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SCRIABIN SYMPHONIES 3 & 4, London Symphony Orchestra, Valery Gergiev/LSO Live SACD LSO 0771 Judging by the number of recent and planned releases, record companies seem to have a new found interest in promulgating the orchestral music of Alexander Scriabin on disc. This release from LSO Live is the first in a cycle of Scriabin Symphonies from Valery Gergiev (a long time champion of this composer) and the London Symphony Orchestra. Both performances were recorded live in concerts at the Barbican in March 2014 (Symphony No.4, ‘The Poem of Ecstasy’) and April 2014 (Symphony No.3 ‘The Divine Poem’). Of the composer Gergiev says “Scriabin should be today understood as a man who was able to create a wonderfully magical musical world, and we just have to give in. We have to be imprisoned by these compositions and the magical powers of their creator”. True to his word Gergiev delivers riveting accounts of both works on this SACD, and thanks to the magnificent playing of the 100 – strong LSO, the compelling vision of his interpretations is realised to the full. The majority of the composition of Symphony No.3 ‘The Divine Poem’ took place in1903 at a time when Scriabin was becoming more preoccupied with the grandiose philosophical and mystical ideas that he attempted to express in his music. The Symphony is scored for massive orchestral forces and is the composer’s longest work. Continue reading

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RACHMANINOV: PIANO CONCERTO NO. 1, STRAVINSKY, SHCHEDRIN, Denis Matsuev, Lexapro 10 mg coupons, Valery Gergiev/Buy propranolol online australia MAR0587 For his latest release Denis Matsuev has had the interesting idea to present three works for piano and orchestra from three different generations of Russian composers on this SACD and, since the performances and recordings are uniformly excellent, this is a most satisfying programme. Matsuev immediately demonstrates his virtuoso credentials in a scorching account of Rachmaninov’s 1st Piano Concerto in its usual 1917 revision. The outer movements leave one breathless with the pianistic fireworks on display, yet in the central ‘Andante’ he is able to bring great romantic warmth and delicacy to the music with his nuanced playing. Since Valery Gergiev and the Mariinsky Orchestra seem to be fired by Matsuev’s enthusiasm, their alert accompaniment is both thrilling and, where appropriate, caressingly sensitive. The conductor’s idiomatic moulding of the romantic theme with which the Concerto opens being a case in point. Stravinsky’s Capriccio that follows is equally impressive. Matsuev really brings out the humour in this witty piece while the powerful contribution of the players of the Mariinsky Orchestra gives Stravinsky’s sparkling orchestration a definite Russian feel. Finally we have the 2nd Piano Concerto of Rodion Shchedrin. This was written in 1966 and is one of the composer’s most inventive pieces. Though it flirts with the music of the European avant- garde of the time by using a twelve-tone theme in the opening movement ‘Dialogues’, it sounds closer to Prokofiev than any serialist composition. This is especially true in the driving toccata-like second movement ‘Improvisations’ that Matsuev dispatches with considerable aplomb. The final movement ‘Contrasts’ is a compositional tour de force during which Shchedrin introduces a jazz combo between passages of tremendous rhythmic energy. The present recording is dedicated to the memory of the ballerina Maya Plisetskaya (1925 -2015) Shchedrin’s wife and dedicatee of this Concerto who passed away shortly after the making of this recording. An alternative version on SACD by Mark-Andre Hamelin is equally recommendable as an interpretation but is nowhere near as well recorded as this one. All three works were recorded live in the Concert Hall of the Mariinsky Theatre by the excellent team of Philipp Nedel (b-sharp), Martin Kistner and Fyodor Naumov. The 5.0 DSD multi-channel is one of the most vivid I have heard from this label and is worthy of Matsuev and Gergiev’s exciting partnership.

MAHLER: SYMPHONY NO.1, Utah Symphony Orchestra , Thierry Fischer/Pharmacy online us FR-715 Older collectors will remember with affection the cycle of Mahler symphonies recorded by Maurice Abravanel and the Utah Symphony Orchestra that began in the 1960s. Those pioneering recordings (the first complete Mahler cycle to be recorded in the USA) not only introduced Mahler to many listeners but raised the profile of this fine Salt Lake City based orchestra. Now, from the Reference Recordings Fresh! Label, we have a compelling new account of Mahler’s 1st Symphony recorded in state-of-the-art sound from this same orchestra under their current Music Director, the Swiss conductor Thierry Fischer. This was taken from live performances given in the Maurice Abravanel Hall (September 2014). A glance at the total timing for this SACD (52.55) indicates that Fischer’s performance is towards the swifter end of the spectrum for recordings of this work, suggesting that it is to be the antithesis of lingering indulgence, which indeed proves to be the case. The magical opening pages of the first movement are beautifully controlled with the off-stage trumpets suitably distanced yet absolutely audible. The surprising immediacy of the woodwind entries indicate that the engineers have gone for a closely recorded balance ( possibly to avoid audience noise) but any slight lack of the dreamy atmosphere of Mahler’s ‘Naturlaut’ is more than compensated for by the freshness of the playing and the crisply focused sound. The main body of the movement, with the exposition repeat taken, is beautifully shaped with Fischer conveying the sense of foreboding in the passage from 8.13. The gradual build up to the movement’s final climax is free from any exaggerated slackening of tempo and the final pages are exhilaratingly joyous. The Ländler Scherzo is trenchant and beautifully articulated by the orchestra with the bass line especially clearly defined. Fischer’s sane tempo maintains the music’s momentum while the Trio section demonstrates both his lightness of touch and masterly control of rubato that gives the music a winning insouciance. The contrasting grotesque funeral march that follows shows the superb quality of the individual players in this orchestra, as first muted double bass then bassoon, cello, bass tuba, clarinet and finally plaintive oboe make their entrances over the steady tread of the timpani. The parodic klezmer passages are suitably telling but never over played. The raging opening of Fischer’s finale is a roller-coaster ride with fabulous orchestral playing and demonstration worthy sonics that will be seized upon by both audiophiles and Mahlerites alike. The thunderous percussion and incisive brass of the Utah Symphony are absolutely thrilling, but with the appearance of the lyrical second theme (at 3.22) the Utah strings are given the opportunity to show their mettle. This they do with ravishingly sensitive playing and subtle nuances of dynamics, whilst Fischer’s use of rubato is subtle and free of mannerism. As the material from earlier movements is recalled there is no loss of impetus and the build up to the triumphant final bars is magnificently handled, the coda capped with a room-shaking bass drum. The recording team from Soundmirror, Boston (Dirk Sobotka, John Newton and Mark Donahue) have, as usual, worked their magic and, as I have already indicated, produced a 5.1 multi-channel recording (64fs DSD) of astonishing tonal richness, clarity and presence. On the basis of this recording there is little doubt that Thierry Fischer is a Mahler interpreter of some stature and the projected recording of Mahler’s 8th Symphony in February 2016, scheduled for release in 2017, will be eagerly anticipated.

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BRAHMS: 1ST PIANO QUARTET OP.25, ORCH. SCHOENBERG, Netherlands Philharmonic Orchestra, Marc Albrecht/PENTATONE SACD PTC 5186398  One early manifestation of Arnold Schoenberg’s admiration of Brahms as a progressive composer is his orchestration of the latter’s 1st Piano Quartet Op.25 that he undertook in 1937. In a letter to the music critic of the San Francisco Chronicle two years after the premier Schoenberg gave a number of cogent reasons for undertaking his arrangement of the quartet. “I like the piece” “It is seldom played” “It is always very badly played, because, the better the pianist, the louder he plays and you hear nothing from the strings. I wanted once to hear everything, and this I achieved.” “My intentions: To remain strictly in the style of Brahms and not to go farther than he himself would have gone if he lived today.” Continue reading

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‘ROMANTIC METAMORPHOSES’: VIEUXTEMPS: VIOLA SONATA, ZEMTSOV: MELODIE IM ALTEN STIL, BLOCH: SUITE, Dana Zemtsov, viola, Cathelijne Noorland, piano/Channel Classics SACD CC SSA 37215  The young viola player Dana Zemtsov’s first disc for Channel Classics, entitled ‘Enigma’, immediately confirmed her as an artist of immense talent and musical intelligence. On that disc she confidently delivered an exacting group of compositions for unaccompanied viola that challenged both listener and performer. In complete contrast, her latest recording ‘Romantic Metamorphoses’ comprises a varied and well-chosen programme that explores the various manifestations of the word ‘romantic’ in musical terms. Continue reading

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NIELSEN SYMPHONIES 2 & 6, Royal Stockholm Philharmonic, Sakari Oramo/BIS BIS-2128 SACD  This issue completes Sakai Oramo’s impressive cycle of the Nielsen Symphonies with the Royal Stockholm Philharmonic Orchestra for BIS that now joins the other two complete cycles on SACD from Colin Davis and the London Symphony Orchestra (LSO Live) and Alan Gilbert and the New York Philharmonic Orchestra on the Dacapo label. On this new release Oramo couples the composer’s 2nd and 6th Symphonies (“The Four Temperaments” and “Sinfonia Semplice”) two compositions with radically different complexions yet both unmistakeably the work of the Danish master. In a recent interview Sakari Oramo opined “Nielsen doesn’t allow conductors to display their personalities, because the music is best served by leaving it mostly alone, taking it on trust, producing the drama, giving the fullest energy possible and not stopping for detail.” The adoption of such an approach has already served Oramo very well in the previous two volumes (Symphonies 4 & 5 and Symphonies 1 & 3) and does so here with predictably impressive results. The opening ‘Allegro collerico’ of the 2nd Symphony explodes with almost pyrotechnic force and savagery yet Oramo brings great breadth and nobility to the third movement – marked ‘Andante malincolico’ – allowing abundant rich and expressive playing from the strings of splendid Stockholm orchestra. The Symphony’s second movement flows gracefully at what I consider to be an ideal tempo, while the buoyant finale has all the swagger and confidence that makes this conductor’s Nielsen so thrilling to experience. The same propulsive energy is evident in much of the enigmatic 6th Symphony, but again Oramo allows his players to bring poetry and a sense of mystery to the more reflective sections of the first movement whilst never underplaying the irony and bitterness that permeates much of the work. The final bars where Nielsen, to paraphrase from David Fanning’s excellent liner notes, ‘gives death the finger’ is delivered by Oramo with an appropriate disdainful finality. The sound quality of the 5.0, 24-bit / 96 kHz recording is, as usual from BIS, magnificent with the full dynamic range of the music vividly reproduced. Though the reverberation period of the Stockholm Concert Hall is generous, the BIS engineering team have achieved marvellous clarity throughout. Altogether this is a fitting conclusion to what is arguably the finest and most consistent cycle of Nielsen Symphonies on disc.

ATTERBERG: SYMPHONIES 1 & 5, Neeme Järvi/Chandos SACD CHSA 5154  This the third release in Neeme Järvi’s ongoing survey for Chandos of the orchestral and symphonic works by the Swedish composer Kurt Atterberg (1887-1974). Volume1 and Volume 2 included all the composer’s even numbered symphonies while this latest disc is occupied by the 1st and 5th Symphonies. Those who have acquired the two earlier issues will know exactly what to expect in terms of an interpretive stance from Järvi. As so often, he favours fast speeds that impart a sense of urgency and drive to the outer movements of both symphonies – an approach that in the context of these two dramatic compositions works particularly well. But the lovely second movement of the 1st Symphony is taken at a flowing andante rather than the marked ‘Adagio’, while the central ‘Lento’ of the 5th Symphony, that gives the work its title ‘Sinfonia funebre’, is powerfully lamenting as opposed to anything that suggests funereal solemnity. To be fair, listeners encountering these works for the first time are unlikely to feel that excessive haste is a problem. When, however, one compares Järvi’s slow movements with those on the fine CD versions by Ari Rasilainen and Frankfurt Radio Symphony Orchestra, the latter’s more measured tempi and expansive phrasing may be considered by some to bring an extra eloquence to the music that Järvi misses. Conversely the visceral excitement that Järvi engenders in both works, aided by electrifying playing from the Gothenburg Symphony Orchestra, who have never sounded better, is not to be underestimated. The 5.0 multi-channel recordings (24-bit/96kHz) made in the Gothenburg Concert Hall by the experienced team of Lennart Dehn and Torbjörn Samuelsson in February 2014 (Symphony No. 5) and January 2015 (Symphony No.1) are open and spacious, with a wide stereo spread. Those primarily seeking the best possible sound quality will almost certainly go for this Chandos SACD, though the Rasilainen / CPO recordings made in the 1990s still sound pretty good. Recommended.

MAHLER/SCHOENBERG: LIEDER EINES FAHRENDEN GESELLEN,ETC., Royal Academy of Music Soloists Ensemble, Trevor Pinnock/LINN CKD 481 SACD  In a number of respects this is the most interesting (and certainly varied) release so far in this series for Linn of recordings from Trevor Pinnock and the Royal Academy of Music Soloists Ensemble. As with the first two volumes they explore chamber reductions of works written for larger ensembles in the spirit of Arnold Schoenberg’s ‘Society for Private Musical Performance’ that he founded in 1918 to both create and educate an audience for modern music in post-war Vienna. Mahler’s familiar ‘Lieder eines fahrenden Gesellen’ is already so transparent in texture in the composer’s own orchestral version that Schoenberg’s ingenious arrangement does not seem radically different from the original. The four songs are performed by Gareth Brynmor John whose light baritone is well suited to the narrative of the cycle and Pinnock’s flowing accompaniment is delivered with much sensitivity by his talented young players. Only at the climax of the third song ‘Ich hab’ ein glühend Messer’ (2.14) did I miss the force of Mahler’s full orchestra – a piano being no substitute for a cymbal crash. Busoni’s haunting and deeply moving ‘Berceuse élégiaque’ – subtitled ‘The man’s cradle song at his mother’s coffin’– was premièred by the New York Philharmonic Orchestra conducted by Mahler in his final concert in New York in 1911. Here it is presented in the arrangement by the Schoenberg disciple and pupil Erwin Stein, its poignancy arguably gaining from the spare lines of Stein’s chamber version. Stein did make a nine instrument arrangement of just two of Zemlinsky’s ‘Sechs Gesänge’ Op 13, but here we have a new version of all six made by the conductor, teacher and orchestrator Christopher Austin. The ‘Sechs Gesänge’, based on poems by Maurice Maeterlinck, were composed originally as songs with piano accompaniment (1910-1913) and later orchestrated in 1924. Like many artists of the period Zemlinsky was attracted to Maeterlinck’s mysterious poetry and philosophical symbolism and in their glittering orchestral garb the composer’s settings represent a striking example of late-romantic voluptuousness. Mindful of this, Christopher Austin has included an accordion and a vibraphone to enrich the palette of his chamber scoring. The vocal soloist is the young mezzo-soprano Katie Bray who, barring some occasional unsteadiness, possesses both the necessary power and beauty of tone to do full justice to these challenging songs. The final item on the disc is Wagner’s popular ‘Siegfried Idyll’ in its original version for a small chamber orchestra of thirteen players. The work’s beauty, charm and intimacy is conveyed in a way that full orchestral accounts can never match, and one could hardly imagine a finer performance than it receives here from the excellent Royal Academy of Music Soloists Ensemble. Like the previous releases in this series the recording was made in St. George’s, Bristol (February 2014). The sound is very clean and detailed, but not lacking in warmth, thanks to the fine acoustic of the venue and the capable engineering of Philip Hobbs. Linn’s fulsome liner notes include texts and translations, though strangely there is no mention of either singer until you reach page 38 of the booklet! Altogether a most enjoyable and fascinating issue.

MOZART: OPERA ARIAS & OVERTURES, Scottish Chamber Orchestra, Elizabeth Watts, Christian Baldini/Linn CKD 460 SACD  Rather than issuing a disc made up solely of either Mozart arias or Mozart overtures, Linn have had the happy idea to combine the two for this beautifully performed and recorded programme that not only showcases the remarkable talent and musicianship of soprano Elizabeth Watts but also the stylish orchestral playing of the Scottish Chamber Orchestra. Each of the six overtures on this SACD, expertly recorded by Philip Hobbs in the Usher Hall, Edinburgh, (3rd to 6th June 2013), is followed by a soprano aria from the respective Mozart opera (or in the case of Don Giovanni both of Zerlina’s arias), something that makes for a more varied and interesting recital than is often the case. The creamy soprano of Elizabeth Watts seems perfectly suited to Susanna’s aria ‘Deh vieni non tardar’ from Act IV of the ‘Marriage of Figaro’, but she is equally adept in the more stylised world of Opera Seria, as is demonstrated by her dramatic and fiery delivery of the recitative preceding Ilia’s aria ‘Padre, germani, addio! from ‘Idomeneo’. Throughout this recital Watts’ firm and beautifully controlled singing meets the challenges posed by the diverse characters portrayed in these six Mozart operas and, thanks to her feeling for the words and immaculate diction, she is most successful in differentiating between each of them; no easy task in programmes of this type. Christian Baldini elicits lively, but never hard driven, performances from the thirty six members of the Scottish Chamber Orchestra whose period influenced style (natural horns, timpani played with hard sticks etc.) is a delight. Elizabeth Watts’ voice is set in perfect perspective with the orchestra ensuring that the characterful winds are always audible. Full texts and translations and are included, and Philip Borg-Wheeler’s liner notes provide useful background information on each of the operas as well as placing the respective arias in context. Wherever you dip into this disc you will find singing of great character, freshness and refinement that marks out all of Elizabeth Watts’ performances, making this a disc to return to often with much pleasure. Highly recommended.

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MAHLER: SYMPHONY NO. 9, Budapest Festival Orchestra, Ivan Fischer/Channel Classics SACD CC SSA 36115  One imagines that it must be a daunting prospect for any conductor to contemplate the recording of a cycle of Mahler symphonies, particularly in view of the abundant recorded legacy available from some of the greatest conductors of the past such as Walter, Klemperer, Bernstein, Solti, Abbado.. the list goes on. Ivan Fischer’s cycle of these works with his hand-picked Budapest Festival Orchestra has emerged gradually over the past ten years, and even with this outstanding new SACD of the Symphony No. 9 we have the enticing prospect of Symphonies 3, 7 and 8 still to come. The slow gestation period of this Mahler cycle has meant that Fischer has been able to refine and deepen his interpretations of these works with his marvellous orchestra in the concert hall before committing them to disc in the studio. The magnificent results are plain to hear in what many consider to be the apogee of Mahler’s symphonic output. Continue reading

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GREAT COMEDY OVERTURES: THE BARBER OF BAGHDAD, DONNA DIANA FRA DIAVOLO, MARTHA, IL MATRIOMONIO SEGRETO, THE MERRY WIVES OF WINDSOR,• MIGNON SI J’ÉTAIS ROI, SUSANNA’S SECRET, ZAMPA, ZAR UND ZIMMERMANN, Royal Scottish National Orchestra Lance Friedel/Naxos Blu-Ray Audio NBD 0043  These days one would be lucky to hear any of these wonderfully crafted eleven Comedy Overtures in the Concert Hall let alone encounter a complete performance of the works from which they are taken. For that reason alone the attractive selection of music performed on this disc is most welcome. The majority of the Overtures performed here were written in the 19th century whilst just two – Domenico Cimarosa’s ‘Il matrimonio segreto’ and Ermanno Wolf-Ferrari’s ‘Il segreto di Susanna’ – stem from the 18th and 20th centuries respectively. All these pieces are beautifully orchestrated by their respective composers and crammed full of beguiling melodies. They can hardly fail to be enjoyed, whether listened to all at once or simply randomly dipped into. The American conductor Lance Friedel directs the Royal Scottish National Orchestra in efficient well-drilled performances (that include some fine wind solos), though there is sometimes a lack of charm and nuance evident, especially when compared with accounts from more charismatic conductors from the past such as Beecham, Karajan, Szell and especially Paray, whose incomparable account of Auber’s ‘Fra Diavolo’ overture can be heard on a marvellous Mercury Living Presence SACD. The recordings were made in the Henry Wood Hall, Glasgow, – the orchestra’s main rehearsal and recording studio – a venue not renowned for its acoustic richness – and engineered by the usually reliable Phil Rowlands. Wind, brass and percussion are cleanly reproduced, but the acoustic does not flatter the strings which can sound rather shrill when playing forte or above. This multi-channel Blu-ray audio disc offers a choice of 2.0 Stereo (24-bit 96 kHz) and 5.1 Surround DTS-HD Master Audio selectable at the touch of a button on the player. In stereo the sound is well focused and has a pleasing ambience, but the 5.1 Surround mix is disappointing. Though some sound does emanate from the centre channel there is virtually nothing at all from the surround speakers. Further, the overall volume when listening in multi-channel seems much reduced. You can watch and listen to the orchestra performing the overture to Peter Cornelius’s ‘Der Barbier von Bagdad at which provides a taste of what to expect. In spite of the reservations stated above this generous collection (79′.41”) has much appeal.

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BERLIOZ: LA DAMNATION DE FAUST, Soloists, Boston Symphony Orchestra , Seiji Ozawa/PENTATONE SACD PTC 5186 212 (2 discs)  This is the first recording of Berlioz’s ‘La Damnation de Faust’ to appear on SACD and it represents a remarkable improvement on the previous LP and CD releases of this 1973 set. For this remastering PENTATONE have used the original 4.0 channel quadraphonic Deutsche Grammophon tapes which have been expertly remastered by Polyhymnia to produce a pretty spectacular realisation of the work – one that sonically, at least, does full justice to the composer’s description of the piece as a ‘Légende dramatique’. Continue reading

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TINTOMARA Wim van Hasselt/Channel Classics SACD CCSSA36315  The exciting choice of music for Wim van Hasselt’s second SACD for Channel Classics – entitled ‘Tintomara’ – is even more eclectic in both its compositional periods and styles than his first. The virtuoso trumpeter is partnered here by Jörgen van Rijen, the principal trombonist of the Royal Concertgebouw Orchestra, as well as other diverse instrumentalists, in an unusual but thoroughly entertaining programme of music whose composition ranges over more than 300 years. It includes not only works specifically written for trumpet and /or trombone but also transcriptions of music originally written for other instrumental combinations. The disc opens with three delightful Purcell arrangements in which the duo of Wim van Hasselt and  Jörgen van Rijen  are supported appropriately by a group of musicians playing recorders, theorbo, cello,  baroque guitar and organ. Continue reading