UDK3Bow9dOE6sfncE16dNZ2qGQ4GE9hPR4nRnkxKzVIEGwG2eMW/s400/Georner-Albeniz-Iberia.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="400" data-original-width="400" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQJvII78mah8_84ulBme5a6pU16NqORNkR_XVg2E3u-LwnjVFb5-jhMnGvLlVIFeyDILrcDpdQGCCjLxusAvSeSzA5DvPN65aZqxsnRzlebXuT28Ao2kgKm7VQ0U-upmvw4beHZVIP_UDK3Bow9dOE6sfncE16dNZ2qGQ4GE9hPR4nRnkxKzVIEGwG2eMW/w200-h200/Georner-Albeniz-Iberia.jpg" width="200" /></a></b></div><p><b>Albeniz:<i> Iberia</i>. Nelson Goerner. Alpha Classics
829</b>.<span style="mso-spacerun: yes;"> </span><i>Iberia</i> is one of those
works in which one can be lost, moving through a kaleidoscopic world of themes and
emotions. Goerner is by turns playful and serious, light and dark, swift and
slow, somber and feverish, reflecting the music’s moods in a performance that
rewards repeated hearings. Alpha’s outstanding sound compliments and completes
the picture. By the way, technically this recording is a 2022 release, but I
didn’t get around to publishing a review until January of this year, so it
makes the list anyway.</p><p> </p><p> </p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzk_-qz9t5SPsadxI7SU3A57N2p2HqKD98agnAKfC0GJ6qLNriQuLKEQ1Y1kr2e-F9ZOkZAxPcWan1tWk-9Dfvxk2OQGqmpCADesB4X4eysbTNeQ4F8yr7xpZbG_KViG25UvkYua3Fxg4EKJYlS7JK5G2o6g3waTpUe-TUHZBK0MDCU5X63yLY-SsdbnQe/s340/Arnold-Clarinet-Concerto-And-Orchestral-Works.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzk_-qz9t5SPsadxI7SU3A57N2p2HqKD98agnAKfC0GJ6qLNriQuLKEQ1Y1kr2e-F9ZOkZAxPcWan1tWk-9Dfvxk2OQGqmpCADesB4X4eysbTNeQ4F8yr7xpZbG_KViG25UvkYua3Fxg4EKJYlS7JK5G2o6g3waTpUe-TUHZBK0MDCU5X63yLY-SsdbnQe/w200-h200/Arnold-Clarinet-Concerto-And-Orchestral-Works.jpg" width="200" /></a><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzk_-qz9t5SPsadxI7SU3A57N2p2HqKD98agnAKfC0GJ6qLNriQuLKEQ1Y1kr2e-F9ZOkZAxPcWan1tWk-9Dfvxk2OQGqmpCADesB4X4eysbTNeQ4F8yr7xpZbG_KViG25UvkYua3Fxg4EKJYlS7JK5G2o6g3waTpUe-TUHZBK0MDCU5X63yLY-SsdbnQe/s340/Arnold-Clarinet-Concerto-And-Orchestral-Works.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a></b><b> </b></p><p><b>Arnold: Concerto No. 1 for Clarinet and Strings Op. 20;
etc. Chandos CHAN 20152</b>. This disk of multiple works by Malcolm Arnold (I
named only the Clarinet Concerto in the headline above) was reviewed by our
colleague, Ryan Ross, but I’m including it here because it meets the criteria
of interest and excellence. Frankly, I was only vaguely familiar with the music
of Malcolm Arnold; this disk was an excellent introduction to a composer that I
need to, and am getting to, know better. If you, too, are unfamiliar with
Arnold’s work, read Ryan’s review of this disk <a href="https://classicalcandor.blogspot.com/2023/04/arnold-clarinet-concerto-no-1-and-other.html">here</a> and go find a copy. </p><p></p>
<p class="MsoNormal"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_iHMxO2SYfV3UmGdk9RxzR6SSBo1ka3h6Ez04Z1CfyHUXGwAaj6vhD2Xdq0L7_nE7MbZRczPUD-RXjiiNoDgJ3bbW7_OG6XZyySpwE8Gwol3rWFjHBi9Wny5sJ1T5FQwIaF3YmCYVLFz7B5Gq-EiASK68-f2lDhNlVERlj8A-b31i2BcvrucYL9E0Vk2N/s800/Beethoven_Brawn_Vol7.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="795" data-original-width="800" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_iHMxO2SYfV3UmGdk9RxzR6SSBo1ka3h6Ez04Z1CfyHUXGwAaj6vhD2Xdq0L7_nE7MbZRczPUD-RXjiiNoDgJ3bbW7_OG6XZyySpwE8Gwol3rWFjHBi9Wny5sJ1T5FQwIaF3YmCYVLFz7B5Gq-EiASK68-f2lDhNlVERlj8A-b31i2BcvrucYL9E0Vk2N/w200-h199/Beethoven_Brawn_Vol7.jpg" width="200" /></a></b></div><b>Beethoven: <i>A Beethoven Odyssey: Volume 7 (Piano
Sonatas Nos. 30, 31, and 32)</i>. James Brawn, piano. MSR Classics MS 1471</b>.
I reviewed both volumes 7 and 8 of Brawn’s <i>A Beethoven Odyssey </i>series this
year, but I should call your attention to the entire series; volume 1 – 8 are currently
available and the release of the final volume, number 9, is coming
up in 2024. Our colleague John Puccio reviewed several of the earlier volumes
in the series, and he and I are of one mind in finding Brawn’s playing consistently
so “right”, so “of course that’s the way it should be”. That the MSR engineers
capture the sound of the Steinway so well is the proverbial icing on the cake.<p></p>
<p class="MsoNormal"><b> </b></p><p class="MsoNormal"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXuMnXRYWuGB98yGWKjmf9mPW1EPSnaHdkZfpVuyo7vfUp3Ouvygqdgo0Uf7A0gHNecxYKgchXQfpM7zjL04lGiMgxOAEudFKodAwh4fJMiKjSKyc9QwFiEDo1pxOjB8hjdnMNTOgsU6v6Fh0lW_UPN2lTkWg2v3IeA-bnJXeIJr2jC7AJyKQekN6-SC6-/s600/InMemoriamLarsVogt.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXuMnXRYWuGB98yGWKjmf9mPW1EPSnaHdkZfpVuyo7vfUp3Ouvygqdgo0Uf7A0gHNecxYKgchXQfpM7zjL04lGiMgxOAEudFKodAwh4fJMiKjSKyc9QwFiEDo1pxOjB8hjdnMNTOgsU6v6Fh0lW_UPN2lTkWg2v3IeA-bnJXeIJr2jC7AJyKQekN6-SC6-/w200-h200/InMemoriamLarsVogt.jpg" width="200" /></a></b></div><b>Brahms: <i>Double Concerto</i>, Op 192; Viotti: <i>Violin
Concerto No. 22</i>; Dvorak: <i>Silent Woods</i>, Op.68/5. Christian Tetzlaff
(violin), Tanja Tetzlaff (cello), Paavo Järvi/Symphonie-Orchester Berlin.
Ondine ODE 1423-2</b>. An extraordinarily touching memorial to a lost friend,
the late pianist Lars Vogt. But don’t let the “in memoriam” aspect lower your
expectations: the performance of the Brahms Double Concerto is a fine one, passionate
but technically sound, while the Viotti Concerto is, if not music of the first
rank, well worth hearing. And if the short Dvorak piece from <i>Silent Woods</i>
doesn’t provoke a lump in your throat, you may need an emotion transplant. <p></p>
<p class="MsoNormal"><b> </b></p><p class="MsoNormal"><b>Hyperion catalog on streaming services</b>. No, this is not an individual recording. But for those of us who rely heavily on streaming, the
availability of the Hyperion catalog on major
streaming services is a cause for celebration. Note that Hyperion started releasing their existing catalog for streaming in batches starting in September; if your favorite title is not yet available, it will be soon. 2023 was a good year!</p>
<hr />
<p class="MsoNormal">There we are. I didn’t set out to confine myself to composers
whose names started with one of the first two letters of the alphabet, so I’ll
try for more variety in 2024. Meanwhile, I hope that your listening is full of
highlights every day.</p>
Bill Heckhttp://www.blogger.com/profile/03670564817061467454noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-83687703658835706182023-12-27T20:30:00.000-08:002023-12-29T07:35:13.586-08:00Phantasy in Blue (CD Review)<p><i><span style="font-family: inherit;">by Karl Nehring</span></i></p><p><b><span style="font-family: inherit;">Tchaikovsky (arr. Stefan Malzew): <i>Variations on a Rococo Theme, Op. 33</i>; Vivaldi (arr. Itai Sobol): <i>Cello Concerto in A minor, RV418</i>; de Falla (arr, Sebastian Gottschick): <i>Siete canciones populares españolas ("Seven Spanish Folksongs")</i>; Shostakovich (arr. Levon Atovmian): <i>Prelude from the Gadfly, Op. 97</i>; <i>Elegy from The Human Comedy, Op. 37</i>; Shostakovich (arr. Louis-Noël Fontaine): <i>Waltz No. 2 from Suite for Variety Orchestra</i>; Gershwin (arr. Malzew): <i>Phantasy in Blue (after Rhapsody in Blue)</i>. Alban Gerhardt, cello; Alliage Quintett (Daniel Gauthier, soprano saxophone; Miguel Vallés Mateu, alto saxophone; Simon Hanrath, tenor saxophone; Sebastian Pottmeier, baritone saxophone; Jang Eun Bae, piano). Hyperion CDA68419</span></b></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxbBScW0fva04hKu_d38_6qxUn7tlzJ6AbjCGChJoM7i5l5TqAsUxoEPHfSEQ2redfrlvqGM1YO5jl0VTl1hyphenhyphenfNehp91mDl-svjPzjzoojvn7dMcuUeHEClTZE-rZAGnVms1mi8gpMHfomnBvgT0rX0S6hI_2qiPHZvSGD4cgY3NRYBlEmTvZftxp2uGis/s436/Phantasy%20cvr.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxbBScW0fva04hKu_d38_6qxUn7tlzJ6AbjCGChJoM7i5l5TqAsUxoEPHfSEQ2redfrlvqGM1YO5jl0VTl1hyphenhyphenfNehp91mDl-svjPzjzoojvn7dMcuUeHEClTZE-rZAGnVms1mi8gpMHfomnBvgT0rX0S6hI_2qiPHZvSGD4cgY3NRYBlEmTvZftxp2uGis/w320-h320/Phantasy%20cvr.jpg" width="320" /></a></span></div><span style="font-family: inherit;">Having been quite favorably impressed by a recording of the two Shostakovich cello concertos that the German cellist Alban Gerhardt (b. 1969) recorded for Hyperion three years ago (</span><a href="https://classicalcandor.blogspot.com/2020/12/some-new-releases-cdsacd-mini-reviews.html" style="color: #954f72; font-family: inherit;">you can see that review here</a><span style="font-family: inherit;">), plus being intrigued by the both the eclectic program and the unusual combination of instruments Gerhardt had assembled (cello and saxophone quartet plus piano playing music ranging from Vivaldi through Shostakovich to</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Rhapsody in Blue </i><span style="font-family: inherit;">– what the heck?!), this was a CD to which I simply had to give a listen. It looked as though it would be a memorable listening experience one way or the other – either a dud or a delight. As Gerhardt and the Alliage Quintett began their musical journey through Tchaikovsky’s sprightly</span><span style="font-family: inherit;"> </span><i style="font-family: inherit;">Variations on a Rococo Theme</i><span style="font-family: inherit;">, it soon became clear that this CD would indeed prove to be a delightful musical listening experience, and so it came to pass.</span><span style="font-family: inherit;"> </span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNfaUsXKEfdVJBnz-YsPoSlQPO-ioggxOBmQze8CmA-HoHZdfHgb95yU0Y2BPOlVR1PcGhCXdI_P0apvcYPNcSwhwtQesTHAaSIa3SwVz5IzRjvN_hiHdJvQrAH75gCPL2AR38nZm25HyCgSJwh8pEdXPuQmBtEgVkYpKNUXz2mWFKR1NWH9FxqM6Y6SyG/s299/Geb%20photo.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNfaUsXKEfdVJBnz-YsPoSlQPO-ioggxOBmQze8CmA-HoHZdfHgb95yU0Y2BPOlVR1PcGhCXdI_P0apvcYPNcSwhwtQesTHAaSIa3SwVz5IzRjvN_hiHdJvQrAH75gCPL2AR38nZm25HyCgSJwh8pEdXPuQmBtEgVkYpKNUXz2mWFKR1NWH9FxqM6Y6SyG/s16000/Geb%20photo.jpeg" /></a></span></div><span style="font-family: inherit;">Gerhardt has cast a wide net across both time and space for his selections, the prize catch being the Gershwin. It is worth the price of admission for this recording just to hear him emulate the opening clarinet smear of <i>Rhapsody in Blue </i>on his cello. Whoa! Now, that’s a sound guaranteed to bring a smile to the sound of even the most jaded music lover, and the rest of the arrangement works surprisingly well, bringing this release to a rousing, triumphant conclusion.<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><i><span style="font-family: inherit;"> </span></i></p>Karl Nehringhttp://www.blogger.com/profile/10215438954877585680noreply@blogger.comtag:blogger.com,1999:blog-4122466599291053884.post-17841182235641033852023-12-24T20:30:00.001-08:002023-12-24T21:39:32.857-08:00Our Favorite Christmas Recordings (CD Reviews)<p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;">One of the most delightful dimensions of Christmas is the music that attends the season. From the most devotional church music to familiar carols to popular Christmas songs, music fills the air at this time of the year. At this most wonderful time of the year, we at <i>Classical Candor</i> thought it might be fun to share a few of our favorite Christmas recordings. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><b><span style="font-family: inherit;">Karl Nehring’s Christmas Favorites:<o:p></o:p></span></b></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"><b><i></i></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><b><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl-U5P0zBQNc95HVr3R3i5fmMpijbU3VkR6q_vBq9rTjp5dBXxQ7VGwrQBPMNzKvTOFBJ7lWzVWpwJFPzacfwqOb7qYi0ayL_G22DFE_EsuKrCPCkMR0I0G5RdPBJsikrhTv0ezOG0jwYgczJfG7_HI_g4jYFgRhWsKkajXckgBKdkthETXAlKBlGQ_EQn/s530/Ess%20Carols%20cvr.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="530" data-original-width="522" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl-U5P0zBQNc95HVr3R3i5fmMpijbU3VkR6q_vBq9rTjp5dBXxQ7VGwrQBPMNzKvTOFBJ7lWzVWpwJFPzacfwqOb7qYi0ayL_G22DFE_EsuKrCPCkMR0I0G5RdPBJsikrhTv0ezOG0jwYgczJfG7_HI_g4jYFgRhWsKkajXckgBKdkthETXAlKBlGQ_EQn/w197-h200/Ess%20Carols%20cvr.jpg" width="197" /></a></i></b></span></div><span style="font-family: inherit;"><b><i>Essential Carols: The Very Best of King’s College Choir, Cambridge</i>. (CD1) <i>Hark! the Herald Angels Sing</i>; <i>The First Nowell</i>; <i>While Shepherds Watched</i>; <i>I Saw Three Ships</i>; Ding Dong! Merrily on High; <i>King Jesus Has a Garden</i>; <i>In Dulci Jubilo</i>; <i>Unto Us Is Born a Son</i>; <i>O Come, All Ye Faithful</i>; <i>Away in a Manger</i>; <i>O Little Town of Bethlehem</i>; <i>The Holly and the Ivy</i>; <i>God Rest Ye Merry, Gentlemen</i>; <i>See Amid the Winter's Snow</i>; <i>Past Three O' Clock</i>; <i>Invitatory</i>; <i>Adam Lay Ybounden</i>; <i>Gabriel's Message</i>; (CD2) <i>Once in Royal David's City</i>; <i>Sussex Carol</i>; <i>Rocking</i>; <i>Rejoice and Be Merry</i>; <i>The Cherry Tree Carol</i>; <i>The Three Kings</i>; <i>As with Gladness Men of Old</i>; <i>A Great and Mighty Wonder</i>; <i>The Infant King</i>;<i>Balulalow</i>; <i>The Crown of Roses</i>; <i>Christ Was Born on Christmas Day</i>; <i>Blessed Be That Maid Mary</i>; <i>Lute-Book Lullaby</i>; <i>Myn Lyking</i>; <i>Personent Hodie</i>; <i>In the Bleak Mid-Winter</i>; <i>Coventry Carol</i>; <i>Shepherds in the Field Abiding</i>; <i>Torches</i>; <i>Fantasia on Christmas Carols</i>. Simon Preston, Andrew Davis. organ; The Choir of King’s College; David Willcocks, conductor. Decca B0005302-02</b>. This is the straight stuff, traditional carols sung by a young British choir in a beautiful chapel. As you listen, you can almost close your eyes and imagine yourself at a Christmas Eve candlelight service. <o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"><b><i></i></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><b><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD2mHbL8JtqIb8zK4W2NUPqf2tlHMZWKp4E_5dJ-f0bwUf8SmTsdxaQ7UCTgT0QE0BD_IPmjW0dMSVoHg2juUxywKX26Kg0AwGWOhyHdlVw9ugcRF37VfCWCuEwFT8EnrcvAXOyQ_YwcaeVXdV2sJG5_vdvt7klPuFUv64SjG3QDlwvX9zGWmR1Ijpbdph/s522/MTC%20Christmas%20cvr.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="520" data-original-width="522" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD2mHbL8JtqIb8zK4W2NUPqf2tlHMZWKp4E_5dJ-f0bwUf8SmTsdxaQ7UCTgT0QE0BD_IPmjW0dMSVoHg2juUxywKX26Kg0AwGWOhyHdlVw9ugcRF37VfCWCuEwFT8EnrcvAXOyQ_YwcaeVXdV2sJG5_vdvt7klPuFUv64SjG3QDlwvX9zGWmR1Ijpbdph/w200-h199/MTC%20Christmas%20cvr.jpg" width="200" /></a></i></b></span></div><span style="font-family: inherit;"><b><i>A Mormon Tabernacle Choir Christmas</i>. <i>Joy to the World</i>; <i>Carol of the Bells</i>; <i>I Wonder As I Wander</i>; <i>Whence Is That Goodly Fragrance?</i>; <i>Masters in This Hall</i>; <i>The First Noel</i>; <i>How Far Is It to Bethlehem?</i>; <i>Pat-A-Pan</i>; <i>What Shall We Give to the Babe in the Manger?</i>; <i>One December Bright and Clear</i>; <i>Fantasy on 'What Child Is This?</i>; <i>Hark! the Herald Angels Sing</i>; <i>Jesus, Jesus, Rest Your Head</i>; <i>Angels from the Realms of Glory</i>; <i>Silent Night</i>. Mormon Tabernacle Choir; Orchestra at Temple Square; Craig Jessop, conductor. Telarc DSD CD-80552.</b> From this side of the pond, another world-class choir serves up a program of traditional Christmas music. Here we have the 350-voice strong Mormon Tabernacle Choir (now known as The Tabernacle Choir at Temple Square) with orchestral accompaniment recorded in glorious sound quality by the engineering team at Telarc. Hard to find but worth the search.<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"><b><i></i></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><b><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfQL6sc_nwpFMKaJnxwEqI9trrv3ZJZYzEbO_XlNqK3BKgJr3toPItmcrUFGOtU_ZhEtmIXpk81vahN8HQmsA2yG0LlrYVnjxeWbi_M3HJf8DaZQOun0F6xd3TGpdAB0T_TIDMBM5t1cW4M0Q8LcFk6ekRzZy_usBsdFFGw8hDtG5GjG_0L_AZAEo6ANW9/s436/Bayless%20cvr.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfQL6sc_nwpFMKaJnxwEqI9trrv3ZJZYzEbO_XlNqK3BKgJr3toPItmcrUFGOtU_ZhEtmIXpk81vahN8HQmsA2yG0LlrYVnjxeWbi_M3HJf8DaZQOun0F6xd3TGpdAB0T_TIDMBM5t1cW4M0Q8LcFk6ekRzZy_usBsdFFGw8hDtG5GjG_0L_AZAEo6ANW9/w200-h200/Bayless%20cvr.jpg" width="200" /></a></i></b></span></div><span style="font-family: inherit;"><b><i>Christmas Rhapsody</i>. <i>O Come All Ye Faithful / Angels We Have Heard on High / Hark! The Herald Angels Sing</i>; <i>I'll Be Home for Christmas / "Going Home" (New World Symphony)</i>; <i>Santa Claus Is Coming to Town / Dance of the Sugar Plum Fairy</i>; <i>The Christmas Song</i>; <i>Rudolph the Red Nosed Reindeer / Let It Snow; Ave Maria</i>; <i>O Come O Come Emanuel / O Little Town of Bethlehem / The First Noel; Winter Wonderland / Jingle Bells</i>; <i>Silent Night / O Holy Night</i>; <i>Sweet Little Jesus Boy / Away in a Manger / What Child Is This?</i>; <i>Jesu Joy of Man’s Desiring / Amazing Grace</i>; <i>Have Yourself a Merry Little Christmas</i>; <i>White Christmas</i>. John Bayless, piano. Koch KOC-CD-9610.</b> This is an album that brings a joyous, upbeat holiday spirit into your home. The medleys include carols along with more popular music associated with the holidays. I still remember receiving the CD for review years ago and thinking I was going to hate it – I thought it was going to be superficial, lightweight, New Age fluff. I played it only out of a sense of duty and was delighted – and have played it every year since. It’s a keeper.<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"><b><i></i></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><b><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsdi5KM5Icz4-0mKmR3v-3a8rWAhb1Sf7N9pTFR68JbntY-ynnXmy-yYcZzlQ84hPBuj24G42Q4UbVZMEANJfyroIyrW_7nN6YqZM6hsvkKe2Vd_ic22F9SMuhqGJrbF-tA1fEq5pdYeI0mnS-uXSXs1I-w5xEmyDBbQmrAKxuHx2SPvvMsT9ji8UH9AlN/s436/Joyous%20cvr.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsdi5KM5Icz4-0mKmR3v-3a8rWAhb1Sf7N9pTFR68JbntY-ynnXmy-yYcZzlQ84hPBuj24G42Q4UbVZMEANJfyroIyrW_7nN6YqZM6hsvkKe2Vd_ic22F9SMuhqGJrbF-tA1fEq5pdYeI0mnS-uXSXs1I-w5xEmyDBbQmrAKxuHx2SPvvMsT9ji8UH9AlN/w200-h200/Joyous%20cvr.jpg" width="200" /></a></i></b></span></div><span style="font-family: inherit;"><b><i>Joyous Day! Songs of Christmas Arranged by Barlow Bradford</i>. <i>Angels We Have Heard on High</i>; <i>Infant Holy, Infant Lowly</i>; <i>Sussex Carol</i>; <i>Still, Still, Still</i>; <i>I Wonder As I Wander</i>; <i>Pat-a-Pan</i>; <i>Star Candles</i>; <i>Jesus, Jesus Rest Your Head</i>; <i>Bring a </i>Torch, Jeanette, Isabella; <i>Suo Gan</i>; <i>Carol of the Bells</i>; <i>Silent Night</i>. Utah Chamber Artists; Barlow Bradford, artistic director. Clarion CLR928CD</b>. Familiar Christmas music from an unfamiliar ensemble, but my goodness, in many ways this deftly arranged and expertly recorded release is the most fully satisfying Christmas recording I have ever heard. Perhaps it is because of the smaller forces involved, but somehow the balance of sound seems just right, perfectly appropriate for the music. Whatever the reason, this CD is a hidden gem of a Christmas recording!<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"><b><i></i></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><b><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRMJ8zG9WrfG1KGJsgpG5KS2ntrchQGo5tiEwbbO7jCdu037Q9ORcXoC0Cj5lTk4yV_wYxZaEYb7JBnDWpaiEJjgJ939bQCBDwfYWGyZ8uPhwwwBkeWo0tx70mBZ_XjX36BuA-X6gv_o_rC58NHMVxWVAGFUXRfCPLoCSy0QLO29lvqyqt1DHsXCVWQMEr/s436/Kiho%20cvr.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="424" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRMJ8zG9WrfG1KGJsgpG5KS2ntrchQGo5tiEwbbO7jCdu037Q9ORcXoC0Cj5lTk4yV_wYxZaEYb7JBnDWpaiEJjgJ939bQCBDwfYWGyZ8uPhwwwBkeWo0tx70mBZ_XjX36BuA-X6gv_o_rC58NHMVxWVAGFUXRfCPLoCSy0QLO29lvqyqt1DHsXCVWQMEr/w194-h200/Kiho%20cvr.jpg" width="194" /></a></i></b></span></div><span style="font-family: inherit;"><b><i>Ki ho’alu Christmas: Hawaiian Slack Key Guitar</i>. <i>Do You Hear What I Hear?</i>; <i>C-H-R-I-S-T-M-A-S (The Meaning of Christmas)</i>; <i>Christmas Carol Waltz</i>; <i>Mele Kalikimaka</i>; <i>Away in a Manger</i>; <i>Winter Wonderland</i>; <i>Christmas Memories</i>; <i>It Came Upon a Midnight Clear</i>; <i>Little Drummer Boy</i>; <i>Fireside Ki ho’alu</i>; <i>Medley: Kanaka Waiwai / Jesu Mo Ke Kahuhipa; Po La’i E (Silent Night)</i>; <i>Silent Night</i>. Keola Beamer, guitars; Ledward Kaapana, guitar, autoharp; Moses Kahumoku, guitar; Cyril Pahinui, 12-string guitar. voice; James “Bla” Pahinui, guitar; Barney Isaacs, acoustic steel guitar; George Kuo, guitar; Rev. Dennis Kamakahi, 12-string guitar, voice; Ozzie Kotani, guitar; George Kahumoku, 12-string guitar; Cindy Combs, guitar; Joanie Komatsu, guitar, voice; Ruth Komatsu, recorder. Dancing Cat Records 090222-38037-2. </b>For those unfamiliar with slack key guitar, here is a quick explanation courtesy of the good folks at Wikipedia: “<b>slack-key guitar</b> (from Hawaiian <i>kī hōʻalu</i>, which means "loosen the [tuning] key") is a fingerstyle genre of guitar music that originated in Hawaii. Nearly all slack key requires retuning the guitar strings from standard (EADGBE), and this usually (but not always) means lowering or "slacking" several strings. The result will most often be an open major chord, although it can also be a major-seventh chord, a sixth, or (rarely) a minor.” Hearing this Christmas music played in these unusual tunings is an ear- and mind-opening experience that will bring a smile to all but the most hidebound mainlander. (To be perfectly honest, though, my very favorite CD in this style is <i>Slack Key Christmas</i> on the Windham Hill label, but sadly enough, it is now out of print and difficult to track down.)<o:p></o:p></span><p></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: inherit;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: inherit;"><b><i></i></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><b><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXmrrU4gW6bI7EV3nKRDlc8fK4se_GmWBhgrRtvd7wKo2PkuC8pjICcck2Q3QJODQChgcm_IGzI8_rzBLJI773qglewb5T74nvLPoHsmE3Vk-TgVB-Ldv6HNHdPc3XKQ4P5UZTq2ETzBjHCSDQ-6Cx7Rk22-umFbHggRoipDhyphenhyphenWo9-a_cirAKiRfbnQF2b/s436/Roches%20cvr.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="436" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXmrrU4gW6bI7EV3nKRDlc8fK4se_GmWBhgrRtvd7wKo2PkuC8pjICcck2Q3QJODQChgcm_IGzI8_rzBLJI773qglewb5T74nvLPoHsmE3Vk-TgVB-Ldv6HNHdPc3XKQ4P5UZTq2ETzBjHCSDQ-6Cx7Rk22-umFbHggRoipDhyphenhyphenWo9-a_cirAKiRfbnQF2b/w200-h200/Roches%20cvr.jpg" width="200" /></a></i></b></span></div><span style="font-family: inherit;"><b><i>We Three Kings</i> - The Roches. <i>Break Forth O Beauteous Heavenly Light</i>; <i>For Unto Us A Child Is Born</i>; <i>Angels We Have Heard On High</i>; <i>Deck The Halls</i>; <i>Christmas Passing Through</i>; <i>Sleigh Ride</i>; <i>Away in a Manger</i>; <i>Here We Come a Carolling</i>; <i>The Little Drummer Boy</i>; <i>The Holly & The Ivy</i>; <i>Frosty The Snowman</i>; <i>Do You Hear What I Hear</i>?; <i>We Three Kings</i>; <i>Star Of Wonder</i>; <i>Winter Wonderland</i>; <i>Joy To The World</i>; <i>O Little Town Of Bethlehem</i>; <i>Good King Wenceslas</i>; <i>Jingle Bells</i>; <i>The First Noel</i>; <i>God Rest Ye Merry Gentlemen</i>; <i>It Came Upon A Midnight Clear</i>; <i>Adeste Fideles</i>; <i>Silver Bells</i>. Maggie Roche, vocals, keyboards; Terre Roche, vocals, guitars, piano; Suzzy Roche, vocals, guitars, keyboards; Vince Cherico, drums and drum programming, percussion; Paul Ossola, bass guitar, upright bass; Victor Lesser, Saxophones. MCA Records / Paradox Records MCAD -10020. </b>This is one of those albums that you will either love or hate. Or you might love it on Monday, hate it on Tuesday, put it away for a few days, but on the Saturday before Christmas, pull it out and love it again. The three sisters harmonize, weave in and out in counterpoint, have some fun, but also show reverence when reverence is called for. Quirky? Yes. But full of the spirit of Christmas. It will make you smile and enjoy the holiday season.</span><div><b style="font-family: "Times New Roman", serif;"><i><br /></i></b></div><div><b style="font-family: "Times New Roman", serif;"><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOzZV4hClfa93xDjOan5A_KOemLUqnjawHf1EcfhyphenhyphentbEywNC8NSNs3Sh9YBwuNrlSmJFBiXyipdb26l-s3MXsVlRTGw2ekmg8NY-wDQJvSILnFBoaYfcEtg5PyzML93Qn7dAgQUwhZi-C4CuOiYGHOpDZks8gWsxEytYDzRZ2PJwYDlsRfEne6u0BwkSjN/s436/81S2xMAy-nL._AC_UY436_QL65_.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="436" data-original-width="368" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOzZV4hClfa93xDjOan5A_KOemLUqnjawHf1EcfhyphenhyphentbEywNC8NSNs3Sh9YBwuNrlSmJFBiXyipdb26l-s3MXsVlRTGw2ekmg8NY-wDQJvSILnFBoaYfcEtg5PyzML93Qn7dAgQUwhZi-C4CuOiYGHOpDZks8gWsxEytYDzRZ2PJwYDlsRfEne6u0BwkSjN/w169-h200/81S2xMAy-nL._AC_UY436_QL65_.jpg" width="169" /></a></div>A Charlie Brown Christmas</i> (Deluxe Edition). <i>Tannenbaum</i>; <i>What Child Is This</i>; <i>My Little Drum</i>; <i>Linus & Lucy</i>; <i>Christmas Time Is Here (Instrumental)</i>; <i>Christmas Time Is Here (Vocal)</i>; <i>Skating</i>; <i>Hark, The Herald Angels Sing</i>; <i>Christmas Is Coming</i>; <i>Für Elise</i>; <i>The Christmas Song</i>; <i>Tannenbaum (Take 2/recorded September 21, 1965)</i>;<i>Tannenbaum (Take 3/recorded September 21, 1965)</i>; <i>Greensleeves (Take 6/recorded October 28, 1965)</i>; <i>Linus And Lucy (Take 1/recorded September 17, 1965)</i>; <i>Christmas Time Is Here (Take 1/recorded September 17, 1965)</i>;<i>Christmas Time Is Here (Vocal) (Rehearsal/recording Date Unknown)</i>; <i>Christmas Time Is Here (Take 4/recording Date Unknown)</i>; <i>Skating (Take 1/recorded September 22, 1965)</i>; <i>Jingle Bells (Takes 1-4/recorded September 21, 1965)</i>; <i>Christmas Is Coming (Take 3/recorded September 17, 1965)</i>; <i>Christmas Is Coming (Take 3/recorded September 21, 1965)</i>; <i>Für Elise (Takes 1-2/recording Date Unknown)</i>; <i>The Christmas Song (Take 8/recorded October 28, 1965)</i>. Ince Guaraldi Trio. Craft Recordings. </b><span style="font-family: "Times New Roman", serif;">This is the latest incarnation of a true Christmas classic. According to the Craft website,” this deluxe CD release of</span><span style="font-family: "Times New Roman", serif;"> </span><i style="font-family: "Times New Roman", serif;">A Charlie Brown Christmas</i><span style="font-family: "Times New Roman", serif;"> features a brand-new Stereo Mix of the classic album remastered from the original three-track and two-track sources, as well as thirteen unreleased outtakes, highlights taken from five sessions of recording material. Amazing in their own right these unheard versions give insight into how this iconic score took shape. The package also features new liner notes from Peanuts historian, Derrick Bang.” For many homes, including mine, Christmas is just not Christmas without frequent playing of this soundtrack, a true Christmas classic.</span><p class="MsoNormal" style="font-family: "Times New Roman", serif; margin: 0in;"><o:p></o:p></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; margin: 0in;"><br /></p><p><b><span style="font-family: inherit;">Bill Heck's Christmas </span>Favorites</b></p><p><span style="font-family: inherit;">What would the holiday season be without Tchaikovsky’s <i>Nutcracker</i> ballet? Surely even Ebenezer Scrooge had a soft spot for this lovely,
imaginative music and, at least for many of us if not for poor Ebeneezer, the
warm memories that it can evoke. </span></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b></b></span></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4_YL2P5NddFbOsTXWK7Z5AueSWO2UWriX-eRqPLgSTyOpbL7uIBtrGMAdap-CI7yLnV_10_c-erpN-lEOupIfHeprX4Jd4virUtDniRVoAlnUVDr0Cg0_qiYYCDwg80vJksIEcP3caCH-2RFcB2Ta49SN47iEoYQWgxyuydpHKMSjJEgI0eXb7l5rsKVt/s688/Nutcracker_Dorati_LSO.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="688" data-original-width="688" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4_YL2P5NddFbOsTXWK7Z5AueSWO2UWriX-eRqPLgSTyOpbL7uIBtrGMAdap-CI7yLnV_10_c-erpN-lEOupIfHeprX4Jd4virUtDniRVoAlnUVDr0Cg0_qiYYCDwg80vJksIEcP3caCH-2RFcB2Ta49SN47iEoYQWgxyuydpHKMSjJEgI0eXb7l5rsKVt/w177-h177/Nutcracker_Dorati_LSO.jpg" width="177" /></span></a></b></div><span style="font-family: inherit;"><b>Antal Dorati/London Symphony Orchestra. Mercury Living
Presence 475 6623</b>. If we can say that any recording of the complete ballet
is the “standard”, this might be it. It is well-played, with tempos that are
mostly quick but rarely rushed. The recording, one of the Mercury <i>Living Presence</i> series, is superb for its time and still holds up well. Some may with for a little more atmosphere, both artistically and
sonically, but you can hardly go wrong with this as your baseline for how the <i>Nutcracker</i>
should be done. </span><p></p><p class="MsoNormal"><span style="font-family: inherit;"><br /></span></p><p class="MsoNormal"></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b></b></span></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2MDHbwNCBw8kyjaxVOOWwg7ETRSohFCEdQntaNXyoyfi1WJsgwWwl_gFYWQwejnGxcCBi2ERB2ZO54ochvC_1Qxm10pznC9gI5JpJR77annEBhnWjnvQ4lV67P6RyojTqpZSw2LfVU7daN6cdMaLAmvG_2WSs5jhXhjzNGnRXSISCHbL9Bi2xS9WBNqLY/s720/Nutcracker_Ozawa_Boston.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="720" data-original-width="712" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2MDHbwNCBw8kyjaxVOOWwg7ETRSohFCEdQntaNXyoyfi1WJsgwWwl_gFYWQwejnGxcCBi2ERB2ZO54ochvC_1Qxm10pznC9gI5JpJR77annEBhnWjnvQ4lV67P6RyojTqpZSw2LfVU7daN6cdMaLAmvG_2WSs5jhXhjzNGnRXSISCHbL9Bi2xS9WBNqLY/w174-h176/Nutcracker_Ozawa_Boston.jpg" width="174" /></span></a></b></div><span style="font-family: inherit;"><b>Seiji Ozawa/Boston Symphony Orchestra. DG 00289 477 5153</b>.
Another fine option for the complete ballet, and it’s packaged with <i>Swan
Lake</i> and <i>The Sleeping Beauty</i> in the multi-CD set. This performance
seems to have a little more of that aforementioned “atmosphere”, with slightly
freer tempi and slightly more sonic clarity to bring out all the marvelous inner
parts. I really must give special mention to the <i>Waltz of the Flowers, </i>which
is simply stunning; how can one not want to dance along? </span><p></p><p class="MsoNormal"><span style="font-family: inherit;"> <br /></span></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5at-nu16Fup_TDJdxDC7TYAJSnngzj4c5HFxzbREzzuWHvdulu5XbKs8hW64GKbB4lmvsYm6bYSghkr3ULAw5Uin6whCk6C4KL5_eR905ax23XxQthyGJ4SK7GysZvlYj8naF6wIPfrYpGSq7WIVh7QFJpZFaHjxoEaM8LeDmotU4vq-uEaFg-0udYiJ5/s786/Nutcracker_Goodyear.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="708" data-original-width="786" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5at-nu16Fup_TDJdxDC7TYAJSnngzj4c5HFxzbREzzuWHvdulu5XbKs8hW64GKbB4lmvsYm6bYSghkr3ULAw5Uin6whCk6C4KL5_eR905ax23XxQthyGJ4SK7GysZvlYj8naF6wIPfrYpGSq7WIVh7QFJpZFaHjxoEaM8LeDmotU4vq-uEaFg-0udYiJ5/w178-h160/Nutcracker_Goodyear.jpg" width="178" /></span></a></b></div><p></p><p class="MsoNormal"><span style="font-family: inherit;"><b>Stewart Goodyear (piano arrangement) Steinway STNS 30040</b>.
Goodyear’s is not the only piano arrangement of the ballet out there, but is
arguably the best, and the arranger plays it well indeed. If, when hearing this,
you did not know that it was a transcription of an orchestral piece, you might
easily assume that it was originally written for the keyboard. It’s a given
that the Steinway engineers do a good job of capturing the sound of – yes – a
Steinway.</span></p><p class="MsoNormal"><span style="font-family: inherit;"> </span></p><p class="MsoNormal"></p>
<p class="MsoNormal"><span style="font-family: inherit;"><b></b></span></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1_t6EOkf1rJNXYe1XnvvRBENC6ykoF9bOtaFYl4hGBfkPn1bUIrHz4Nf1ggRDH_3Xv77Zb6tNdIggR6R31dQ_OiaNrU1VHLFbojL4NL4G4DeUulP1pZQlXkKYCzdseQ4HsvTi3NdTLOkG-ELFc3XphBgXPzrnxdCh2N1zoxKd9U2mswdVjHck_tCJlbpZ/s698/Nutcracker_LAGuitar.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="698" data-original-width="698" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1_t6EOkf1rJNXYe1XnvvRBENC6ykoF9bOtaFYl4hGBfkPn1bUIrHz4Nf1ggRDH_3Xv77Zb6tNdIggR6R31dQ_OiaNrU1VHLFbojL4NL4G4DeUulP1pZQlXkKYCzdseQ4HsvTi3NdTLOkG-ELFc3XphBgXPzrnxdCh2N1zoxKd9U2mswdVjHck_tCJlbpZ/w177-h177/Nutcracker_LAGuitar.jpg" width="177" /></span></a></b></div><span style="font-family: inherit;"><b>LA Guitar Quartet: Nutcracker Suite Delos DE 3132</b>. Not
the complete ballet, of course, but it’s amazing how well Tchaikovsky’s music
can be adapted beyond its original orchestral context. Four guitars allow real exploration of the harmonies that were in the orchestral version, but with completely different balances, each line winding its way through a unified whole. The playing is first rate, as is the Delos audiophile-grade sound.</span><p></p><p class="MsoNormal"><span style="font-family: inherit;"><br /></span></p>
<p class="MsoNormal"><b><span lang="EN" style="font-family: inherit; mso-ansi-language: EN;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDDn6kyyio27nYawxSQ0Bg1dCJokXQKwYnoZWYzIudBbpM3TVJ66E42w0x5IrnBzd_RfcsKVVumaryyBGLIabs6F0PU-ELJS2DarsbTDkrE2viWKJUMiTG-JSZ1uORlWgbRywQ80q5gJTMv0R-Gjk8woiDfpoqoZeyaOzYo15EzEWuADI_saT_jGSkf6Rb/s776/Nutcracker_Ellington_Harmonie.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="695" data-original-width="776" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDDn6kyyio27nYawxSQ0Bg1dCJokXQKwYnoZWYzIudBbpM3TVJ66E42w0x5IrnBzd_RfcsKVVumaryyBGLIabs6F0PU-ELJS2DarsbTDkrE2viWKJUMiTG-JSZ1uORlWgbRywQ80q5gJTMv0R-Gjk8woiDfpoqoZeyaOzYo15EzEWuADI_saT_jGSkf6Rb/w185-h165/Nutcracker_Ellington_Harmonie.jpg" width="185" /></span></a></b></div><span style="font-family: inherit;"><b>Nutcracker
Suite as arranged by Duke Ellington and Billy Strayhorn; played by the Harmonie
Ensemble of New York, conducted by Steve Richmond. Harmonia Mundi HMU
907493</b>. Seventeen tracks of syncopated enjoyment. Ellington and Strayhorn work
their magic in (re)arranging the originals into a jazzy suite, here played by
an excellent big band. (Alas, it appears that the Harmonie Ensemble is now defunct.)
Just the thing to cap the holidays and send us off in rousing style!</span><p></p>
<div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><b>Bryan Geyer's Christmas Favorites</b></span></div><div><b><span style="font-family: inherit;"><br /></span></b></div><div><div class="x_gmail_default" style="border: 0px; caret-color: rgb(36, 36, 36); color: #242424; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size-adjust: inherit; font-size: 15px; font-stretch: inherit; font-variant-alternates: inherit; font-variant-east-asian: inherit; font-variant-ligatures: inherit; font-variant-numeric: inherit; font-variant-position: inherit; font-variation-settings: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: inherit;">I'm unable to pick any particular recording, but these two <i>modern era </i>Christmas songs have always seemed more significant than the rest: </span></div><div class="x_gmail_default" style="border: 0px; caret-color: rgb(36, 36, 36); color: #242424; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size-adjust: inherit; font-size: 15px; font-stretch: inherit; font-variant-alternates: inherit; font-variant-east-asian: inherit; font-variant-ligatures: inherit; font-variant-numeric: inherit; font-variant-position: inherit; font-variation-settings: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: inherit;"><i><br /></i></span></div><div class="x_gmail_default" style="border: 0px; caret-color: rgb(36, 36, 36); color: #242424; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size-adjust: inherit; font-size: 15px; font-stretch: inherit; font-variant-alternates: inherit; font-variant-east-asian: inherit; font-variant-ligatures: inherit; font-variant-numeric: inherit; font-variant-position: inherit; font-variation-settings: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: inherit;"><i>"The Christmas Song"</i> became a Nat King</span><span style="font-family: inherit;"> </span><span class="mark3hp7x1cpm" data-markjs="true" data-ogab="" data-ogac="" data-ogsb="" data-ogsc="" style="border: 0px; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size-adjust: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-alternates: inherit; font-variant-caps: inherit; font-variant-east-asian: inherit; font-variant-ligatures: inherit; font-variant-numeric: inherit; font-variant-position: inherit; font-variation-settings: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Cole</span><span style="font-family: inherit;"> </span><span style="font-family: inherit;">classic and any of his various recordings would be appropriate.</span></div><div class="x_gmail_default" style="border: 0px; caret-color: rgb(36, 36, 36); color: #242424; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size-adjust: inherit; font-size: 15px; font-stretch: inherit; font-variant-alternates: inherit; font-variant-east-asian: inherit; font-variant-ligatures: inherit; font-variant-numeric: inherit; font-variant-position: inherit; font-variation-settings: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: inherit;"><br aria-hidden="true" /></span></div><div class="x_gmail_default" style="border: 0px; caret-color: rgb(36, 36, 36); color: #242424; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size-adjust: inherit; font-size: 15px; font-stretch: inherit; font-variant-alternates: inherit; font-variant-east-asian: inherit; font-variant-ligatures: inherit; font-variant-numeric: inherit; font-variant-position: inherit; font-variation-settings: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: inherit;"><i>"Have Yourself a Merry Little Christmas" </i>was subject to excessive revision, generally applied to "jolly up" the basic WWII thematic setting. I personally prefer the original, or versions close to it—maybe because I clearly remember those WWII days—but it's catchy stuff regardless of the score.</span></div></div></div>Bill Heckhttp://www.blogger.com/profile/03670564817061467454noreply@blogger.com