What NEW discs/music are you adding to your collection?

[Febnyc]

Czech composer Josef Myslivecek (1737-1781), a contemporary of Mozart, composed two CDs worth of achingly beautiful Violin Concertos. This is Volume II of that collection, which has recently been issued in a 2 CD set, featuring violinist Shizuka Ishikawa with the late Libor Pesek conducting the Dvorak Chamber Orchestra in this rarely-recorded repertoire, prepared from original manuscripts. Myslivecek's calling card in these works is that for brief moments, he has the concertmaster playing in tandem with the soloist, allowing a four-note chord to be heard, an electrifying idea when I first heard it. Supraphon's recorded sound is more than adequate, with transparent strings and perfect highlighting of the soloist. I have lived with Volume I of these concertos for many years, and am grateful to have added Volume II to my collection.

Wonderful - I've CDs of his symphonies and a few chamber works - but these concertos (with the doubling of the soloist) are seductive. I'll be opening my battered wallet once again! Thanks.

[maestrob]

Swiss soprano Regula Mehlmann possesses an ideal voice for Mozart, with perfect pitch and articulation and effortless high notes. In this 2016 debut album for Sony, she melted my heart with her depth of feeling in every aria on this CD, recorded with Umberto Benedetti Michelangeli leading the superb Basel Chamber Orchestra. Sony has done everyone proud with excellent, transparent sound throughout. Many of these arias were featured in my competition, the most demanding of which would be "Vorrei spiegarvi, oh Dio..." with it's high E natural pulled effortlessly out of thin air. Mozart surely was writing for Mehlmann's voice throughout this repertoire, and she does him proud. And yes, there is a sequel! Five stars!

[Belle]

I'd like something from this extraordinary Norwegian soprano, Elizabeth Teige, who won the Kirsten Flagstad Award a couple of years ago: what a voice!! And she used to sing pop music.

https://www.youtube.com/watch?v=mg5eq1rHBUY

[maestrob]

I'd like something from this extraordinary Norwegian soprano, Elizabeth Teige, who won the Kirsten Flagstad Award a couple of years ago: what a voice!! And she used to sing pop music.

https://www.youtube.com/watch?v=mg5eq1rHBUY

Thanks, Belle, very impressive, but not quite ready for prime time IMHO. She struggles with the tessitura, especially in song #3, but overall she reminds me of Dame Kiri when she was first starting out, with a vibrato a bit too fast and subtle pitch problems here and there. The potential in the instrument is truly awesome, though, as long as she stays with her teacher. I also missed the sonorities of the full orchestra, of course.

That said, Kirsten Flagstad, who premiered these songs, also struggled with the tessitura of the Four Last Songs. My favorite sopranos include Gundula Janowitz, Lucia Popp, Leontyne Price, Jessye Norman/Levine, Renee Fleming/Eschenbach/Philadelphia and Dame Kiri (in her recording with Solti, not Andrew Davis).

Janowitz: https://video.search.yahoo.com/search/v ... tion=click

Norman: https://video.search.yahoo.com/search/v ... tion=click

Lucia Popp: https://video.search.yahoo.com/search/v ... tion=click

[Belle]

You obviously know more about these things than I, which is fair enough. Elizabeth Teige is more of a Wagnerian soprano, from my experience. I have the "Four Last Songs" of Janowitz and she's absolutely superb. Also the Popp, whom I don't consider in the former's league.

Heresy alert: I don't especially like the Jessye Norman because I've always felt her instrument overwhelms the music, if that makes sense. I adore Renee Fleming; everything she does (except crossover).

[maestrob]

The music of French composer Jean Francaix explored in this superb 2007 Hyperion release evokes the peak of French neoclassicism. Francaix actually was one of the first to compose in that style (even before Stravinsky) in his 1934 Serenade, anticipating Stravinsky's Dumbarton Oaks concerto by several years, IIRC. Thierry Fischer leads his Ulster Orchestra and pianist Philippe Cassard in the Concertino for Piano & Orchestra, along with ballet scores Les bouquets de Cythere and Les malheurs de Sophie. Brilliant and more than clever orchestrations are typical of Francaix's music, and these wonderful works are no exception. Some have compared Francaix to Haydn because of his immense high quality output, but this crystal-clear Hyperion sound team has captured some of his best works here. Five stars!

[Febnyc]

The music of French composer Jean Francaix explored in this superb 2007 Hyperion release evokes the peak of French neoclassicism. Francaix actually was one of the first to compose in that style (even before Stravinsky) in his 1934 Serenade, anticipating Stravinsky's Dumbarton Oaks concerto by several years, IIRC. Thierry Fischer leads his Ulster Orchestra and pianist Philippe Cassard in the Concertino for Piano & Orchestra, along with ballet scores Les bouquets de Cythere and Les malheurs de Sophie. Brilliant and more than clever orchestrations are typical of Francaix's music, and these wonderful works are no exception. Some have compared Francaix to Haydn because of his immense high quality output, but this crystal-clear Hyperion sound team has captured some of his best works here. Five stars!

A favorite composer of mine - the music of Françaix is always compelling and, as you point out, well-orchestrated. I'll be ordering this Hyperion forthwith!

[Lance]

The new 2-CD set of Rachmaninoff's four piano concertos and the Paganini Rhapsody for DGG [486 4759] arrived a few days ago. I suppose if it wasn't with Yuja, I might not have added yet another edition of complete Rachmaninoff concertos.

[maestrob]

Conductor John Wilson's survey of Rachmaninoff's orchestral music continues apace with this latest release featuring the Second Symphony, warts and all. As is the fashion nowadays, Wilson opens all of Rachmaninoff's approved cuts, allowing his many meanderings to unfold and interrupt the development of the musical drama, particularly in the first movement. Wilson's Sinfonia of London plays well, but their weakness is in the string sections, which lack the weight and depth of sonority and beauty of Rachmaninoff's preferred orchestra, the Philadelphia. On Spotify, they are unlistenable, but here on this SACD, while they still sound comparatively thin, the orchestra is well-enough recorded as to do some justice to Rachmaninoff's lush textures. The CD opens with Stokowski's transcription of Rachmaninoff's C# minor Prelude in a not very satisfying account (Stokowski, who knew and worked with Rachmaninoff, wrote for Philadelphia's strings.). The competition in this repertoire is quite fierce, so your reviewer recommends the Philadelphia Orchestra stereo recordings of Eugene Ormandy, or the recent DGG releases with Yannick Nezet-Seguin with the same orchestra. Three and 1/2 stars.

[maestrob]

Nino Rota, known primarily for his film scores, also tried his hand at opera, writing 10 mostly upbeat scores modeled on Puccini's style, with shades of Rossini peeking through. Il cappello di paglia di Firenze (The Florentine Straw Hat) is his most popular score, known to yours truly up to now by a live performance starring Magda Olivero. The classy studio release from Capriccio features a much more perfect cast, including Piotr Buszewski, Tetiana Miyus and Anna Brull, with the Orchestra and Chorus of the Graz Opera, led by the superb Daniele Squeo, who fully captures the spirit of this delightful romp. Rota has been quoted as saying that he wanted to be remembered as "a man of good humor," and this loving production surely honors that memory. Five stars!

[Belle]

Conductor John Wilson's survey of Rachmaninoff's orchestral music continues apace with this latest release featuring the Second Symphony, warts and all. As is the fashion nowadays, Wilson opens all of Rachmaninoff's approved cuts, allowing his many meanderings to unfold and interrupt the development of the musical drama, particularly in the first movement. Wilson's Sinfonia of London plays well, but their weakness is in the string sections, which lack the weight and depth of sonority and beauty of Rachmaninoff's preferred orchestra, the Philadelphia. On Spotify, they are unlistenable, but here on this SACD, while they still sound comparatively thin, the orchestra is well-enough recorded as to do some justice to Rachmaninoff's lush textures. The CD opens with Stokowski's transcription of Rachmaninoff's C# minor Prelude in a not very satisfying account (Stokowski, who knew and worked with Rachmaninoff, wrote for Philadelphia's strings.). The competition in this repertoire is quite fierce, so your reviewer recommends the Philadelphia Orchestra stereo recordings of Eugene Ormandy, or the recent DGG releases with Yannick Nezet-Seguin with the same orchestra. Three and 1/2 stars.

People have made a lot of sniffy comments in recent years about Wilson and his work with the Sinfonia of London (which has been around for a long time). Wilson is a very highly educated musicologist and conductor and I've followed some of his discussions on music, including on Zoom, where he's refers to his massive library of scores. In short, Wilson is to be taken very seriously even though he might not measure up to the recordings you mention above. That's setting a very high bar, but Wilson has plenty of tread on his tyres to reach these levels.

While you're on the subject of Rachmaninov, can you please recommend an excellent recording of the Symphonic Dances; I love this work and only have one with Haitink and its recorded sound is dreadful.

[Febnyc]

While you're on the subject of Rachmaninov, can you please recommend an excellent recording of the Symphonic Dances; I love this work and only have one with Haitink and its recorded sound is dreadful.

This is a good one:



Also there is an interesting version for two pianos with Ashkenazy and Previn on the London label. It is very powerful.

[Belle]

Thank you for that. It's a glorious work, Rachmaninov's last - if my memory is correct.

[Rach3]

Thank you for that. It's a glorious work, Rachmaninov's last - if my memory is correct.

Yes, and his " best " , along with the 1st Piano Sonata.

Pianophiles will also want the 2-piano version of the "Dances" , mine Vronsky and Rabin.

[Belle]

Thank you for that. It's a glorious work, Rachmaninov's last - if my memory is correct.

Yes, and his " best " , along with the 1st Piano Sonata.

Pianophiles will also want the 2-piano version of the "Dances" , mine Vronsky and Rabin.

Oh my word, yes. The piano version (which is the original) is absolutely STUNNING. It was actually already quite orchestral to begin with! The second movement is gorgeous, delirious music.

https://www.youtube.com/watch?v=kGsP2pMvpbo

I love this version where the rubato is so gentle and subtle.

[maestrob]

Conductor John Wilson's survey of Rachmaninoff's orchestral music continues apace with this latest release featuring the Second Symphony, warts and all. As is the fashion nowadays, Wilson opens all of Rachmaninoff's approved cuts, allowing his many meanderings to unfold and interrupt the development of the musical drama, particularly in the first movement. Wilson's Sinfonia of London plays well, but their weakness is in the string sections, which lack the weight and depth of sonority and beauty of Rachmaninoff's preferred orchestra, the Philadelphia. On Spotify, they are unlistenable, but here on this SACD, while they still sound comparatively thin, the orchestra is well-enough recorded as to do some justice to Rachmaninoff's lush textures. The CD opens with Stokowski's transcription of Rachmaninoff's C# minor Prelude in a not very satisfying account (Stokowski, who knew and worked with Rachmaninoff, wrote for Philadelphia's strings.). The competition in this repertoire is quite fierce, so your reviewer recommends the Philadelphia Orchestra stereo recordings of Eugene Ormandy, or the recent DGG releases with Yannick Nezet-Seguin with the same orchestra. Three and 1/2 stars.

People have made a lot of sniffy comments in recent years about Wilson and his work with the Sinfonia of London (which has been around for a long time). Wilson is a very highly educated musicologist and conductor and I've followed some of his discussions on music, including on Zoom, where he's refers to his massive library of scores. In short, Wilson is to be taken very seriously even though he might not measure up to the recordings you mention above. That's setting a very high bar, but Wilson has plenty of tread on his tyres to reach these levels.

While you're on the subject of Rachmaninov, can you please recommend an excellent recording of the Symphonic Dances; I love this work and only have one with Haitink and its recorded sound is dreadful.

Hello, Belle. Just caught your Reply here.

There is a tricky spot in the last bar of the Symphonic Dances, where the tam-tam (gong) sounds the final note. 99% of conductors allow that note to fade away, but Rachmaninoff made no such indication in the score. It is more difficult for the percussionist to play that note short, but that is what Rachmaninoff wanted, as you can hear in Ormandy's recording with the Philadelphia Orchestra, which is my recommendation. Of course, I also recommend Nezet-Seguin's new DGG release, where the Symphonic Dances are coupled with Rachmaninoff's First Symphony:





Incidentally, Rachmaninoff preferred to spell his name with a double F at the end, so that is the spelling I use.

As for John Wilson, I generally sing the praises of his recordings in these pages, which you would know if you had checked. I have quite a few, so this one is really an anomaly.

[Belle]

I love both the Rachmaninoff First and Second Symphonies and, of course, the rhapsodic Symphonic Dances and your recommendations sound very tempting. Your comments about the tam-tam are noted and, yes, I certainly do remember you writing about John Wilson on these pages.

That second CD you mention also has the Offenbach with Ormandy/Szell and it's a piece I grew up with as a child; I believe that may have been the last time I listened to it! But I do remember my mother walking me through it with narratives for each section as (circa) an 8 year old.

[Rach3]

Speaking of the Rachmaninoff 2nd Symphony, here is an excellent one from an unexpected (?) source, Adrian Boult and the LPO, mine an RCA lp, 50’s ? :

https://www.youtube.com/watch?v=c2oxvQsYMeI

Plus, hearing Ormany live : viewtopic.php?f=10&t=57145&p=528848&hil ... is#p528848

[CharmNewton]

Speaking of the Rachmaninoff 2nd Symphony, here is an excellent one from an unexpected (?) source, Adrian Boult and the LPO, mine an RCA lp, 50’s ? :

I agree. I have Boult's recording on an RCA Victrola LP.

I find when conductors move out of their familiar territory, their readings can be refreshing. For me, some other examples are Boulez's Bruckner 8th (he also conducted a wonderful performance of Bruckner's 5th with the Chicago Symphoy, not commercially recorded but perhaps releasable one day) and Stokowski's Beethoven. I find it very satisfying.

John

[CharmNewton]

This took a while to get to me from Japan as it got detoured to Indiana on its way to Portland, Oregon. But arrive it finally did.



Just getting started, but I already wish she had recorded more Scarlatti and Soler, especially Soler. So taken with the Soler that I ordered this, arriving tomorrow...



and downloaded this...



which is playing as I write.

Soler's music has a subtle harmonic aroma that wafts above his vibrant music. Difficult to believe he was 3 years older than Haydn.

John

[Lance]

The Maria Grinberg collection on Scribendum is a gem! Over the years, I have acquired much of her work on Vista Vera, Classound, Melodiya, Arlecchino, Brilliant, and what appeared on RCA courtesy of Russia. Fabulous pianist. It was my pleasure to prepare Barbara Harbach's harpsichord for performances. I didn't get the Brilliant set of Soler organ concertos though that one does look most interesting. You have outstanding tastes in music, sir!

This took a while to get to me from Japan as it got detoured to Indiana on its way to Portland, Oregon. But arrive it finally did.



Just getting started, but I already wish she had recorded more Scarlatti and Soler, especially Soler. So taken with the Soler that I ordered this, arriving tomorrow...



and downloaded this...



which is playing as I write.

Soler's music has a subtle harmonic aroma that wafts above his vibrant music. Difficult to believe he was 3 years older than Haydn.

John

[CharmNewton]

The Maria Grinberg collection on Scribendum is a gem! Over the years, I have acquired much of her work on Vista Vera, Classound, Melodiya, Arlecchino, Brilliant, and what appeared on RCA courtesy of Russia. Fabulous pianist. It was my pleasure to prepare Barbara Harbach's harpsichord for performances. I didn't get the Brilliant set of Soler organ concertos though that one does look most interesting. You have outstanding tastes in music, sir!

My only familiarity with Maria Grinberg was her Beethoven cycle, which I still have on Melodiya LPs with very primitive cover art (Melodiya also used the same box art for the Schnabel cycle). I liked the sound she produced with her instrument. The Scribendum set reveals an extraordinarily wide repertoire and I am looking forward to hearing it (along with the Soler and many other recordings, new and old).

Ms. Harbach is a marvelous artist. And how wonderful that you prepared her instrument. It must be satisfying to be an integral part of great music making. Anthony Newman has mentioned it isn't easy traveling around with a harpsichord. Listening is a part of that too, and lucky us. I'd recommend both of these Soler sets to anyone wishing to explore his bold and delightful music. The Belder set on Brilliant Classics can be downloaded for $8.99 in the U.S. (the price is likely comparable in other regions of the world).

John

[maestrob]

Pianist Marc-Andre Hamelin has long ago proven himself not only a master virtuoso in obscure works, but an artist with musical depth of feeling in even the most familiar repertoire. Here we have a gentle display of the perfect match of intellect and heart in Faure's masterful piano cycles, both the Nocturnes and Barcarolles, with Dolly (written for four hands) giving us a chance to hear Hamelin and his life partner, Cathy Fuller play together. The result in this two CD set is utterly ravishing. Hamelin knows exactly how to reveal the sometimes difficult harmonic structure of these intimate works to full advantage, with a carefully planned ritenuto or delicate sonority here and there. This Hyperion release leaves the competition in the dust in your reviewer's humble opinion, and the joy of repeated listening reveals new depths every time. This title is for every pianophile, and may be the piano release of the year. Infinitely rewarding. Don't pass this one up. Five gold stars!

[Belle]

Speaking of the Rachmaninoff 2nd Symphony, here is an excellent one from an unexpected (?) source, Adrian Boult and the LPO, mine an RCA lp, 50’s ? :

https://www.youtube.com/watch?v=c2oxvQsYMeI

Plus, hearing Ormany live : viewtopic.php?f=10&t=57145&p=528848&hil ... is#p528848

https://www.youtube.com/watch?v=GWjB3tdtjuo

[maestrob]

Composed when he was just 29, Frank Martin's Piano Quartet is filled with youthful exuberance and sparkle. Premiered in 1919 with musicians of the Tonhalle Orchestra and the composer at the keyboard, this scintillating work exhibits all sorts of new harmonies, and contrasts well with Cesar Franck's autumnal Piano Quintet from 1879. My preference for the Franck up to now has been a live recording with Sviatoslav Richter, but this new one, featuring pianist Martin Klett and the Armida Quartet really provides stiff competition, with its emphasis on the quasi-Wagnerian harmonies of the Franck and the first hearing for these ears of the Martin. It is really the Martin that sold me on this wonderfully recorded CD with just enough ambience to envelop the players in a warm, woody yet transparent atmosphere. Five stars!

[Rach3]

It is really the Martin that sold me on this wonderfully recorded CD with just enough ambience to envelop the players in a warm, woody yet transparent atmosphere. Five stars!

Thanks for this suggestion.Earlier this year I listened to several Martin works and acquired downloads of his Violin Concerto and 2nd PC. Your suggestion was also my first hearing today of his Piano Quintet which I found on YT with Die Kammermusik Zurich.Your Armida cd is at Presto and I acquired a download from that Armida cd of the Martin only as I have a couple of the Franck already.Thanks again ! Here is the YT for others to enjoy and consider acquiring the cd :

https://www.youtube.com/watch?v=9Igfk4r7Cf8

[maestrob]

Premiered in 1728, Handel's Serse is one of his most important works. Presented here by Henry Bicket and his English Concert forces, this is easily my preferred version, with a cast of singers perfectly matched to their roles, including the barnstorming Emily D'Angelo, Lucy Crowe, Mary Bevan, Paula Murthy, Daniela Mack, Neal Davies and the stunning bass William Dazely. This crystal-clear recording on the Linn label easily captures the most gentle moments as well as the superb chorus in full cry. Not to be missed is the opening "Ombra mai fu.." popularized by great singers worldwide. Do not miss Lucy Crowe's pyrotechnics throughout, with her perfect articulation and depth of feeling! I enjoyed every note! Five gold stars.

[Belle]

What a wonderful work, alongside most of what this great great composer has created. I'm listening to a performance of "Serse" as I write this. I call this extraordinary oeuvre of Handel, "the musical perm" - meaning that its long, curly tresses provide the texture of his entire operatic opus. And more.

I've been exhilarated by Handel in a theatrical setting to the extent of developing goose-bumps but also moved to tears. In Theater an der Wien a box of tissues was automatically passed along the row during a performance of "Rodelinda". That NEVER happens in Australia.

Handel; one of my non-negotiable top ten composers.

[Febnyc]

A new name for me, compliments of Toccata: Robin Walker (b. 1953).

These four works all are full-blooded, broad-shouldered. They feature deep, dark noises from the orchestra - all tonal, to be sure - but not for the faint of heart. Walker seems to be evoking earth sounds. The CD notes point out that he "identifies" with Sibelius more than anyone else. And this certainly shows in the music he produces.

I think there's not much variety in these pieces, but if you are into what I would call granite blocks of sound, you'll sit up and listen - as I did.

[Febnyc]

I enjoyed every note! Five gold stars.

Thanks - I'm sold. My wallet is a bit thinner, but who cares?

[maestrob]

Not since John Barbirolli's exquisite Vaughan Williams with the Halle Orchestra has Ralph Vaughan Williams's music been so well served in this superb series by Mark Elder. Elder preserves Barbirolli's fine tradition of hazy English atmosphere without disrupting his finely disciplined musicians' playing in this stunningly recorded CD recorded in 2012. Generously filled out with Vaughan Williams gems, including the Fantasia on a Theme by Thomas Tallis, the ever-popular Wasps Overture, and the Five Variants of "Dives and Lazarus," this CD offers Ralph Vaughan Williams at his very best. Five stars!

[Febnyc]

...this CD offers Ralph Vaughan Williams at his very best. Five stars!

Very tempting - although I have them all in other performances and, true to my miserliness, I won't duplicate. Hmmm...

Anyway - don't you just love when that gorgeous theme enters in The Wasps Overture?

[maestrob]

Written in 1915 and revised extensively the following year with a new finale, Reger's Clarinet Quintet was destined to be that composer's final work. His heavier, almost orchestral String Sextet offered here by the Vienna String Sextet proves to be yet another fine discovery for your reviewer, played here with much feeling and finesse. Recorded in 1995, these two works were finally published on CD by EMI in 2000 to great acclaim. Sabine Meyer, whom we all know, plays with warm attention to detail, bringing her inimitable sense of style and tone to bear on one of the most difficult clarinet parts in the literature. Both works are riveting music that held my attention throughout, helped by the perfect acoustic and balance of the Baumgartner-Casino in Vienna. This disc has lain unopened on my shelves for far too long, and makes a welcome addition to my listening. Five gold stars!

[nosreme]

Annual (more or less) 2-CD release no. 4 of what seems destined for completion with one or two more releases. Outstanding playing.

[nosreme]

Good as this emerging "complete" cantatas set is, it appears so far to be the religious/"sacred" cantatas only.

[maestrob]

Olga Borodina and Colin Davis have each recorded Berlioz's Romeo & Juliette twice. This is the better effort in both cases. While Colin Davis was in charge of his Bavarian forces, he managed to meander across the Alps to Vienna and record this version, with superb results. Bass Alistair Miles is the superb Friar Lawrence, while Tenor Thomas Moser effectively reins in his rather large tenor in his brief appearance at the end of Act One. Champions of Berlioz are few in each generation, and Sir Colin was certainly the best of his. Philips was exceedingly supportive of Davis's efforts to bring forward the music of Berlioz, and the recorded sound here is vibrant with much depth. Why it took me so long to hear this 1995 release is beyond me. For sure I've been missing out on a masterpiece in its finest recording. Five stars!

[Lance]

Taking Brian's/maestrob's inspiration for the Berlioz Romeo et Juliette, Op. 17 recording on Philips 442 142 [2 CDs], a work I haven't heard in some time, I quite agree with this wonderful interpretation of the magnificent dramatic symphony! I have several recordings of the work, but the beauty of the orchestra and its smoothness is strikingly exquisite. Recorded in Vienna in 1993, the only point I might have liked better was a more closely-microphones performance, just a tad at least. Berlioz' colors and intensity run the gamut in terms of volume. Nonetheless, it is an exceptional performance given soloists, chorus, orchestra and conductor.

[maestrob]

Looking back, composer/baritone Roderick Williams will probably consider this generously-filled release as the pinnacle of his career. Filled to the brim with his own orchestrations of English songs, the album features compositions by Ralph Vaughan Williams (his House of Life cycle) along with several composers who were killed during World War I (George Butterworth, William Denis Browne and Ernest Farrar) and was released to coincide with Remembrance Day. There are also songs by women composers here (Ina Boyle, Ruth Gipps, Madeleine Dring and Rebecca Clarke), all personal favorites of his. All that said, none of this would have come to fruition without the encouragement of conductor Sir Mark Elder, who guides his Halle forces with much skill and finesse. This is an album to treasure for those who love great singing. Five gold stars!

[maestrob]

It's been a while since I've heard anything significant from Christophe Eshenbach, so that makes this 2CD offering of music with two starry singers most welcome in the new year. Der Ferne Klang the album brings together some of Schreker's most interesting output, including two sets of orchestral songs with soprano Chen Ries and bass/baritone Mathias Goerne, ably accompanies by Eschenbach leading the Konzerthaus Orchester Berlin in sumptuous sound that highlights the beauties of Schreker's imaginative and quite original scoring ideas. Also included here is a superbly played rendering of the Nachtstuck from his opera Der Ferne Klang (hence the title of this set), the Valse lente for small orchestra, the Chamber Symphony, and the Little Suite for Chamber Orchestra. The second CD closes the program with Schreker's Romantic Suite for orchestra. All in all, this may be the most interesting release of 2023. It is certainly near the top of my list. Five gold stars!

[maestrob]

From Amazon. They say it better than I could:

Grammy-Award-winning Kenneth Fuchs (born 1956) is without doubt one of American music's leading orchestral composers. His orchestral output has grown and developed to encompass a wide range of genres, from overtures and tone poems to suites and concertos (ten to date, including ones for string quartet, electric guitar, and piano, the last entitled Spiritualist), inspired by a diverse range of subjects, testimony to his wide sympathies and fields of knowledge. His output includes chamber music (including five string quartets), solos and duos, vocal and choral music, and four chamber musicals. Cloud Slant is a virtuoso orchestral concerto based on three of Helen Frankenthaler's canvasses: Blue Fall (1966), Flood (1967), and Cloud Slant (1968) -not just musical depictions of them but also the composer's reactions to their artistic sweep and power. The flute was Fuchs' first instrument, so it was inevitable that he would compose a flute concerto. However, it was not until 2019 that he set about the task - for the flautist Peg Luke, to whom the concerto is dedicated. As is customary of compositions by this composer, the concerto carries a descriptive title, Solitary the Thrush, a reference to lines from Whitman's elegy for Abraham Lincoln, 'When Lilacs Last in the Dooryard Bloom'd'. Commissioned by the Californian Musique Sur La Mer Orchestras, Pacific Visions is scored for string orchestra, and is a single, dynamic movement sub-divided into five sections. Quiet in the Land, a Poem for Orchestra is a revision of a chamber work Fuchs composed in 2003, inspired by the rolling prairie of the Midwestern United States and the 'immense arching sky' under which it sits, cast against the impact of the Second Gulf War which had then recently broken out. The orchestral version heard here was composed in 2017 for the Phoenix Symphony. The album was recorded in Surround Sound, and is available as a Hybrid SACD and in Spatial Audio.

I consider this a five gold star release!

[Febnyc]

From Amazon. They say it better than I could:

Grammy-Award-winning Kenneth Fuchs (born 1956) is without doubt one of American music's leading orchestral composers. His orchestral output has grown and developed to encompass a wide range of genres, from overtures and tone poems to suites and concertos (ten to date, including ones for string quartet, electric guitar, and piano, the last entitled Spiritualist), inspired by a diverse range of subjects, testimony to his wide sympathies and fields of knowledge. His output includes chamber music (including five string quartets), solos and duos, vocal and choral music, and four chamber musicals. Cloud Slant is a virtuoso orchestral concerto based on three of Helen Frankenthaler's canvasses: Blue Fall (1966), Flood (1967), and Cloud Slant (1968) -not just musical depictions of them but also the composer's reactions to their artistic sweep and power. The flute was Fuchs' first instrument, so it was inevitable that he would compose a flute concerto. However, it was not until 2019 that he set about the task - for the flautist Peg Luke, to whom the concerto is dedicated. As is customary of compositions by this composer, the concerto carries a descriptive title, Solitary the Thrush, a reference to lines from Whitman's elegy for Abraham Lincoln, 'When Lilacs Last in the Dooryard Bloom'd'. Commissioned by the Californian Musique Sur La Mer Orchestras, Pacific Visions is scored for string orchestra, and is a single, dynamic movement sub-divided into five sections. Quiet in the Land, a Poem for Orchestra is a revision of a chamber work Fuchs composed in 2003, inspired by the rolling prairie of the Midwestern United States and the 'immense arching sky' under which it sits, cast against the impact of the Second Gulf War which had then recently broken out. The orchestral version heard here was composed in 2017 for the Phoenix Symphony. The album was recorded in Surround Sound, and is available as a Hybrid SACD and in Spatial Audio.

I consider this a five gold star release!

Nice to see a mention of Kenneth Fuchs. And also to note that Chandos has recorded his music. I'll get a hold of this for sure!

I have one CD which I've enjoyed very much:

[maestrob]

Yes, I'm looking to purchase that one as well. Thanks for your recommendation.

[Belle]

This CD from Bruce Liu looks very good. What a sensitive artist this man is. Just hearing the excerpts from Ravel drops me to my knees, so utterly exquisite and tender are they. One of my top 10 composers!!

All the tracks are here, itemized and need to be played individually. Liu's Rameau is superb - and he uses barely discernible rubato.

https://www.youtube.com/watch?v=PBpL138 ... kY&index=1

[Rach3]

This CD from Bruce Liu looks very good. What a sensitive artist this man is. Just hearing the excerpts from Ravel drops me to my knees, so utterly exquisite and tender are they. One of my top 10 composers!!

All the tracks are here, itemized and need to be played individually. Liu's Rameau is superb - and he uses barely discernible rubato.

https://www.youtube.com/watch?v=PBpL138 ... kY&index=1

Thanks for this, as I was not aware had been released.

Completely agree, extraordinary playing and original, effective programming.A must-have.

[Belle]

What I love is the somewhat 'romantic' reading of the Rameau, instead of the cold and detached quasi harpsichord touch we've become used to. I've listened to all of it this morning.

His Ravel is beautiful. I have Thibaudet playing Miroirs and it's a bit clunky and fast. In fact, I have him playing all of Ravel's piano music on a double CD and I never play this as I don't really like his interpretations.

[Lance]

I am wondering, Belle, what you would think of other complete recorded piano works of Ravel on CD by such pianists as:

Philippe Entremont/Sony Classical
Robert Casadesus/Sony Classical
Walter Gieseking/EMI-Warner
Samson François/EMI-Warner
Jean-Philippe Collard/EMI-Warner
Wermer Haas/Philips
Paul Crossley/CRD
Florian Uhlig/Hänssler
Alexandre Tharaud/Hamonia Mundi
Angela Hewitt/Hyperion
Vlado Perlemuter/Membran-Intense & Nimbus
Abbey Simon/Vox

Of course, once outside of complete editions, we have been gifted with countless recordings of so many of Ravel's solo piano works performed by world-class pianists. My preferences in the "complete" area has always been those of Robert Casadesus and Walter Gieseking, the latter especially known as the supreme pianist of impressionist music. I do not have the Thibaudet and probably won't. I am intrigued, however, by your comment about a romantically perceived Rameau!

[Belle]

You put me to shame as I really know nothing about those versions you've mentioned. I have mainly the orchestrated works of Ravel and, of course, the chamber music and Piano concertos. Apart from Louis Lortie, Jean Yves Thibaudet and some occasional pieces on CDs from particular musicians, eg. Argerich, I hold none of yours in my collection.

As for the 'romantic' Rameau, try this for an unromantic reading of his works: it's played on the harpsichord by Scott Ross (and I have him playing many Scarlatti sonatas in the same vein). Many pianists emulate this harpsichord sound on the piano in the interests of 'authenticity', but I'm not so dogmatic about it these days:

https://www.youtube.com/watch?v=S-JD5Kv2js0

I would consider this performance of Scarlatti somewhat unromantic on the piano too: absolutely brilliant playing, though.

https://www.youtube.com/watch?v=X2pe4CJQsHU

There are 'romantic' treatments of Scarlatti too. Here's a good example: listen for the light and dark shadings and very subtle rubato. These things were not possible on the harpsichord. Also his treatments of the trills and grace notes (not as evident in the recording below); these are played delicately and not as forcefully as on the harpsichord. In many respects Horowitz's Scarlatti sonatas inhabit a Schubertian sound world. In his later years this was emphasized.

https://www.youtube.com/watch?v=Bd0TRy41Fxg

This one is also superbly romantic and magnificently played by Perahia:

https://www.youtube.com/watch?v=WKQ0bf2XoYM

[Rach3]

Completely agree, extraordinary playing and original, effective programming.A must-have.

For example,I have the complete Ravel solo piano works with Robert Casadesus, very fine, silvery tone, suave, French elan, and have heard many other "Miroirs" , have other recordings, as well, but suggest comparing Liu's "Noctuelles" and "Oiseaux tristes" different phrasings and voicings, more relaxed,elastic tempi,softer colorful tone.Most pianists excellent, but Liu made me " sit up and taker notice." I agree with Belle about Liu's Rameau playing, and the Alkan's he selected complimented both the Ravel and Rameau without "overpowering" them.

[Belle]

I'm so glad to note that Alkan is getting a wider hearing too. I have a double CD of this composer's works played by Ronald Farren-Price and though superbly virtuosic and intelligent they tend to be approached in a Lisztian fashion. It's great to hear another interpretation from Liu; what a great future this young man has!!

Some of the pieces by Alkan are second tier, but many of them are first-ranking miniatures and a combination of Liszt and Chopin but with Alkan's own voice - as in this tiny sample.

https://www.youtube.com/watch?v=aztTW2MpMjU

[jserraglio]

Schnittke & Prokofiev. Welser-Most/Cleveland Orchestra TCO 2021.



The Cleveland Orchestra announces audio recording releases in 2023 featuring music by Prokofiev, Berg, Strauss, and Schubert led by Music Director Franz Welser-Möst:

Prokofiev: Symphony No. 5 available March 3

Berg: Three Pieces from Lyric Suite & Strauss: Suite from Der Rosenkavalier (compiled by Welser-Möst) available June 2

Schubert: Mass No. 6 (with the Cleveland Orchestra Chorus) available September 1 Prokofiev: Symphony No. 4 available December 1

All recordings available worldwide exclusively via digital streaming and download www.clevelandorchestra.com/discover/recordings/