Erich Kunzel and the Cincinnati Pops are a long-familiar source of performances and recordings of orchestral showpieces. They are, I suppose, the answer to an audiophile showroom salesman's dreams. As such, they are seldom spoken of in the hushed tones of artistic reverence applied to such entities as Toscanini or Callas or the Vienna Philharmonic, but more often in the excited voices of audio fans praising the latest development in ultra hi-fi or the latest excess in performance parameters. All in all, they no more deserve our condescension than our idolatry: they seem to fill a genuine need of the listening public; if they did not exist, they would likely have to be created. More importantly they serve to remind all of us of the first time we were genuinely thrilled by the sheer esthetic delight of some musical experience (and perhaps thereby hooked for life). But enough of philosophy, let's get to the recording.
The title "Classics at the Pops" is appropriate enough. The ten items presented are all genuine musical classics--or parts of them--loved and admired for years by generations of listeners. There is nothing trashy here, though some of these treasures may suffer from overexposure. They are all performed as well as the talents of conductor and orchestra permit, and recorded as well as the ingenuity of Telarc engineers can accomplish. There seems no doubt as to the seriousness of this effort. Moreover, the payoff is considerable: the conductor leads the orchestra very well, the orchestra responds by playing very well, and the sound is well-captured by the engineers using super high fidelity DSD processes and equipment.
I should note here that I haven't heard the DSD version of this recording, which requires SACD equipment to realize. Though we're assured the CD version also benefits from the superior DSD recording parameters, readers shouldn't assume that my remarks apply to the SACD version, especially in the areas of sound quality and balance.
A quick overall reaction before going into detail: this is an excellent recording of these pieces, well worth having in your audio collection, especially for the esthetic excitement and richness of sound permeating these fine and satisfying renditions. Conductor and orchestra alike do a good job treading the line between the dash and spirit which make these pieces sparkle and the prudence and caution which aim toward letter-perfect performances.
Copland's "Fanfare for the Common Man" was written in 1942 during a period of American wartime patriotism to answer Eugene Goossens' request for a fanfare to initiate a concert of his Cincinnati Symphony Orchestra. Among the ten or so fanfares supplied by various composers, only this one has remained ever since in the active concert repertoire, owing to its compositional quality, its exciting and imaginative sounds, and its unmistakable uniqueness. Scored only for 3 trumpets, 4 horns, 3 trombones, tuba, timpani and tam-tam (gong), the piece enjoyed such success that Copland later used it in an orchestral context as a major component of his Third Symphony. The performance here is a smashing success!
The Bacchanale section from Saint-Saëns' opera "Samson and Delilah" originally answered to the general requirement for a ballet scene at about this point in any French opera which hoped to gain public acceptance. Here it represents a great, bibulous revelry amongst the Philistines as they celebrate their victory (through Delilah's treachery and Samson's vulnerability) over the now shorn, weakened, and blinded Hebrew captive. Like many parties, the bacchanale starts out tamely enough, to the exotic sound of the oboe followed by scurrying strings, but eventually works up to a scene of general abandon accompanied by the furore of wildly thumping drums. The performance here is very convincing and seems to lack nothing.
Respighi's fascination with the Rome of antiquity led him to write his tryptich: "The Pines of Rome," "Roman Festivals," and "The Fountains of Rome." Of the 3 tone poems, the Pines is by far the most popular. It includes 4 sections, the last of which, "I Pini della Via Appia" (The Pines of the Appian Way, an important Roman road), is offered here. Starting out quietly with a steady marching motif, the piece summons up the image of a distant column of Roman soldiers. Before long the organ adds a deep bass pedal point to suggest their power as they begin to draw nearer. The music continues to build and soon we feel the troop right upon us with its blaring brass instruments. (Respighi included parts for 6 buccinas--an old Roman curved trumpet--in his score, but modern instruments are normally used.) We are then surrounded by triumphant fanfares leading to a very powerful concluding chord for full orchestra and organ. A very impressive and stimulating performance!
And now, as Monty Python says, for something completely different: Vaughan Williams' "Fantasia on Greensleeves." Here the emphasis is upon the calm tonal beauty of flute, harp and strings as they lyrically sing the old English tune with luscious harmonies. It is a good and wise change of pace at this point, and the playing is as lovely as one can imagine.
The Grand March from Verdi's opera "Aida" presents a great public scene as the Egyptian general Radames, Aida's lover, is honored for his triumph over Ethiopia by a military parade through the city. Slaves captured in the combat trail behind in chains, including the Ethiopian king Amonasro, who is Aida's father. Lots of brass flourishes here, along with orchestral punches and a great march tune, relieved by a sweet, cantabile passage perhaps depicting Aida's love. It is a rather extended piece, played here with all the might and glory we could hope for.
Debussy's "Fêtes" (Festivals) from his "Nocturnes" introduces the music of French impressionism and the composer's special interest in the sheer esthetic qualities of harmony and orchestral sound. This is the most popular of the three nocturnes, a masterpiece of tone, color, and rhythm which, when played well, such as here, is a fascinating presentation of musical imagery and a total delight to both ears and imagination.
Again a change of pace as the "Nimrod" variation from Elgar's "Enigma Variations" pours like streams of delicious honey over our grateful ears. No wonder this is by far the favorite of the variations, often played separately. Elgar's handling of the interweaving voices here displays his compositional mastery to a supreme degree. The orchestra seizes the opportunity and does Elgar proud!
Now back to fun and games! Berlioz' "Roman Carnival Overture" is likely the most appealing of all his overtures. Constructed from what must be the choicest themes of his opera "Benvenuto Cellini," it is a treasury of tuneful delights and enchanting musical treatments from the lovely English horn solo near the beginning to the rousing, hair-raising finale. That Berlioz was a gifted and polished composer and a master of orchestration is proved over and over again here! And the Pops plays as if they love the piece as much as I do!
Weinberger's "Polka and Fugue" joins two separate excerpts from his opera "Schwanda the Bagpiper" into some of the most joyful, uplifting, and endearing music to be found anywhere. Perhaps it is all due to beginners' luck, for Weinberger was barely into his thirties when he presented his opera to a public which seized upon it so enthusiastically that it rapidly became an international success, translated from the original Czech into 17 languages! That was back in 1927, however, and the opera is seldom produced today. Still, the "Polka and Fugue" remain very much in the concert repertoire, and, if played reasonably well, guarantee a happy and approving audience. This recording does full justice to the work, and includes the organ part which adds so much power and excitement to the wonderful finale.
A powerful brass fanfare gets Shostakovich's "Festive Overture" off to an auspicious start, which is followed by a veritable feast of thematic and instrumental variety and delight, all in a lively and joyous mood fitting the piece's title. Eventually another round of fanfares announces the imminent close of the festivities and a lively coda leads to a majestic ending with rolling kettledrums, flashing orchestral chords, and a powerful unison to make up the definitive and satisfying conclusion. Shostakovich displays here his great gift for sparkling and ear-catching themes and varied orchestral colors, all in a mood of extrovert enjoyment. It takes a virtuoso orchestra to do justice to this music, and the Pops does not disappoint!
I recommend this recording without reservation, and suggest that every collection ought to include it, or something very like it to remind us of the pure, unalloyed joy of music.
--James Yelvington "Professor" Listen to samples
