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WAGNER: SIEGFRIED Soloists, Rundfunk-Sinfonie Orchester, Berlin, Marek Janowski PENTATONE PTC 5186 408 SACD This is the penultimate release in both PentaTone’s recorded cycle of ‘Der Ring des Nibelungen’ and their ambitious and remarkable project to issue on SACD Wagner’s ten mature operas before the end of the Wagner bi-centenary year. Though only requiring a cast of eight singers, ‘Siegfried’ is probably the most difficult of the four Ring operas to cast successfully mainly due to the immense vocal challenges to be faced by the work’s eponymous hero. In this respect Marek Janowski has a trump card in the figure of Stephen Gould, one of the finest Heldentenors of our time. Continue reading

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WAGNER: DIE WALKURE Soloists, Rundfunk-Sinfonieorchester, Berlin, Marek Janowski/Pentatone SACD PTC 5186  The thrilling opening bars of Act 1 of ‘Die Walküre’ are always special in performance, but the way in which Marek Janowski and his wonderful Rundfunk-Sinfonieorchester, Berlin tear into them on this new PentaTone recording of the opera is absolutely electrifying. The fury of both the emotional and the natural storm depicted in this music is immediately communicated to the receptive listener. Throughout this recording the magnificent quality of the orchestral playing is obvious in a performance that finds both Janowski and his orchestra at the top of their game culminating in the most thrilling account of Act 3 that I can remember ever hearing. Continue reading

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LUTOSLAWSKI: ORCHESTRAL WORKS Jerzy Maksymiuk/Orchestra Sinfonia Varsovia BeArTon SACD CDB052 There have been no new recordings on SACD from the excellent Polish label BeArTon for quite some time, so this new release of three works by Witold Lutoslawski – the centenary of whose birth is being celebrated this year – is particularly welcome. The ‘Concerto for Cello and Orchestra’ dates from 1969-1970 and is one of Lutoslawki’s most impassioned and succinct works. Written for and first performed by Mstislav Rostropovich in London in 1970 it is in one single movement though it falls into four distinct sections – not given separate track numbers on this recording. The distinguished British cellist Robert Cohen gives a virtuoso account of this challenging piece and the adversarial nature of the orchestral accompaniment is excellently realised by the incisive orchestral playing that Jerzy Maksymiuk elicits from Orchestra Sinfonia Varsovia. Lutoslawski’s ‘Piano Concerto’ was written for his Polish compatriot Krystian Zimerman and given its first performance by him at the Salzburg Festival in 1988 with the ORF Symphony Orchestra conducted by the composer. The ‘Piano Concerto’ is in four clearly delineated sections played attacca (though here, unlike the Cello Concerto, they are delineated with track numbers). Ewa Poblocka plays the busy opening two sections with compelling virtuosity while she brings a wonderful range of tonal colour to the introspective third. The orchestra open the final part which is permeated by staccato stabs and an energetic piano part that drives the music to an exciting conclusion. The Los Angeles Philharmonic Orchestra commissioned Lutoslawski’s 4th Symphony, his last major work, and they gave its first performance under the composer’s direction in 1993.The opening of this symphony is surely some of the most melodious and romantic music Lutoslawski ever composed, so the episodes of aleatoric and dissonant music that appears throughout the opening movement come as quite a shock. The second movement rises seamlessly from the first – a lyrical theme on the strings contrasting with much faster music. Gradually the music dies away to single spare instrumental lines and pizzicato strings, but the symphony ends with a powerful orchestral climax. Jerzy Maksymiuk and his fine orchestra play this complex music with complete assurance and beauty of tone. The recordings of all three pieces, made in the Witold Lutoslawski, Concert Studio of Polish Radio in Warsaw, are state-of-the-art in clarity, immediacy and depth of sound. It is hardly the fault of BeArTon that there are already fine alternative recordings on SACD of all three works featured on this disc though with different couplings. The comprehensive survey of this composer’s music on Chandos has reached Volume IV and been very well received, whilst there is another excellent recording of the Cello Concerto played by Christian Poltéra on BIS. Nevertheless it would be a great pity if the fine qualities of this superbly performed and recorded disc were to be overshadowed by the intense competition elsewhere. Most warmly recommended.

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DIABOLO (MDG 9061757-7) is a beautifully produced 2-disc package that represents MDG’s latest developments in sophisticated surround sound recording. It carries their current 2+2+2 recording process to a new level that they describe as 2222+. One disc is a hybrid SACD sampler consisting of 28 well-chosen excerpts from some of the finest recordings in MDG’s extensive classical catalogue. The lavish booklet that accompanies ‘Diabolo’ provides details of the discs from which these excerpts are taken as well as ‘press acclaim’ for the recordings – some of which come from reviews posted on SA-CD.net as well as in many other International publications. Continue reading

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BRUCKNER SYMPHONY NO. 2  Orchestre de ls Suisse Romande, Marek Janowski/PentaTone SACD PTC 5186448  Marek Janowski’s consistently fine cycle of Bruckner symphonies for PentaTone continues with this  release of the 2nd Symphony – a work seemingly discussed more often for its many versions and revisions rather than its undoubted musical strengths. There are effectively four versions of this symphony that Bruckner began in October 1871 and completed in September 1872. These are: The original of 1872 ;The original performance version of 1873; The performance version from 1876; The revised version of 1877. However, the revisions, corrections and alterations made by Robert Haas (1938) and Leopold Nowak (1965) in their editions of the above also add further decisions for interpreters of this score to make. For this new recording Marek Janowski has chosen to perform the 1877 version of the symphony in the edition by the Bruckner scholar William Carragan (2007). This eliminates sections of the 1872 score that Haas incorporated in his edition and were also retained by Nowak. The comparative brevity of Carragan’s edition of the score coupled with Janowski’s urgent pulse means that the playing time of the disc is a mere 54.55. However, such is the quality of the music making that it would be churlish to complain of short measure. Janowski adopts brisk, but not inflexible, tempi in all four movements of this work and, as in the earlier issues in this cycle, he adopts a fluent and purposeful approach to this early symphony, but one that carries a unerring sense of Bruckner’s symphonic architecture. The second movement, a grave and reflective ‘Andante (feierlich, etwas bewegt)’, is perfectly paced allowing for some beguiling playing from the wind (and especially the horn) soloists of the Orchestre de la Suisse Romande . It is unfortunate that careless proofing of the booklet and jewel case sees this movement marked ‘Adante’! Even judged by the very high standard of the earlier issues the recorded sound is wonderfully spacious and clear with superb internal balances, while the playing of the Orchestre de la Suisse Romande is both confident and refined. The acoustic and ambience of the Victoria Hall, Geneva is especially well reproduced –  just listen to the timpani in the final minute of the ‘Scherzo’. Janowski’s exhilarating and masterly performance of this symphony, the penultimate issue in his cycle, captured in superlative sound quality, can be unhesitatingly recommended.





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R, STRAUSS: JOSEPHLEGENDE, etc. Royal Scottish National Orchestra, Neeme Järvi CHANDOS SACD CHSA 5120  During the 1980’s and 90’s Neeme Järvi made a number of impressive recordings with the Royal Scottish National Orchestra for Chandos of orchestral works by Richard Strauss. When he moved to the Detroit Symphony Orchestra he added further Strauss recordings to his already comprehensive survey of this composer’s oeuvre.  One of these was the ‘Symphonic Fragment from Josephslegende’. This is a cut-and-paste version of the full ballet, scored for a smaller orchestra, that Strauss made at the request of his publishers in 1947. Now, in the Indian summer of his recording career, Järvi has returned to Scotland to give us not just a spectacular account of the complete 1914 ‘Josephslegende’  but also two interesting fill-ups making their first appearance on SACD. Though few would deny that ‘Josephslegende’ is not among Strauss’s finest works (by 1914 composing opera had become his main interest) it does show a composer at the height of his powers and demonstrates his ability to handle huge orchestral forces with supreme confidence. The orchestration is breathtaking and the work’s melodic richness is undeniable. On disc it calls for the finest sound quality, something that only SACD can deliver. Comparisons with Ivan Fischer’s excellent 2007 recording do favour the newcomer in at least two important respects. The sonics on this Chandos disc (5.0 surround sound 24-bit/96kHz) are warmer and fuller than those on Channel’s clear, but slightly chilly DSD recording and the weighty presence of an organ in the ballet’s final section is patently audible. Perhaps more importantly, Järvi’s more urgent tempi and sense of drama ensure that the intrinsic lack of inspiration evident in parts of the score is more easily ignored – overall timings are Järvi 58.16 against Fischer’s 64.30. The playing of the RSNO is marvellous throughout and certainly matches that of the Budapest Festival Orchestra for Fischer. Strauss’s rarely performed second opera ‘Feuersnot’ ends with an orchestral passage during which the hero and heroine consummate their love to evocative and erotically charged music. The RSNO and Järvi perform this ‘Liebesszene’ with sensitivity and passion in equal measure. Finally Järvi gives us a spirited account of the 12 year-old Strauss’s first published orchestral piece the ‘Festmarsch’ Op. 1.Though lacking real originality ( its debt to the finale of Beethoven’s Seventh Symphony being all too obvious) it does show remarkable assurance from one so young, and is certainly worth an occasional outing. It would be wonderful if Chandos could persuade Järvi to make a complete recording of Strauss’s only other ballet ‘Schlagobers’ on SACD to complement his earlier CD version of excerpts from that work. For now, however, this is a release that should be added to the library of all committed Straussians and warrants an unqualified recommendation.





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SIBELIUS: SYMPHONIES 1 & 4  Minnesota Orchestra, Osmo Vänskä/BIS -1996 SACD Osmo Vänskä’s reputation as arguably the foremost living interpreter of Sibelius will be further enhanced by this second volume of his fine Sibelius Symphony cycle with the Minnesota Orchestra. The earlier release of Symphonies 2 and 5 highlighted the conductor’s quite individual approach to these works, born of long familiarity with them. Vänskä delivers lithe, fast moving accounts of each of the 1st Symphony’s four movements in which clear lines and crisp articulation are paramount. Continue reading

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MAHLER: DAS LIED VON DER ERDE Soloists,Netherlands Philharmonic Orchestra, Marc Albrect/PentaTone 5186 802 SACD  This is Marc Albrecht’s first recording with the Netherlands Philharmonic Orchestra since he became their chief conductor in 2011. He is also musical director of the Netherlands Opera, and the benefits of his wide experience working with singers in the field of opera as well as in the concert hall are apparent in this fine new recording of Mahler’s ‘Das Lied von der Erde’. Albrecht opens the first song ‘ Das Trinklied vom Jammer der Erde’, a bitter and epicurean drinking song, with considerable vehemence and drive, though some listeners may be disturbed by his exhortations to the orchestra both here and in other climactic moments later in the work. Continue reading

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PROKOFIEV: SYMPHONY NO. 6, etc. Bergen Philharmonic Orchestra/Andrew Litton BIS SACD 1994  Though one can speculate as to how much Prokofiev’s declining health and his experiences during the Second World War had on his state of mind when he completed  his 6th Symphony in 1947, there is little doubt that it was profound. The 6th Symphony is the most personal and deeply felt of his seven, yet it has never achieved anything like the popularity of Symphonies 1 and 5. The depth of the symphony’s emotional range and pervading tragic nature as well as its complexity, has perhaps mitigated against its general acceptance by concert goers, but fortunately it has fared much better on disc. Continue reading