Elgar: Enigma Variations

Sir John Eliot Gardiner makes a very persuasive case for placing Elgar as a composer in classic Central European Romantic mode in these excellent performances of Elgar's orchestral and chamber works, ending with a brilliant performance of Elgar's Enigma Variations. Gardiner's interpretations are certainly radical reinterpretations of Elgar's music; here he emphasizes how these scores pay homage to contemporaries - and artistic mentors - such as Brahms and Dvorak, among others, in his choice of tempi and the lush, warm performances he obtains from the Vienna Philharmonic Orchestra. I doubt I have heard the Enigma Variations sound so much like a work composed by Brahms before. The sound quality is quite superb, filled with the ample warmth one might expect from recordings made in the Vienna Philharmonic's concert hall. Without question this is yet another successful Deutsche Grammophon collaboration between Gardiner and the Vienna Philharmonic Orchestra.--John Kwok  Listen to samples

Elgar: Cello Concerto; "Enigma" VariationsG

This is a stunning performance of the Elgar Concerto for Cello by the gifted Jacqueline duPre with the Philadelphia Orchestra conducted by her husband, Daniel Barenboim. Ms. duPre was already being compared to Casals when she was only in her mid-twenties because of her mastery of the sonorous instrument--known to be one of the most difficult to play. Her career was cut short by multiple sclerosis, diagnosed when she was barely 29, but her recordings, like the one superbly remastered here, live on. In the haunting melody of the Elgar concerto's Adagio, one is reminded of the beauty and sadness of duPre's short career. For cello buffs, this album is definetely 4-star, and the Enigma Variations are a nice bonus.--Ginues ressurected Listen to samples

In A Monastery Garden: The Immortal Works Of Ketelbey

Ketelbey's often distinctively evocative, exotic sounding works made him one of the most beloved composers in England during his lifetime. He was also among the first to compose background music for silent films- practically inventing, if not fully realizing the potential of the genre. Whether it's with the lush pastoral melody set with actual bird calls in one of Ketelbey's most famous works "In a Monastery Garden" or the highly chromatic broad orchestral gestures of "Sanctuary of the Heart" all here succeed famously in bringing back to life the unique musical charm of a bygone era. Decca's 'Phase 4 Stereo' sound is also exceptionally good.--Listen to samples

Ketelbey: In a Persian Market

I was introduced to Ketelbey's work by the late Guillermo Figueroa of the famous Figueroa Family group from Puerto Rico. In the few couple of years I worked assisting him, then the conductor for a Youth Chamber Music Orchestra, Don Guillermo helped me rediscover good classical and contemporary music, and introduced me to some great works like the one in review. The recordings are old school but the music is haunting, timeless and beautiful. I highly recommend this cd, and like Don Guillermo told me about 10 years ago: "Give it a chance, you don't have to be a great musician to appreciate great music" How right was He! --I Colon "Fonzo" Listen to samples

SCHUBERT: ROSAMUNDE, D. 797

Rasmunde was a play with incidental singing and ballet mixed in. The play is lost, but we have this wonderful music. In its time the play was panned and the music praised. So, when you hear that this is the complete Rosamunde, I guess you can say we have the complete worthwhile parts. But you won't get any kind of story from what is here without reading the notes. In fact, the order of the pieces is altered for listening purposes. However, you could program your CD player to give it to you in dramatic sequence if that interests you.

The performance provided here is especially good and tracks 7 & 8 are my favorites on the disk. All the music is very good Schubert which is better than all but the very greatest music. Yes, Schubert is one of my favorite composers, but I am willing to point out his faults. However, when you consider his output and that he died at 31 years old, what we have from him is completely awe inspiring.

Rosamunde is one of the treasures he left us and I am grateful for this recording.--Craig Matteson Listen to samples

SCHUBERT: SYMPONY No 5, 6, 8 & 9 / ROSAMUNDE OVERTURE

EMI's new "Gemini" series is a breath of fresh air amidst all the smoke being put forth recently by the major classical labels. While Sony is deleting most of their classical budget discs, BMG is raising theirs to mid-price and UNI is convinced that 3CDs are always better than one, EMI decides to start a two-fer line that sells for significantly less than the competition, not to mention their own "Double Forte" series. It might not be as cheap as the old "Seraphim" series, but they could certainly be charging more for quality recordings such as these.

Herbert von Karajan's Schubert Symphony Cycle, made between 1975-78 for EMI with the Berlin Philharmonic, has been available previously on CD in the "Karajan Edition." However, those discs, released as four single titles with two Symphonies each, were twice the price of these new reissues. These performances of Symphonies 5, 6, 8 & 9 plus the Rosamunde Overture are certainly solid, but Karajan was never celebrated as a conductor of Schubert. One wonders if that is why DG had a young Lorin Maazel record the Schubert Symphonies with the Berliners instead of Herbie at the dawn of the stereo age, and that ultimately EMI had him record this Cycle because it was something he hadn't yet done for DG. In any event, I would certainly recommend the Bohm boxed set on DG or the Kertesz on London/Decca (see my review of the latter) ahead of these performances. But considering how cheap these two double discs are, maybe picking up an extra Schubert Cycle is worth it after all.--Micheal B. Richman Listen to samples

ARON COPLAND: POPULIST AND CONDUCTOR

Aaron Copland made numerous recordings of his own music, including an extensive series for CBS during the 1960s and '70s, mostly with London orchestras. He was not an especially proficient conductor--consequently, the performances he conducted often lacked pace and rhythmic punch. His last recordings of his most popular scores have been reissued by Sony on an exceptionally well-remastered 3-CD set. These accounts do a good job of conveying the overall shape of the pieces, and they deliver telling characterizations of many episodes. Details emerge that are lost in some other accounts, and there is an appealing gentleness and sweetness to the approach. But the readings do not have as much grip as those of Bernstein and Slatkin, among others, and in spite of the authority they automatically possess, they are not necessarily preferable. --Ted Libbey

Rachmaninov: Concerto No.2/Rhapsody On A Theme Of Paganini

This is one of the finest performance and recording of these pieces available. Gary Graffman shows his brilliant talent in these interpretations of Rachmaninoff. Far too many think that speed is critical in performing specific passages when in fact patience is required. One may have the skill to play all the notes but lack the talent to perform the music. Graffman performs with nuance and subtlety as well as skill and decision in bringing the souls of these pieces to life.

Highly recommended. (You'll throw your other recordings away after hearing this!) --Rob Smout Listen to samples

Ravel: Boléro; Rapsodie espagnole; Debussy: Images

Charles Munch was the opposite of the "intellectual" school of French conductors, as typified today by Pierre Boulez. He was a completely spontaneous artist, which is what made him the great Berlioz conductor of our time, and literally anything could happen when he got up onto the podium. It follows then, that his Ravel is not going to be the sort of hyper-precise, calculated sort of interpretation that many fans of the composer expect, but it will be exciting as hell. These three pieces are shrewdly chosen; they are the composer's most extrovert works, and Munch pulls out all of the stops in his performances of them. A classic recording, and a great memento of a unique artist. --David Hurwitz Listen to samples

Revel : Bolero

The Berlin Philharmonic never has had much opportunity to play Ravel, which is a pity because under Pierre Boulez they do it extremely well. Under their current music director, Claudio Abbado, the orchestra more often than not sounds positively comatose. How gratifying then, that with a dynamic conductor and music that's fun to play, they rouse themselves to sound like the world-class ensemble they really can be when they're not resting on their laurels. Boléro is really smashing, with a knockout final cadence, and the solo players in all of these works cover themselves with glory. This is a great Ravel disc. --David Hurwitz Listen to samples

"CAVALLERIA" Will Never Sound Better Than This!,

Mascagni's "Cavalleria Rusticana" has been recorded multitudes of times over the last fifty years ---- and to my ears, this 1965 effort is the best recorded performance of all of them. Herbert von Karajan has fashioned a reading of this much-heard opera that makes you feel that you are hearing it for the very first time. Orchestral color and "verismo" atmosphere abounds here as in no other "Cav" recording, and there are instruments in the orchestra that seem much more prominent than we are used to hearing in this particular opera ----- and the orchestral crescendos are more powerful than I have ever encountered them. Carlo Bergonzi, perhaps not the most creative and innovative artist, sings a Turridu with flow, beauty, and taste. Fiorenza Cossotto ----- probably the greatest Italian mezzo since Gulietta Simionato and Fedora Barbieri ---sings a smoldering and compelling Santuzza with a voice ideally suited to the violent emotions of the role. Giangiacomo Guelfi is a vocally solid and strong Alfio. Plainly, with von Karajan at the helm, and with the caliber of these great artists, "Cavalleria Rusticana" comes across on this recording with all of the violence and passion which Mascagni certainly must have intended. This one's a real winner ----- and it's companion performance of "Pagliacci", also conducted by von Karajan and starring Carlo Bergonzi as Canio ------- is every bit as great.Buy them both! --lesismore26 Listen to samples

Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (complete operas)

Verismo can sound positively sublime if sung with taste and no mannerisms. Maria Callas, in her short prime, transformed roles such as Floria Tosca, Santuzza, Nedda and Maddalena and gave them the elegance and simplicity they need to be acceptable. Be it the simple country girl Santuzza or the noble Maddalena, Callas finds the right tone for each and every character. Her Santuzza is tearful but never racked by fake sobs. Her "Io son dannata!" has to be heard to be believed. This is Santuzza in a nutshell. Her duet with Turridu (Giuseppe di Stefano in brilliant form) burns and soars so intensely, it will break your heart. With her even the old war-horses are so real and new that she spoils me for other recordings of these shockers. Another highlight is her outcry "O madre mia!" at Mamma Lucia in the end. I have never heard this sung with equal emotion and pathos.

Her Nedda on the other hand is a young woman desperately in love. Yearning to be free of her marriage to Canio she sings of freedom and she sounds so utterly charming, it's hard not to love her. Her Nedda isn't an innocent girl but an experienced young woman and her duets with Silvio and Tonio show this brilliantly. When her frustration at Canio turns to hatred in the scary final scene it's chilling and ravishing at the same time. Gobbi is her equal as Tonio, he set the bar very high and so far no other Tonio scared me like this. Di Stefano is a passionate Canio, sincere honest and passionate without sounding fussy or melodramatic. Tullio Serafin, this master among conductors, conducts brilliantly. A bargain price, a brilliant recording, a clear winner. Listen to samples

Bruch: The Complete Violin Concertos

It may well be that you've heard the adagio from Bruch's second concerto and thought it to be a wonderfully romantic piece, and you would be right. However it is, as far as Max Bruch's music is concerned, just the beginning. The adagio appassionata has a beautiful melody that will stay in your head all day. The wonderful solo part is backed by a strong and emotional performance from the orchestra and the piece is allowed to open at just the right pace. The romance,also on the second cd, continues the melodic trends that make Bruch one of the more under appreciated composers available. His love for the romantic melodies that make his music so beautiful is often seen by critics as a lack of complexity in the pieces but must, by genuine music lovers, be seen as something for which we should be grateful. In memorandum is yet another piece to testify to this. Both the virtually unknown concertos are also superb successes-very tuneful and cause the kind of stirring often felt when listening to Beethoven. This set should be in everybodies collection, for it takes a hard soul not to enjoy them. If, like me you enjoy a moment alone with your thoughts, to close you're eyes and wonder wistfully at the pleasures of life, then this cd will warm your heart. --Nick Listen to Samples

Mendelssohn: Violin Concerto in E minor; Bruch: Violin Concerto #1; Itzhak Perlman

In addition to the bargain price of this 1990 recording the music lover will find two of the more solid performances of two very popular and demanding violin concertos from the vast repertoire available. Itzhak Perlman is in top form for these performances, marrying his impeccable technique with the poetry inherent in his approach to the scores. The Violin Concerto No.1 in G minor, Op. 26 by Max Bruch has become one of Perlman's signature pieces and for good reason. He tosses off this stagy work with such grace that it becomes more than most violinists are capable of finding in the score. It is a jewel of a performance. The Violin Concerto in E minor, Op. 64 by Felix Mendelssohn has been a staple in the repertoire since its composition in 1844-45 and the hurdles of the first movement cadenza have threatened even the most daunting of violinists. The passagework is extraordinarily demanding technically, yet even more difficult is finding the poetry inherent in the lines echoed later in the orchestra. Some soloists (including Joshua Bell) may find more lightness and delicacy in the execution, but few can match Perlman's dexterity and emotional sweep. The Concertgebouw Orchestra of Amsterdam, still one of the finest orchestras, is beautifully conducted by Bernard Haitink. The balance between orchestra and soloist is far more than just technical aplomb between the artists and engineers: these performances are examples of perfect communication between soloist and conductor and orchestra, making this recording one of the strongest available today. Grady Harp, October 06 --Grady Harp Listen to Samples

Tchaikovsky: Symphony No.5 in E minor/Fantasy Overture "Romeo and Juliet"

Some of Leonard Bernstein's last concerts with the New York Philharmonic were among his best: Ives 2, the all Copland final program, and I'd have to say that this Tchaikovsky reading fits in there as well. All of the Bernstein recording's are different "views" of the piece, not neccessarily the definitive performance, to counter a review I read for another recording of the same piece. Here everything's very precise, and defined: the final trumpet at the end of the first movement, and the furious final Presto in the finale have never sounded so energetic. I've actually seen the NYPO do this piece twice (with Mehta and Masur), both very fine performances, but even on disc there is a lot of excitement that is found which usually only comes across in the concert hall. It reminds me a little of the Solti/CSO recording I heard a few years ago. The filler, "R&J", is gorgeously done (I'm actually listening to it as I write this) and the Philharmonic rarely sounds better. A very quality sendoff; it's ironic (looking at it now) that this CD was released just a month after LB died. He sould have been allowed to hear this concert again.

TCHAIKOVSKY: SYMPHONY NO.5, OPUS 64

This is a very fine performance of Tchaikovsky's 5th Symphony and, being a live recording from a concert, it has a certain sense of spark that many studio recordings miss. The usual manic energy associated with Gergiev's conducting adds to this in no small measure! As a live performance, then, it certainly makes its mark- the amazing whipping up of speed in the coda leaves you breathless and it's hardly surprising that the audience went mad at the end. Making allowances for the inevitable mistakes that happen in a concert, the symphony is extremely well-played and the strings perform astonishingly, particularly in the finale. Gergiev's choices of tempi feel absolutely right and the result is somewhere between the romantic approach of Karajan and the histrionic view taken by Mravinsky(whose stereo versions of the last three symphonies are unmissable). The opening sounds suitably dark and forboding, while the climaxes in both the first and the second movements are given plenty of power by the VPO's brass players. The third movement waltz is played with consummate charm, as you would expect from an orchestra that could play Strauss waltzes in its sleep. All in all, then, it is hard to argue with the interpretation when listening to it straight through as in a concert, so it certainly merits four stars. On repeated listening, though, one or two things do begin to grate a bit once the adrenalin rush has subsided. The recording balance does seem to give excessive weight to the brass and, along with Gergiev's emphasis on the aggression of the piece, this can come to sound a little crude, as can some of Gergiev's decisions to ignore what the score says. In the finale, for instance, the timpani spend most of the time playing at least forte but the score mostly indicates mp-mf, while some of the phrasing can at times seem rather brash. Nevertheless, these are minor points and it is hard not to be carried along by the power of the performance. It is certainly worth buying and is well worth the price even if you do get only 46 minutes of music. If you want a safer version, try Jansons on Chandos; more faithful to the score and superbly played, but it does lack the immense excitement of Gergiev's performance.--Tom Gauterin Listen to Sample

RHAPSODY ON A THEME OF PAGANINI, OPUS 43 - RUBINSTEIN'S VERSION

I have loved this recording for over 40 years. I own the original vinyl LP. I was thrilled when this became available on CD. I was afraid that some of the richness and velvety tone would be lost in the transition to CD, but it sounds fine. (Almost as good as vinyl.) This is a superb rendition of the Rhapsody. Rubinstein's interpretation is romantic and masculine; the music lives and breathes. Rubinstein's version of de Falla's "Nights in the Gardens of Spain" is lighter, more elegant and exotic. There might be better versions of the de Falla piece out there, but for me, this version of the "Rhapsody on a Theme of Paganini" has never been surpassed. And as I said, the sound on this CD is faithful to the original LP, and while not quite as full and nuanced as the original, it is still fine enough not to distract me when I listen to the CD. I highly recommend this CD.--R. Rubin Listen to samples

RACHMANINOV: CONCERTO NO.2/RHAPSODY ON A THEME OF PAGANINI

This is one of the finest performance and recording of these pieces available. Gary Graffman shows his brilliant talent in these interpretations of Rachmaninoff. Far too many think that speed is critical in performing specific passages when in fact patience is required. One may have the skill to play all the notes but lack the talent to perform the music. Graffman performs with nuance and subtlety as well as skill and decision in bringing the souls of these pieces to life. Highly recommended. (You'll throw your other recordings away after hearing this!)--Rob Smout

Samples to Listen

Prokofiev: Romeo and Juliet

This is without doubt one of the best CDs I own, and surely the best contemporary one. The orchestra performs so cleanly and magically that you don't even realize that there are instruments playing the melodies, just a story being told. (which is the point, you're not listening to music, but rather a story) I think Prokofiev captured the spirit of the play really, really well; themes such as the shrill highs and unsettling lows of Tybalt Recognizes Romeo really give me the chills and develop the characters. Other highlights include the Dance of the Knights, Romeo Resolves to Avenge Mercutio (the buildup after the violent repeating percussion halfway through the track is enchantingly Prokofiev-esque--the themes building upon one another, really making the listener feel for him/herself the grief and anger), and the pretty but faintly creepy and forboding Morning Serenade. The Epilogue, luckily, tops even these, and you really feel Romeo's despair as he dances with lifeless Juliet. This is one of those CDs that I thought mediocre upon first listening, but upon second and third I fell in love. Beautiful beyond words. Now I want to see the ballet! --Tyler Kerce "russophile" Listen to samples

Prokofiev: Romeo & Juliet

LSO Live will celebrate its tenth anniversary in 2010 and the label's first release of the year features Prokofiev s spectacular score for the ballet Romeo & Juliet conducted by Valery Gergiev. Gergiev is a tireless champion of Prokofiev's music. In 2004 he conducted a complete cycle of the composer's symphonies with the LSO in London. The performances which were recorded by LSO Live and released by Philips collected a Gramophone Award. Shortly afterward, Gergiev became Principal Conductor of the orchestra and spent much of 2008 and 2009 touring Prokofiev's symphonies with the LSO in Europe, Japan and the USA.