No comments about Great Baroque Classics.

No comments about Strauss Waltzes.

4 comments about Salieri: Overtures.

1. Milos Forman's film Amadeus has consigned Antonio Salieri forever to be thought of in direct comparison to Mozart, so let's get that out of the way first. I think it's fair to say that next to Mozart's opera overtures, these seem a bit one-dimensional; but only because they are Italianate, not because Salieri was the barely competent pretender that Amadeus portrays him to be. Salieri was a good composer, and his overtures are constructed very much like Verdi's overtures would be in the next century: the presentation of melodies is emphasized, and the more Germanic preoccupation with counterpoint and formal complexity is deemphasized. So again, if Salieri's music is simpler than Mozart's in this genre, that is mostly a matter of the Italianate style vis-a-vis the Germanic, and not of the inept craftsmanship with which the film so unfairly charges him.
   
   Having granted Salieri credit where credit is due, however, it must also be recognized that these overtures are not the timeless masterpieces that Mozart's mature opera overtures so unfailingly are. After all, composers of the Classical era generally did not aspire to the production of timeless masterpieces: they thought of themselves not as Heroic Arists (a notion that didn't develop until well into the 19th century, with Beethoven as an early exception), but as craftsmen, much the way a chef or a carpenter thinks of himself today. Mozart in his day was very much the odd man out in making his own aesthetic ideals a higher priority than accessibility and immediate audience comprehension, and indeed his stubborness in this regard ultimately cost him permanent employment and a steady income, forcing him to get what work he could as a freelancer.
   
   The first half of the album is hit-or-miss, some of the overtures actually being a bit weak. But there are a couple strong ones as well, and as the album progresses we hear consistently effective, dramatic music. There is a good deal of Sturm und Drang, minor-key pathos to much of it (Salieri was Beethoven's teacher, after all), and the Slovak Radio Symphony Orchestra plays the pieces ably.
   
   In short, this disc is worth hearing for enthusiasts of Classicism, and for those interested in acquainting themselves with the actual, historical Salieri; but in the end these are only minor works from the period.



2. It is unfortunate that Antonio Salieri (1750 - 1825) is known now almost exclusively for being the nemesis of Mozart in the Peter Schaffer play and subsequent film 'Amadeus'. Salieri was certainly much more than the thwarted, second-rate composer. Perhaps he was not in Mozart's league so far as composition power goes (although the best of Salieri certainly stands up as worthy in comparison with many of the major composers of his time), but he was a respected composer in his own time, and perhaps more than for his composition, he was respected as a teacher and court musician. Salieri counts among his pupils Beethoven, Schubert, Liszt and even Mozart's second son.
   
   His operas tended to follow a particularly popular formula, with dramatic flairs and stories easily accessible to the people. He drew inspiration from historical works, from mythological and fictional works, as well as works of popular circulation. Salieri even used some libretti from Lorenzo de Ponte, perhaps better known now as a librettist for Mozart.
   
   This disc includes overtures of twelve operas (Salieri wrote nearly 50 operas, several of which were not premiered until the 1990s). They include pieces from his dramatic operas as well as his comic operas. The power in these is certainly evident. Perhaps the best of the lot is 'Cesare in Farmacusa (Tempesta di Mare)' and 'Axur, Re d'Ormus', an opera also involving de Ponte, and reworked from an earlier attempt to do a French opera into an Italian one.
   
   It is a mistake (reinforced by 'Amadeus') to classify Salieri as an Italian composer - he lived most of his life in Vienna, and was criticised by the Empress at one point for being too much of a German composer. Salieri's works such as 'Don Chisciotte alle nozze di Gamace', the overture of which is included here, certainly shows his strength in writing toward the German.
   
   This disc is a fun disc to listen to. There is nothing earth-shattering or new here, but these pieces are good compositions, and the performances by the Czecho-Slovak Radio Symphony Orchestra (Bratislava), under the direction of Michael Dittrich, is exemplary. This is one of those often-overlooked Eastern European orchestras that has incredible performance ability; they have had international touring experience as well as a number of recordings for Naxos, who is to be praised for bringing less popular music to the general public in an affordable way.



3. I have read with interest the preceding reviews of this CD, and they seem to alternate between declaring Salieri an unacknowledged genius and totally worthless! (The Gramophone review, by the way, fell more into the latter category.) The truth lies somewhere in between. He is certainly no Mozart, but nonetheless he did write some very beautiful music which is surely worth hearing.

   Like a previous reviwer, I was particularly impressed by "Cesare in Farmacusa" (1800), an overture in the "tempesta di mare" ("storm at sea") style, which has an incision and power that look ahead to Beethoven's thunderstorm music from the "Pastoral", and by "Ricco d'un giorno" (1784), a spirited and lively piece which is probably the most "Mozartian" item on the disc. There are some interesting moments in the other pieces, including "Les Danaides" (1784), which resonates with Gluck and even seems to look ahead to the Commendatore music in Mozart's "Don Giovanni". Worthy of note as well is the festive overture to "L'Angiolina" (1800), which is a setting of Ben Jonson's "The Silent Woman", which incidentally also inspired Donizetti's "Don Pasquale" and Strauss' "Die Schweigsame Frau".

   All in all, a very nice disc which helps to bring Salieri out of the shade and is certainly worth exploring for anyone interested in the music of the late Classical and early Romantic periods.

   ...




4. Poor Salieri! After the job done on him in "Amadeus," one expects from his music nothing more than well-wrought pieces with no touches of genius whatsoever. Well, balderdash to that prejudice, as is demonstrated by the Naxos release of a dozen of his (8.554838). Here, try this at a party. Without identifying composer or piece, play a few minutes of each cut and see if your audience can identify the former. I think I personally would have guessed at Haydn or Telemann on several of them. After all, this was the man who gave instruction to Schubert and Beethoven at one time or another and was certainly praised in his time by those who did know better.

   But all this background aside, you will certainly enjoy these classical and sometimes early Romantic overtures to operas that no one will ever again perform for several reasons. The Slovak Radio Symphony Orchestra (Bratislava) under Michael Dittrich makes a good case for the composer, and the lighter and more serious of the overtures are nicely arranged to avoid repetition. Very nicely done in all respects.

No comments about Alma Gluck.

No comments about Schubert: Moments Musicaux; Impromptus.

3 comments about Blue Tango: Symphonic Pops by Leroy Anderson.

1. Leroy Anderson seems to transcend national boundries, as demonstrated by this recording by a German orchestra and conductor. A recording of this material, from this source, comes out of left field. This is kind of a "greatest hits", but that's just fine. All the biggies are here. Well recorded (I have the cassette for which I payed about 99 cents), better played than the Boston Pops (see those reviews), and a real bargain. Public school music teachers, take note of the prices. Now you have to explain what a typewriter is.



2. As a youth I grew up listening to Leroy Anerson before I knew who Leroy Anderson was.. However, at a very very early age I discovered the beautiful of not just one or two of this wonderful composers works, but over 30 plus ...they all have such rememberable
   themes and melodies..that will fill your heart, mind and soul which such beautiful thoughts and feelings, themes like blue Tango, Waltzing Cat, Syncopated Clock, Belle of the Belle..need I go on...

   Whether as a TV theme song or on in Cartoon..or just beautiful listening...Mr. Anerson' themes are so endearing they have the haughting ability to make even a grown man cry.... Now as I enter into my fifties
   Mr. Anderson again makes his ever presence felt in my life as I dream of dancing the Tango ..to not only blue tango , but to tunes such as the beautiful Girl in Satin and Serenada..and a brisk bouncing waltz to Belle of the Ball....While I cry at the beautiful melodies of Saraband, Blue Belles of Scotland, waltzing cat and the erie..trumpeter's lullaby....If you have an type of nostalgic bone in your body..this album will bring back those feelings of innocent and warmth like no other album has ever done in your life....If you haven't heard the name of Leroy Anderson before you listen to this recording, you will surely know who Mr. Anerson is after you have....He has been a part of my very soul for over 45 years.....Thank you Mr Anderson for such beautiful music, and thank you mother for giving me the opportunity to be exposed to it...




3. I bought this mainly for "Blue Tango," which I heard played in my home in the late 50's, early 60's, as a very small child. It was a beautiful song then, its a beautiful song now. That is music! The whole CD is very good. So far other big favorites are "Bell of the Ball," "Forgotten Dreams," "Serenata," "The Golden Year," and "The Girl in Satin." There are songs I've heard all my life like "Sleigh Ride," and "Fiddle Faddle," but never associated with anyone until now. This CD would have been worth the price for "Blue Tango," alone, but I got more. Come on fellow rock n roll lovers, expand your horizons.

3 comments about Handel - Saul / S. MacLeod · Cordier · Schoch · Schlick · McFadden · Beekman · G. Schwarz · Frankfurt BO · Martini.

1. Saul is an epic oratorio, and contains much fine music. McFadden is a sublime soprano, and not recognised enough I believe. She sings with complete assurance, pinpoint accuracy, beautiful rich but clear tone, without the lack of expression some other pure-voiced sops suffer. It would be worth buying the disc for her alone. Schlick is also a fine sop, but very much second to McFadden - strangely enough, Schlick is very similar to Lynne Dawson who sings the same role (Michal) in John Eliot Gardiner's version. The other soloists are all pleasant enough, although I would place Alastair Miles above MacLeod for his more authoritative, polished performance of Saul, John-Mark Ainsley above Schoch and Derek Lee Ragin's incomparable voice above any other countertenor, so must vote for JEG's Saul. The choir sound rather large and as though they are wading through deep mud at times, but in some choruses (esp the initial and final) the effect is quite thrilling and awesomely huge and overpowering. Hard to judge from excerpts over the net! Well worth buying, but to go one better I would opt for the JEG version.



2. I have always loved Handel's music - all the popular favourites and some less well known works such as Acis and Galatea and Alexander's Feast. When I purchased this economy edition of Saul I had vague recollections of the dead march and little else. But there is a wealth of great music in this opera/oratorio. I especially like the duet and following chorus nos. 19 and 20 on disc 2 (you can sample it here for yourself, but there is a lot to like about the music that the sample doesn't reveal). It makes me wonder how many great works are 'lost' to us, waiting to be restored to publicity. Of course not every work can be equally popular and exposed, but I for one do not regret missing a couple of listenings to Messiah to squeeze in Saul.



3. Another near-hit: the Handel Saul done by Martini and the Frankfurt Baroque Orchestra. The soloists are generally quite good, especially Macleod's Saul; and Barbara Schlick warbles prettily as usual. David Cordier's David is rather watery, and more than usual David and Johnathan sound like they're about to bop down together to shop for window treatments.

   The period-instruments orchestra is top-notch, and the recorded sound is vivid (and quite resonant) and lively (befitting a live recording). But the chorus -- the Junge Cantorei -- indeed sounds young and LARGE. They pack a punch in the loud bits but are quite blurry and sometimes not quite getting all the notes. And fatigue seems to set in in Act III for everyone involved (partly Handel's fault; after Saul is buried, attention flags).

   Certainly worth the price (for the instrumental playing and soloists, certainly), but not the only Saul you'll ever need.

1 comments about The Top 10 of Classical Music, 1877-1893.

1. I love this collection. There is a freedom in the music of this era that translates into all of the individual composers represented here. One can only reap this information from a compiled set of representative musical selections, seen in a chronological collection, such as this LaserLight "100 Masterpieces." I particularly enjoy listening to their creations while in the photographic darkroom, mastering my own creation. My personal favorite is track number five. Thank you.

1 comments about Essential Hyperion, Vol. 2.

1. As with their first collection of label highlights, Hyperion's new two-disc collection provides a broad sampling of their exceptional catalogue and performers. Particularly rewarding are the selections from Beethoven (Scherzo from String Trio in C minor, op 9 no 3, performed by the Leopold Trio) and Thomas Tallis (Salvator mundi I, performed by the Winchester Cathedral Choir), but experienced and novice listeners alike will find much to enjoy on these discs. It's also a good value--more than 2 1/2 hours of music for less than $10.

No comments about 50 Classics for the Quiet Times.