5 comments about Frederick Fennell & the Eastman Wind Ensemble: Grainger; Persichetti....

1. I have heard nearly all of Vincent Persichetti's available symphonies (the composer withdrew his early # 1 & 2) and have reviewed 3, 4 & 7 (Persichetti: Symphonies 3, 4 & 7) and 5 & 8 (Vincent Persichetti: Serenade No. 5, Op. 43; Symphony for Strings, Op. 61: Symphony No. 8). The original, RCA recording of # 9 (Sinfonia Janiculum) has been reissued in Japan in an Ormandy series and I have ordered it, but it seems unavailable already. But # 6, his most popular and oft-recorded Symphony (among other reasons, no doubt, because it is scored for the popular College Wind Band), was missing in my survey. This classic recording by Frederick Fennell and the Eastman Winds, made in 1959, is recommended by the esteemed Fanfare critic and recognized specialist of the American traditionalists, Walter Simmons, and these Mercury reissues are also bargains (hope they stay in print!) so here I am. I've been not entirely impressed with Persichetti's symphonies, finding them pleasurable and dynamic, but giving me no impression that I was hearing anything that Schuman, Mennin, Piston or Harris hadn't said before, and I am not bowled over with the 6th either, though I understand its popularity: it is easy-listening, jaunty, optimistic in the fast movements, wistful and meditative in the slow one, even dance-like and folksy in the 3rd movement Allegretto, and always very American-sounding. The somber and brooding Adagio introduction to the first movement and the vivacious and brash finale are my preferred moments. Something of the more demanding and, ultimately, rewarding Persichetti can be heard therein. Still I will not rush to buy competing versions, this one will go in my shelves under Persichetti and just gather dust.
   
   Notwithstanding, the disc afforded (me) nice, if not entirely shattering discoveries. Not Grainger's Lincolnshire Posy though - apparently one of Grainger's most popular compositions for the medium, a 1937 elaboration of English folk songs he collated in 1905-6. Again, I see where its popularity comes from: its very folksiness makes it an easy appeal. The third movement, "Rufford Park Poachers", goes even beyond that, and its sweep and subtlety of colors give a hint of what Grainger might have produced had he always transcended, as here, his basic material. I happen to have another recording in my collection, by the UCLA Wind Ensemble under James Westbrook, a Phoenix reissue of made in digital sound in 1980 (Music of Grainger, Britten and Warlock). Westbrook's digital sound is significantly more spacious and comfortable, but, though both readings come within seconds of each other in each movement, Fennell has an extra bite which makes a difference. Khachaturian's Armenian Dances are also quickly heard and forgotten. Among the Three Japanese Dances of Bernard Rogers (1893-1968), the first is also folksy in its own way - Japanese exoticism: Puccini should have heard it. But the second, a mourning song with a mezzo singing unaccompanied in the middle, is original and subtle and the finale is a powerful and brutal dance that is not inferior to many pieces of the kind, and its ends in a strikingly brutal and dissonant crash let to resonate for a long time - a nice touch. The Dances are the 1953 re-scoring for wind band of music composed for orchestra twenty years before.
   
   It is Walter Hartley's Concerto for 23 Winds that I found the most valuable piece, if strongly derivative at times of Hindemith (try the beginning of the finale) and of the "school" of Schuman-Mennin-Piston. But it has that kind of brash dynamism, and his slow movement, with delicate solo dialoguing, commendably avoids the kind of sentimental pastoralism so typical of so many American symphonies of those years. The liner notes (derived from the original LP ones) call Hartley (born in 1927) "one of America's most gifted composers, old or new", and this was apparently the first recording of one of his compositions. A prolific composer (his superb website gives thorough information), he was represented in the Schwann-catalog in the sixties to eighties through odd-recordings of compositions usually involving winds and brass and his works are featured on numerous CDs, including 6 recordings for the present Concerto, but apparently he never made a real breakthrough, maybe because, as it seems, he specialized in writing for wind bands.
   
   The recordings from 1958 (Grainger's Posy and Rogers) and 1959 (the rest) come in vivid stereo sound, with slightly more tape hiss in the earlier ones.



2. This album is a reference work for anyone interested in wind band music. This was Fennell at his finest. A true pleasure to listen to. No one should perform Lincolnshire Posy without hearing this.



3. If you liked the original recording on 33 1/3 RPM, you'll love the sound of the Eastman Wind Ensemble on CD. The sound is amazing (especially without the scratches), the textures even more alive in the re-mastered recording. This amazing ensemble is the not-so-subtle reminder of how a "band" should sound. Sit back, set the volume control to give your speakers a work-out, and enjoy the experience.



4. 'Lincolnshire Posy' is one of the greatest compositions written for wind band, and this is likely the definitive recording of the work. Frederick Fennell's (the conductor's) full score has become the definitive edition, since Grainger never published anything but a condensed score. The Eastman Wind Ensemble provides a tremendous performance of the piece, and of all the works on the album.

   I must admit that I usually only listen to 'Lincolnshire' and 'Hill Song' because I'm a bit of a Grainger fan, but all the music if great, especially Persichetti's 'Symphony for Band' and Rogers' 'Three Japanese Dances'.

   If you're not familiar with Grainger, get this album and get familiar with him. He is one of the most important and best composers of the twentieth century, despite how little attention is paid to him outside the world of wind bands.




5. Listening to this recording brings back memories of my own college band experience with some of these pieces. This performance is fun to listen to largely because of the good brass sound from the trumpets and bones. For instance, track 6 (last mvt of Lincolnshire Posy) rocks. Brass and chimes come accross very forcefully, leaving you, the listener, with no doubt that this group could easily give you 30% more without over blowing. In the words of Spinal Tap's Nigel Tuffnel, "This one goes to eleven"!

5 comments about César Franck: Symphony in D Minor; Igor Stravinsky; Pétrouchka [Hybrid SACD].

1. Monteux's interpretation of the Franck D minor Symphony is unparalleled. The tempo, phrasing, and dynamics are perfect. Even though the last eleven bars of the first movement are already triple forte (fff), and even though there is no notation by the composer, Monteux pushes it even louder in the last full bar. It's very powerful.
   
   Not only is the interpretation the best, but the sound quality of this recording (recorded in 1961) is outstanding.
   
   This is THE version of the Franck D minor Symphony to own.



2. Irrespective of SACD, the remastering is first rate. The Petrouchka is the most vivid and colorful I have ever heard. As the program notes state, Monteux conducted the premiere and clearly has unique insight into the music. This is a "must have" for any Stravinsky aficionado. Consider the Franck an extra bonus, but buy the disk (at a bonus price, to boot) for the Pretrouchka!



3. I am very familiar with this symphony. I have a vinyl record we bought 30 years ago. I wanted it in CD because our turntable finally quit. The Franck Symphony is most likely my all time favorite symphony. I have recommended it to many music lovers and they all love it.



4. The Franck recording was state-of-the-art for its time and even today vintage RCA recordings from this era are stand-outs. The SACD is terrific. I'm bewildered anyone would find the sound quality bad or, worse, dismiss the works of engineers of that era who often got spectacular results even in mono! Perhaps if ones ears are tuned entirely to technicolor Telarc stuff...
   
   The Franck D-Minor, for reasons not quite obvious, is not wearing well with time and it's likely that it's one of those extremely Romantic works that needs a highly committed performance to bring it off well. I honestly haven't heard a modern (meaning last 40 years or so) performance that's done that--the temperament is of a wholly different age. However, a top-notch performance sells the work and you get it here, in the Munch recording with the BSO, with an old Silvestri recording from EMI, and with the classic Mengelberg that turns up in various incarnations.
   
   As far as Monteux doing any Stravinsky goes there's no discussion. He got to the heart (and I mean heart) of these works, totally demolishing the myth that Stravinsky was a cold composer.



5. The Frank Symphony showed poor recording technique, that was common as of the date it was recorded. I would rate it 2 stars.
   
   The Stravinsky on the other hand was well performed and recorded and would rate 5 stars.
   
   Therefore I would rate this CD 3 stars.

3 comments about Debussy: Solo Piano Music, Vol. 1.

1. As with most of the Vox Box CD transfers I review, I have owned the original vinyls. Vox Productions, Inc., was, for me, in the 60's and 70's, what Naxos has been to the 80's and 90's. It was a company flush with a willingness to take chances. Chances on repertoire. Chances on completist projects. Chances on artists and performers. Vox went where the BIG companies feared to tread, and went with a vengeance. They were way, way ahead of their time; however, after the takeover by the Moss Music Group, and then Essex Entertainment, Vox has become almost a relic. So few releases are forthcoming from their grand "vaults," that it just breaks the heart. (Who else would have the moxie to produce six records of Reger quartets and chamber works? Or Haydn's complete string quartets and piano sonatas? Etc.) Yes. It breaks the heart.
   
   Luckily, though, during the early 90's, Vox/Essex DID have enough drive to churn out some really classic Vox Box two-fers, and included amongst these were Peter Frankl's stylish performances of Debussy's piano music. Of course I grabbed them up! And was thrilled. I had "lived" with Frankl's Debussy for 30 years; he had always served the music faithfully, with sensitivity and distinction. Volume 1 offers up fine staples: the Preludes (complete), the Arabesques, Reverie, Suite Bergamasque and the Images (complete).
   
   From the opening Prelude, Book One, Frankl establishes an on-target impressionism that never fails; it is his hallmark, his purity. Both Books retain a sound-world that is magical, hypnotic, moody, nostalgic; and, yet, as in La Cathedrale Engloutie, thrilling, as well. These Preludes can stand easily beside the best on the market today.
   
   As can the Images: fine, glorious readings filled with color, atmosphere and panache. Listen, for example, to Images, Book One, No. 1 ("Reflets Dans L'eau"). Shimmering, lilting, mesmerizing.
   
   In Frankl's hands, the Suite Bergamasque, a perennial hackneyed favorite, seems refreshed, renewed. The grand opening "Prelude" is filled with promise; the "Menuet" and "Clair de Lune" are subtle and moving; the "Passepied," fleet and perfectly judged.
   
   The two Arabesques are simply exquisite; and the Reverie, although less romantic than most I've heard, nods its daydreaming head more towards hidden ghosts than lost loves. A most interesting take on yet another ultra-popular piece.
   
   All-in-all, this set is a phenomenal bargain. Frankl is never less than a fine mentor and, more often than not, touched by Debussy's muse. The sound is quite good, the piano image firm, detailed, full.



2. If you're looking for a great performance of a specific Debussy piano piece, this CD set may not be for you. Frankl's interpretations, while good, are not the best out there. However, if you are looking for an all-around good performance of the COMPLETE Debussy piano music, then these CDs are an extremely good deal; for $10 you probably won't find much better than Frankl's fine playing.



3. This is a wonderful selection of Debussy piano music. Frankl's touch is precise and gentle. Fans of Debussy, or anyone who enjoys listening to the piano, will enjoy this purchase. I must also say that this is a remarkable price for 2 CDs and over two hours of music.

No comments about Beethoven: Symphonies; Ouvertures.

5 comments about Leif Ove Andsnes - Liszt Piano Recital.

1. I don't even like Liszt solo piano music! Or I should say I never did much before I got this recording. I am a huge Leif Ove Andsnes fan, and he certainly does not disappoint on this recording. He make Liszt's almost impossible-to-play music sound, indeed, like music, and not just interminable scales and fireworks with no substance. Very highly recommended!



2. This cd is amazing, I can't imagine listening to it without being moved. It will take you somewhere beyond the everyday experience, your imagination will come alive. True, the overall tone of it is dark, but I would hardly call it "depressing". After listening to the whole cd, I am left in a different state than before, a state of awe. This cd was the first time I heard Liszt, and he's been one of my favorites ever since.



3. I happened to hear a performance recorded at Carnegie Hall where Andsnes played apres une lecture de Dante. I could do nothing but buy the CD. It's truly marvellous. Die zelle in Nonnenwerth was a new piece to me and is a highlight on this recording, dreamy and thoughtful.



4. Some reviews of this disc and others have characterized Leif Ove's playing as cold and unemotional, and upon my first hearing of Liszt Recital, I could very well understand where these ideas were coming from. However, now I would beg to differ: I think that Leif Ove exhibits supreme control and discipline - which, particularly when applied to Liszt, could very well be interpreted as cold. One may perhaps feel that he is hesitant or even reticent to allow more emotion to colour his interpretations of the music given his clarity of tone and absolute precision in striking the keys. Yet I do not think that Leif Ove does any disservice to the music. Rather than indulge us in a wild frenzy of emotions, he is thoughtful and contemplative; he's passionate too, but on his own terms. He does not tell us, the listeners, any more than we need to know. This is northern Liszt, and I like it especially when I need something glorious yet tempered. However, for pure passion perhaps Bolet's 2-disc release on Decca London is better. (But Leif Ove has recorded here different pieces than Bolet, so maybe you should get both after all.)



5. Andsnes's superb Liszt performance deserves the attention. His interpretation of the Ballade No. 2 is among the best. The unusual light touch that he uses in every piece determines the characteristic property of the whole set. Also I have to say that his Mephisto Waltz No. 1 is the fastest I have seen recently, and he does that without a single misplaced finger ! Appreciated recording.

5 comments about Victor Herbert: Beloved Songs and Classic Miniatures.

1. The artists on this CD, as well as Naxos, are to be commended for a fine performance of this wonderful music by one of America's great compsers.



2. Who cares if a soprano is singing songs written for a tenor or Thine Alone was written as a duet? This is a perfectly lovely album, and I've never heard my two favorites--Thine Alone, Toyland--sung more beautifully. The soprano, Virginia Croskery, takes no liberties with the music--sings it lovingly and as it was written. Refreshing in our self-indulgent times when singers seem to think it compulsory to "make a song their own" or whatever it is they think they're doing.



3. Totally enchanted with this CD. The soprano supremely gifted and the orchestra - stunning. I highly recommend it for the sensitive music lover!



4. This new Victor Herbert is a disaster. The soloist is bad and destroys Romany Life. Her other songs aren't much better. Most of the vocal music was written with a chorus in mind. No chorus. Over half the vocal selections are mutilated. 2/3rds of Kiss Me Again is gone, about 1/2 of Moonbeams cannot be found, the second verse of A Kiss in the Dark is among the missing, etc. Thine Alone was written as a duet. Molly was written for a tenor. They are sung by a soprano. Herbert wrote so much music beautiful music but onl;y his most famous can be found here. Three or four orchestral selections are all that can be recommended. Until John McGlinn or Richard Bonynge realize that Herbert once existed he is in trouble. Naxos and Brion are not the answer.



5. It is a Good Thing that Naxos is starting an American Classics series at their usual budget price and that Victor Herbert is featured on two of them. We have as of this writing the purely instrumental (8.559025) and its sequel (8.559026). The latter features soprano Virginia Croskery and the Slovak Radio Symphony Orchestra under Keith Brion. Yes, this offers an interesting comparison with the old Beverly Sills offering of much the same material. Ms. Croskery's vocalizing is very good indeed and perhaps more in keeping with the kind of voice for which much of this music was composed; but while Ms. Sills' voice is quite thrilling, it is perhaps a touch too operatic for this lightweight material. On the other hand, the Naxos sound is far beyond what the older set can give us. Of the 16 selections on this CD, 5 are instrumental. Of the vocals, not all were written for the soprano voice ("Toyland" for example); but most were and we have here what you would expect: "Romany Life," "Kiss in the Dark," "Italian Street Song," "Ah, Sweet Mystery of Life," and so on. Some listeners might have some trouble with the singer's very top notes; but at this price and for lack of anything competitive that is still available, this is still a very good purchase. This disc makes a fine companion piece, not only to the other Naxos set, but also to a concert of Herbert and Romberg duets on Newport Classic label titled "Sweethearts."

5 comments about Stravinsky: Firebird, Rite Of Spring, Persephone / Tilson Thomas, San Francisco SO.

1. As an orchestral trombonist, I looked a long time for the Rite of Spring recording to add to my collection. I finally settled on this one and "WOW!!" is all I can say. Tilson Thomas, while a very fine conductor, sometimes forgets about the emotion of a piece, that is, often I find his interpretations too smooth. Here, however, he allows the full savagery and fire of this music to come out - the brass searing,the strings raspy where necessary and the all important basson solo is smooth and gorgeous. I fully endorse the multiple Grammys this set was awarded. There may be other Rites of Spring that do individual things well, (namely the stellar sonics and bass drum/organ impact on the Salonen/LA Phil recording from 2003 or the visceral, primal, if flawed reading Gergiev gives) however overall this set rises above the rest. While I intend to get the others I just mentioned for comparison, this set will be the standard by which I judge future recordings; the playing is flawless and the interpretation is above reproach.



2. Personally, this is my favorite recording of the Rite of Spring and The Firebird. I am not going to say that it's the best because that leads to most of the garbage you see in the other reviews. While I still enjoy the recordings Stravinsky himself lead, Boulez's interpretation, and especially Igor Markevich's interpretation, I find no difficulty recommending this set above them all. To put it simply, Stravinsky's music has never sounded better. This recording is rhythically precise, meticulously colored with beautiful solo and section playing in the winds and brass and yet still maintains the character and barbaric drive we have come to expect from this music. I agree that this recording does not have the sheer brutal intensity of some of the aforementioned recordings and especially that of Gergiev. However, this recording shows the inner workings of the piece and gives the music even more character by highlighting the orchestrational inventiveness of the work. While the recording of Persephone is wonderful and shares the traits already mentioned in the Firebird and Rite of Spring recordings, the work itself, to me, does not meet the same high level as the other two. And while it is good to have a great recording of this seldom heard work, I would have preferred a reading of Petrouchka instead. But Whatever! This recording is still great with fantastic playing and Godly recorded sound. This is one of the better purchases I have made. Enjoy!



3. This is definitely one of the best Rite of Spring recordings out on the market today. I highly reccommend this recording to anyone who is looking for an electrifying...amazing performance of the Rite. Please see my review under Levi's (Atlanta Symphony Orchestra--Telarc) recording of the Rite of Spring for more information and a list of other recordings I highly reccommend of the Rite of Spring.



4. I have listened to these recordings now perhaps 7 times since I bought them. On the whole they are quite fine. The dynamics are well presented and the flow of the thought and feel of the music seems genuine and faithful to the score.
   However, let me suggest that in the case of Persephone, the conductor has no clothes. Oh, the performance is probably the most brilliant I shall ever hear, hopefully the last. The conducting is most likely near to perfection as is the singing. But try as you might, take a mediocre work, and that's what it is... and perform away...it will still be mediocre.
   It was an unfortunate collaboration...Igor-Andre. It is far from Gide's best work and as far as I'm concerned not even worth mentioning for Stravinsky's, although I have to admit I've never sung the music myself as some apparently have.
   Although I admire MTT greatly and have many of his recordings, it is this need to be pedantic which I find annoying. Bernstein did it with panache in a time when so many knew so little. But MTT is always trying to cram it down my throat, including when we go to performances in Davies.



5. Probably one of my biggest regrets in my life was to be a few months too young to be on this recording with my boy chorus. Anyways, it is absolutely superb, especially Persephone (but then, I am partial, having sung it a few years later with the same symphony). This entire set is simply gorgeous.

5 comments about The Best Classical Album in the World... Ever!.

1. Many of these prior reviewers complain that the abundance of operas and vocals degrate this compilation. They don't know what they're talking about. These genres are what made Classical music popular in it's age. In that era the forum for showcasing "classical music" was operas! Hence why most of these works are lost in the shuffle. Most of us know Mozart and Beethoven's compositions by ear but there are so many other great composers that existed and these CD's will show you but a PIECE. But, fair warning, these CD's show only a small fraction of the whole movement (song). If you truly dig the genre you're in for a treat, investigate!



2. This CD is the first thing I ever returned to Amazon. It is an inferior product--selections cut off abruptly before the end, volume fades and returns in the middle of a cut...production values are pure schlock here. Maybe I should have expected as much from such a sophomoric title.



3. I purchased this CD because I am new to Classical Music and thought this would be a good introduction CD. There is some wonderful music on this CD. The only problem I have with this CD is every other track is Opera of one form or another. As a new listener I found that after the Opera tracks I felt I had been yelled at and it was a distraction to the other music contained on the CD. I now know to hit the skip button on my CD player just about every other track. I only gave it 3 stars because I felt put off by the vocal tracks. I believe that when someone is new to Classical Music they do not think of Opera. If you don't mind hitting the skip button a lot or if you like Opera this CD is for you!



4. This is a nice recording for folks who don't know much about classical music, and would serve as a wonderful introduction. It covers centuries of great music in a very listener-friendly format. I am sure that I will use this CD in my music classroom. For a seasoned classical music lover, however, the CD proves a bit frustrating, including only segments of masterworks (not even the entire movement of the Holst). I bought the CD for a few recordings, which I truly enjoy and make the CD a worthwile purchase. But I found (and I think that most classical musicians will find) that I already had many of these works in their entirety.



5. This is a fine collection of classical songs for those that have little experience with classical music. Howver, I truly love it.

2 comments about Chopin: Waltzes; 4 Scherzos; 26 Preludes.

1. As with most of Ashkenazy's recordings, the BEAUTY of the music is very evident, with showmanship left on the back burner. Of course, this is very desirable but sometimes a little more bravura might be desired in some pieces. For instance: take the preludes recorded here: they do not match up to the benchmark Martha Argerich recording for Deutsche Grammophone. This is not to say that Ashkenazy's playing is poor, not at all, but it is less spirited and not as imaginative as Argerich's. However, as if to vindicate my faith in Ashkenazy's ability, the Waltzes supplied here are flawless examples of this great pianist at his best: I was first introduced to the Waltzes through the Naxos pianist Idil Biret, and since hearing Ashkenazy perform them have never gone back to that Naxos CD at all. The scherzos are truly brilliant, though I prefer the earlier recording recently released on the Decca: Legends label - they seem to be fresher and somehow more in tune to the spirit of Chopin. However, I cannot criticise this performance too much: it is a superb CD - a welcome treasure for any Ashkenazy/Chopin fan.



2. As usual, Ashkenazy's performance of Chopin is extremely good. His interpretation and technique are unmatched by any other pianist.

2 comments about Beethoven: Symphonies; Ouvertures.

1. Here is a Beethoven symphony cycle (again) on period instruments (again). So why should it stick out in the midst of dozens of other cycles ? Yet it does stick out.
   These symphonies by Jos Van Immerseel and his small-scale orchestra Anima Eterna are all fresh, full of tintillating life. In fact, the orchestra is perfectly modelled on the size of the symphony orchestra in Beethoven's time, everything has been done in an effort to recreate the sound that Beethoven sought to create and that he would have heard (or wish to hear)himself. The details about the research and the production are explained in a well-written multilingual booklet included in the box.
   The sounds. These symphonies are a wealth of sounds, I have never before heard the percussion so clearly and the same goes for practically every individual instrument and yet the music flows and sings with all instruments together, dynamically and harmoniously : this is pure heaven.
   I'm very fond of Beethoven's symphonies and I have some two dozen complete cycles in my collection but this one goes straight to the top as one of the very, very best.



2. When Hector Berlioz discovered Beethoven Symphonies through the Société des Concerts du Conservatoire in Paris (in 1828), he wrote: "At another point on the horizon, I saw the immense Beethoven rising. The jolt this gave me was almost comparable to the one I had received from Shakespeare. He opened up a new world in music for me, just as the playwright had revealed to me a new universe in poetry."
   
   This would be a very accurate description of what I felt when I listened to this rendition of these Symphonies. And I know them, and enjoy them, and I have the Karajan, Bernstein and Gardiner recordings. I thought there could be no more surprises, no new recording to improve what has been made until now. But I was wrong.
   
   Jos van Immerseel and Anima Eterna get these compositons right. We can really feel them as fresh, vibrant, alive music - highlighting that "inevitability" that Bernstein used to praise about Beethoven.
   
   If I had to choose only one recording of the Symphonies to take with me, I would choose this one (and this one is the one I have in my iPod, to take with me all the time!)