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ELGAR: ENIGMA VARIATIONS; VAUGHAN WILLIAMS: THE WASPS  Kansas City Symphony, Michael Stern, Reference Recordings RR-129   Any new recording on the ‘Reference Recordings’ label is something of a special event for Hi-Fi buffs, and this latest is no exception. Keith (Prof.) Johnson has, for many years, produced spectacular recordings, often of colourful orchestral show-pieces, but the most recent ones have also been notable for their fine musical values as well as their dazzling 24-bit HDCD sonics. Michael Stern and the Kansas Symphony have already given us a splendid account of works by Benjamin Britten (RR 120) and continue the British theme with this disc of music by two of the most popular and pre-eminent English composers – Ralph Vaughan Williams and Edward Elgar.Vaughan Williams is represented by his ‘Aristophanic Suite -The Wasps’. More often it is just the Overture that is heard both on record and in the concert hall, but Stern and the Kansas Symphony give us the complete five-movement suite that is full of delightfully orchestrated ear-tickling tunes. This is followed by a tranquil and beguiling account of the popular ‘Fantasia on “Greensleeves” notable for the sumptuous strings of the Kansas Symphony and Michael Gordon’s limpid flute playing.A finely nuanced account of Elgar’s ‘Enigma Variations’ completes the programme. Stern characterises each Variation with great skill and though some might find his restraint in Variation XIV(Nimrod) robs the music of some of its catharsis, the eloquent cello playing in Variation XII (B.G.N.) and the superb room-shaking organ in the Finale makes this a performance and recording to relish. Informative liner notes by Richard E. Rodda complete a most desirable release.

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AMERICAN MAVERICKS San Francisco Symphony Orchestra, Michael Tilson-Thomas SACD SFS Media 0056  My dictionary defines a maverick as ‘an unorthodox or independent-minded person’ and one could not find a better description for each of the three composers featured on this stimulating and superbly recorded SACD from SFS Media. America has produced many such mavericks over the past century and the list could be extended to include Charles Ives, Lukas Foss, Ruggles, Steve Reich, John Cage, John Adams and many more. Henry Cowell (1897-1965), whose 1930 piece ‘Synchrony’ opens this disc, is most associated with the invention of the term “tone clusters” in which the piano is played with the fingers, the fist or forearm to produce terrifyingly dissonant chords. ‘Synchrony’, however, opens with a long (3 minute) trumpet solo, fluently played by the San Francisco Symphony Orchestra’s principal trumpet, before the full orchestra enters with music that bears a striking resemblance to that which opens Part 2 of Stravinsky’s ‘Rite of Spring’. The music becomes more animated and inventive as textures thicken yet Michael Tilson Thomas and his superb orchestra perform this complex and imaginative piece with absolute confidence almost as if it was standard repertoire. The audience respond with warm, though not effusive, applause. Cowell’s ‘Piano Concerto’ is a tougher nut to crack. Its three short movements entitled: I Polyharmony, II Tone Cluster, III Counter Rhythm each feature a virtuoso piano part brilliantly played here by Jeremy Denk. In the concerto’s central movement it is easy to spot the influence of Cowell’s work on Bartok’s writing for the piano while the spiky finale extends the conflict between soloist and orchestra to the ultimate degree before reaching amusing resolution in the final triumphant bars that bring a well-deserved enthusiastic audience response.The most spectacular work on this disc is the ‘Concert for Organ and Percussion Orchestra’ by Lou Harrison (1917-2003). Harrison studied with Cowell in San Francisco (1943-4) and also with Schoenberg in Los Angeles, but though his music does embrace serial techniques he is essentially a melodist. Many of Harrison’s compositions from the 1930’s onwards feature the use of percussion instruments and reflect the composer’s interest in Javanese and Balinese gamelan music. This thrilling five-movement concerto delights the ear with exotic sounds – boisterous in the outer movements and contemplative in the three central ones. Paul Jacobs makes a fine sound on the Davies Symphony Hall organ, and it is particularly gratifying to note that the audience restrain their excited response to the performance until the concerto’s final note has faded completely into silence. Strictly speaking Edgar Varèse (born in Paris in 1883) is not an “American Maverick” though most of his major compositions were written after he had emigrated to the United States in 1915, and he did take American citizenship twelve years later. His orchestral work ‘Amériques’ (performed here in its revised version of 1927) is probably the most well-known piece on this disc and over the years has received many recorded performances. It is extravagantly scored for a large orchestra requiring nine percussionists and the instrumentation includes a siren. The music shows both the influences of, and debt to, both Debussy and Stravinsky in its orchestration yet is wholly original. MTT’s impeccably executed performance emphasises both the work’s sensuous beauty and disturbing savagery captured in recorded sound of the utmost clarity and presence.Though some will find most of this music to be challenging (the antithesis of ‘easy listening’ ), it certainly rewards those prepared to make the effort, and it would be hard to imagine better performances or recorded sound than what we have here. Give your ears and audio system a thorough work-out with this SACD – you will not be disappointed.

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THIS ENGLAND: VAUGHAN WILLIAMS/ELGAR/BRITTEN: SYMPHONY NO.5/COCKAIGNE/FOUR SEA INTERLUDES Oregon Symphony Orchestra, Carlos Kalmar/Pentatone PTC 518647 SACD  The previous release from Carlos Kalmar and the Oregon Symphony Orchestra was something quite special  and if this new SACD doesn’t quite measure up to the earlier disc it is no fault of the conductor, the orchestra or the excellent recording from the Soundmirror team. It is simply that each of the works featured here faces considerable competition from the many versions currently available on CD. Kalmar has already demonstrated his considerable empathy with English music and once again his performances here are immaculately prepared and executed marvellously by his Oregon players. Elgar’s Cockaigne Overture (In London Town) making a welcome first appearance on SACD is a total success. This tricky piece presents no problems for Kalmar who confidently negotiates the many varied and frequently changing moods in this work. The orchestra responds enthusiastically to his direction while the recording thrillingly captures the visceral slam of the bass drum and the rasp of the rich Oregon brass. The 5th Symphony of Vaughan Williams dates from 1938 and is closely related to the composer’s opera ‘A Pilgrim’s Progress’. It uses material from the opera in three of its four movements and its predominantly modal style and restrained lyricism presents special challenges for conductors.
Kalmar’s performance is beautifully controlled and deeply felt (tempi are closer to those of Boult than Haitink ). Perhaps overall it lacks a little of the sense of tranquillity found in some of the finest versions of the work – especially the one by André Previn and the LSO from the 1970s – but nevertheless Kalmar’s assimilation of, and engagement with, this music is self evident. The central rhapsodic ‘Romanza’ features some lovely solos from cor anglais, violin, viola and horn, so it is unfortunate that a cough some two minutes into the movement disturbs the mood of rapt serenity that Kalmar has so carefully achieved.
‘Dawn’, the first of the ‘Four Sea Interludes’ from Britten’s opera ‘Peter Grimes’, also suffers from a small amount of unwelcome audience participation, though again this will only be of concern to the hypersensitive listener. Kalmar’s account of these interludes is masterly and it is pleasing to see that he has included the ‘Passacaglia’ from Act 2 of the opera whose theme is the music for Grimes’ tortured cry of ‘…and God have mercy upon me!’ earlier in the same Act. His slow-burn approach to this piece pays dividends as it builds to a searing climax. The graphic final ‘Storm’ has a convincing vehemence and urgency. The works on this SACD were recorded at public performances in Portland on February18 and 19 2012 (Vaughan Williams and Elgar) and May12,13 and 14 (Britten). As I have indicated the engineers have achieved a vivid and realistic sound quality in spite of the difficulties of live recording. Orchestral detail is exceptionally clear whilst timpani and percussion are especially well reproduced. A clear recommendation is warranted.


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Where to buy cialis in germany/Mariinsky MAR 0533 SACD  This is the fourth release in Valery Gergiev’s cycle of the Shostakovich symphonies being recorded for the Mariinsky label. Now, for the first time, he has reached a work that he has already recorded with the same orchestra for Philips back in 2001. The Mariinsky Orchestra was then called the Kirov Orchestra – the alteration to its current name reflecting the changed political climate in the intervening years. The earlier recording used the combined forces of his Russian orchestra and the Rotterdam Philharmonic and exemplified Gergiev’s monumental approach to the ‘Leningrad’ Symphony – with dark sonorities and slow tempi being the order of the day.  Continue reading

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FAURE REQUIEM LSO Chamber Ensemble/Nigel Short/LSO Live SACD LSO 0728 This is without doubt one of the finest sounding, and fascinating releases, that I have heard from LSO Live. The imaginatively conceived two-part programme on this SACD, featuring the superb Tenebrae choir, originally stems from performances given at St. Paul’s Cathedral during the City of London Festival in 2011. In May 2012 this same programme was re-staged in the ideal acoustic of the Church of St. Giles, Cripplegate, London and recorded by LSO Live. Tenebrae and their founder and director Nigel Short have made many acclaimed recordings for a variety of labels since their formation in 2001. Their extensive repertoire ranges from mediaeval chant to contemporary works by composers such as John Tavener and this new disc demonstrates the range of their capabilities to the full. Continue reading

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DVORAK SYMPHONY NO. 8 Malaysian Philharmonic Orchestra, Claus Peter Flor, BIS SACD  There is no shortage of recommendable versions of Dvorak’s Symphony No. 8 even on SACD. For this listener the field has been led by Ivan Fischer and his wonderful Budapest Festival Orchestra on a recording made in 2000, originally issued by Philips and now available on Channel Classics. The bracing vigour of the playing and fine recording by Polyhymnia engineers should put this SACD at the top of anyone’s short list for this work. Continue reading

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STRAUSS, WAGNER, SCHUMANN: Orchestral Works  Kent Nagano, Bayerische Staatsorchester, Faroa Classics SACD


The Bavarian State Orchestra (Bayerische Staatsorchester) has a history dating back almost 500 years and during that time, in its capacity as the orchestra of the Bayerische Staatsoper in Munich, musical directors have included some of the most eminent conductors of the past one hundred and fifty years including Richard Strauss, Bruno Walter, Hans Knappertsbusch, Rudolf Kempe, Georg Solti and Wolfgang Sawallisch. While the orchestra’s profile on many opera recordings is well established, its role in the concert hall has been less prominently represented on record in recent years partly due to being based in a city blessed with an abundance of fine orchestras. Hopefully this excellent SACD from Farao Classics should help to remedy that situation. Continue reading

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RUSSIAN COMPOSERS AROUND 1900, Stefan Blunier, Beethoven Orchestra, Bonn, MDG SACD  Stefan Blunier and his fine Beethoven Orchestra, Bonn, have compiled a most enjoyable programme for this SACD – described collectively, though not entirely accurately, as “ Russian Composers around 1900”. Perhaps the least well-known name on this SACD is that of the Ukranian composer Mykola Lysenko (1842-1912). Like Smetana for the Czechs, Erkel for the Hungarians and Chopin for the Poles, Lysenko is regarded as the national composer of his country. His opera ‘Taras Bulba’ impressed Tchaikovsky who wished to have it performed in Moscow, but because it would have had to be sung in Russian not Ukranian Lysenko refused. Here he is represented by the opera’s stirring overture whose arresting opening gives way to a gorgeous lyrical melody on the strings before moving to more heroic and martial fare. Continue reading

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MAHLER: SYMPHONY NO. 1, ‘Titan’  Ivan Fischer, Budapest Festival Orchestra, Channel Classics SACD Ivan Fischer and his marvellous Budapest Festival Orchestra have a already given us outstanding recordings of Mahler’s 2nd, 4th, and 6th Symphonies in performances that not only show these artists to have supreme grasp of the Mahlerian idiom but also demonstrate Fischer’s ability to look at these works anew – no easy task to achieve amongst the ever increasing number of recorded versions of these symphonies that seem to be released (or re-released) by record companies almost every month. The freshness and questing nature of his approach is undeniable and even Mahlerites firmly wedded to accounts by some of the great interpreters of the past should investigate these often revelatory performances. Continue reading