No comments about Muffat: Concerti Grossi, Nos. 1-6.

3 comments about Rameau: Orchestral Suites Vol. 2 - Anacréon; Daphnis et Eglé.

1. I must admit that Rameau was a composer who I wasn't familiar with until I was surfing on Amazon looking for harpsichord music. Having bought and enjoyed his harpsichord music, I thought I'd try out his orchestral music. And it's good stuff too. In style it's perhaps similar to some early Haydn. Rameau was pretty much a product of his time, and there isn't really anything here that you will find "challenging". It's accesible, melodic and stands up well to repeat listenings. Anyone who finds classical music intimidating due to lengthy suites could do much worse that this.
   
   Overall I give it 4 stars. There are many great momemts, but is occasioanly dull in parts, and at "only" 51 minutes, it's shorter than I expected from Naxos.
   
   Overall a fine composer who should be heard more often these days.



2. Not the best of Rameau's music, but adequately performed.
   
   If you want to hear the best of Rameau, try Les Indes Galantes in the exciting version by Bruggen et al on the Philips label.



3. Rameau was limited as to the instrumentation he could use to put together this series of suites. Percussion was limited to the tamborine. Melody depended on the string section with help from the oboes and flutes. You have to realize that these were dance melodies - dances peculiar to the Baroque stage and the Baroque audience. Embellishments are there but they do not detract from the main melody. Strings are used for theme and dynamics. They are the foundation of the driving force compelling the performance. Oboes and flutes are used for contrast. All in all, this CD leads to a very pleasant afternoon of French Baroque music. There is fast, there is slow. There is appreciation of Rameau as an orchestrator given the limited range of instruments he had to deal with. Highly recommended. The best of the Baroque.

1 comments about English Madrigals and Songs.

1. From King Henry through the early 18th century, the best vocal music of the times. I was so taken by the earliest material that my a capella group learned several of the pieces and have performed them in many venues over the years.
   
   If you like the sound of early music, this is a must-have.

5 comments about American Classics: Barber: COMPLETE PUBLISHED SOLO PIANO MUSIC.

1. This is a brilliant disc in every way. First, Pollack and Naxos have assembled on a single disc Barber's complete output for solo piano. Secondly, Pollack plays the music with passion, commitment, understanding and breathtaking virtuosity. For those who know Samuel Barber's music only from the Adagio, this music will come as a profound shock. It's tough, overtly modernistic, almost constructivist, if I might use that word of someone wholly American, and rather conservative to boot. Its rhythmic intensity is quite astounding. Here and there I can find hints even of Scriabin, but Samuel Barber's voice is eventually a wholly original and individual creation.



2. This CD includes a mini biography of the composer and a short description of each piece, which is always a plus. I am still amazed he wrote those 3 sketches at such a young age! Barber's music is always lyrical, even when it sounds a-tonal. While John Browning is the most popular interpreter of Barber's music, Pollack also does a wonderful job. The only problem I have is his playing of the Nocturne, op. 33, because he plays it very heavily and too fast, much unlike a nocturne should be.



3. This CD collects all the published piano music of Samuel Barber, including the highly regarded masterwork SONATA, OP.26. The SONATA, in four movements, goes from the severe in the first movement to the openly joyous in the second; the third movement builds slowly to a mighty grumbling before just as slowly resigning itself to a quiet resolve. The final movement is all energy, requiring great technical prowess, which pianist Daniel Pollack has. It's an excellent performance.
   
   Some of the other pieces, though less demanding, are most enjoyable. The four EXCURSIONS explore "regional idioms," including boogie-woogie, the blues, and country roots (this last is delightful). The four SOUVENIRS show Barber at his most humorous: the Waltz is laugh-out-loud charming, and the Hesitation Tango is just that - and very compelling. This is an excellent CD all around, from the varied and intelligent music of Barber to the assured, lyrical interpretations by Pollack. Highly recommended.



4. Samuel Barber's(1910 --1981) music is lyrical, romantic, and accessible. But his music still manages to be challenging. As is the case with many American composers, Barber tried to develop an American voice by combining art music with American themes derived from jazz and American popular culture. Again, Barber wrote in an accessible way using sophisticated 20th century compositional techniques.

   Although he did not compose a great deal of music for solo piano, much of what Barber did write is outstanding. This disc on the budget-priced Naxos label includes all of Barber's published solo piano music performed by Daniel Pollack. Pollack knows and plays this music well indeed. He performed Barber's piano sonata at the First International Tchaikovsky Piano Competition in 1958. The CD includes detailed, insightful liner notes by Victor and Marina Ledin.

   Barber's piano sonata op 26 (1946) is the highlight of this disc and is a work that has become an important part of the piano repertory. The work is in four movements, and in it Barber uses an expansive musical vocabulary which includes serial composition. The work is romantic and virtuosic and immediately appealing. Vladimir Horowitz championed this music and it has been recorded many times.

   The sonata opens with a two-note falling figure with the second note heavily accented that becomes the basis for the opening allegro movement. Throughout the first movement, loud, virtuosic passages alternate with quieter sections, with feathery piano writing in the instrument's high register. The two-note figure is prominent at the end of the movement with a shift in accent to the first note of the pair. The second movement is a short, light scherzo which picks up on the quieter portions of the first movement. The third movement, an adagio, is spare and minimalist. It rises to a large climax before the music falls away pensively over a walking bass. The last movement is a fugue which begins rapidly and quickly develops to a frenzied, cataclysmic conclusion.

   The other extended works on this CD are two piano suites. The first suite, "Excursions" Op. 20 (1942-1944) was also championed by Horowitz. It consists of four movements based upon American jazz and popular song. The first movement features a syncopated theme with repeated notes over a boogie-woogie theme in the bass. The second movemement develops as a blues, with a slow-drag theme that becomes more prominent as the movement progresses. It reminded me of a Gershwin piano prelude. The third movement consists of a lyrical, rippling theme in a moderate tempo which undergoes brief variations. The final movement is a foot-stomping barn dance. The movement reminded me of a conservative Charles Ives.

   The other suite in this collection is titled "Souvenirs", op 28 (1951-1952) It consists of six short dance movements. (Barber used it for a ballet.) I loved this piece. It is deliberately anachronistic in character and is a throw-back to a hotel-style elegance just before WW I. In listening to this suite, I tried to think of the tone it intended to convey. Some people find this music light and frivolus while others find it ironic. I heard it as loving, but detached and a bit distant. Barber is trying deliberately to recreate a musical experience in an idiom that is no longer his. I think the tone is affectionate, with the music played straight (rather than satirically), but with a distinct feeling of looking back. Thus the title, "Souvenirs".

   There are a number of short pieces on this CD including three sketches dating from Barber's 13th year. I enjoyed the Nocturne which is highly chromatic (op. 33) and the late Ballade, Op. 46 among these short works.

   This disc is part of the Naxos "American Classics" series. It will allow the listener to get to know some great works of 20th century American piano music.




5. I can't tell if the overly fast tempi on much of this recording is so all the works could be jammed onto one CD, or if Mr. Pollack was dared to see how fast he could go. To be fair, he starts the Sonata at the metronome marking in the score (which some performers do not) but he doesn't keep it there. He pulls back tremendously in the second theme, then rushes through much of the closing theme so quickly as if to suggest that hearing the notes is not the important part. I'm impressed at how fast he can play certain parts (and the scherzo), but what honestly is the point? Passages in the development and coda are reduced to a blurry mash. Along with this he punches many notes (first and third movements), especially in the base, that have no need for added emphasis. Barber provided enough angularity to this piece that just playing it gets the message - and the music - across. The fourth movement, I will concede, is as admirable as any other performance.
   The rest of the works on the CD fare better - in areas where a change in tempo might be tasteful, Mr. Pollack seems invariably to push ahead but it doesn't sabotage anything as badly as the Sonata.
   Despite the tempting price, a newcomer to Barber's piano output would do better to buy John Browning's recording and come back to this one later for a different viewpoint.

5 comments about Bach: The Art of the Fugue.

1. Between Bach's brilliant fugue set and the virtuoso playing of Canadian Brass, this is as close to perfect as it gets. I listen to this when I want to clear my head and think logically, but it also produces an emotional response as well. If you love Bach and you love brass, this is the one.



2. The Canadian Brass are a very virtuosic ensemble; they are well known for bon-bons like "The Flight of the Tuba Bee" -- the sort of tunes which make classical purists cringe. So, to this ensemble, the Art of Fugue must be very technically easy. Though most of the performances are a bit on the fast side, the most difficult fugues, particularly the memorable contrapunctus nine, are not played at a break-neck pace. The focus here does not seem on showmanship, but on genuine musical expression. According to the (rather short) CD notes, the project was conceived and rehearsed with the aid of Glenn Gould, to whom this disc is dedicated.
   
   This four-voice work is transcribed by Arthur Frackenpohl for brass quintet. One voice in Bach's score is occasionally split between two instruments, to create a call-and-response effect. The tuba tends to come in with the main theme in the tutti conclusion of the fugues, reinforcing the bass line, which is shared by a euphonium (which replaces the traditional trombone of the quintet). The trumpeters also switch between different keyed instruments (and even a flugelhorn) to add a very pleasant variety to this music.
   
   The sound is attractive, if a bit distant. Indeed, the only real flaw with this disc (actually quite a big flaw for some) is the exclusion of the cannons. Nevertheless, this is a unique interpretation which shouldn't be missed.
   4 / 5



3. What I love about "The Art of Fugue" by J.S. Bach is how much it touches me. Obviously I don't mean physically because this is not supposed to evoke direct emotion or mood like Classical or Romantic pieces; it's ABSOLUTE MUSIC. Like what Bach did to all other fugues such as "Little" Fugue and the famous (Toccata and) Fugue in D minor, he truly had to put a huge effort and knowledge to make each voice work one another so it sounds so smooth and well-blended. Bach is a genius for having the relations between difference voices make so much sense, and even better is that the cantus firmus in each piece is based the one from the first piece; variations include change of rhythm, divided durations between voices (such as one voice playing half as fast as the CF and another twice as fast), and inversion. No matter how different in those tools is has become, Bach still managed to make them sound so "right". The "language" of music is what touches me and many of us so much, that he is indeed entitled to be one of the greatest composers ever.
   
   "The Art of Fugue" is originally written for a keyboard, but there are different versions. The one I decided to own is this version, done beautifully by a brass quintet (Canadian Brass). Keyboard or strings are good, but I love this version because the gorgeous warmth and aerophonic quality (like human voice!) makes it so alive. The "grand" sound of brass suits for this "grand" (as in what I liked about as mentioned in the previous paragraph, plus all is in a melancholy but furious D minor ending in D major) set of pieces. The "language" of music itself has touched me, and the wonderful sound of the brass adds even more teardrops.
   
   Whether you're getting a keyboard version or not, this must be bought and listened. This album really shows how powerful Bach's music can be. Unless you hate brass instruments or non-original versions, a must buy.
   
   All Hail Brass on Bach!!!!!



4. Don't let this one get away. This has slipped in & out of print, & it is great to have it available again. An unusual project well worth having if you love Bach & especially if you love brass instruments. This piece by Bach is fascinating in itself, but hearing the brilliant scoring for Brass Ensemble makes it possible to hear the subtlety of the multiple parts better than say, for organ or harpsicord. Recently, the Canadian Brass also did the same magnificent job of scoring Bach's ever popular "Goldberg Variations" to similar great effect. The price of this disc, however, is a steal...



5. The Canadian Brass originally recorded Bach's 'The Art of the Fugue' in 1988. Sony released it under its 'Sony Classics' bargain line in Fall 2001. Sadly, it's already out-of-print. This disc represents sort of an exercise for showcasing all of the elements associated with Baroque music. It's an interesting work, even if it sometimes seems disjointed. Personally, I prefer a coherent work over a 'musical exercise.' Nonetheless, the piece is interesting, if only because it features all of the musical elements at Bach's disposal during the Baroque era.

   If you can still find it, go ahead and buy it (especially if you can find it used). You might not listen to it every month (as you might Bach's Brandenburg Concertos or other orchestral works), but it's historic, and therefore worth a listen.

5 comments about Kalinnikov: Symphonies Nos. 1 & 2.

1. This disc leaves a listener with many different things to marvel at. He could marvel at the symphonic accomplishment of a man who died short of his 36th birthday. Or he could marvel at the continued disregard for, and ignorance of, that same accomplishment, given its melodic accessiblity, and its formal brilliance. He could marvel at his own good fortune in discovering such a rare bird as Kalinnikov.
   
   A quick look at the reviews here suggests that, among the few who have even bothered with such an obscure name as Kalinnikov's, the acceptance is qualified. The reviews, though generally positive, seem to find the music too folksy and light. There are also repeated observations about the disparity in quality between the 1st and the 2nd Symphonies. That disparity is present, but it is so slight, and both works stand so far above the works of similarly obscure 19th century symphonists, that it hardly seems worth the effort to make the observation.
   
   By way of orientation and explication, Kalinnikov's two symphonies do not merit parity with those of Tchaikovsky, Brahms or Dvorak (all of whom are slightly older to be sure, but all of whom were working in the symphonic genre contemporaneously). However, Kalinnikov's symphonies stand above those of Raff, Balakirev, Fibich, Huber, and Bruckner (Bruckner qualifies for the adjective "obscure symphonist" in these uncultured United States). I could also argue that Kalinnikov's symphonies are preferable to those of Mahler, but that would be a dangerous opinion to espouse. I would take the more defensible position that they are certainly, if not better, at least more to my taste.
   
   To the works themselves; you will rarely hear more tuneful creations than the symphonies of Kalinnikov. To what extent Kalinnikov's themes are his own, or are cribbed from Russian folk music, I neither know, nor care. He rises above any charge of plagiary or lack of imagination by virtue of his sublime discipline in developing the tunes -- listen to the fugato in the middle of the first symphony's first movement. Or listen to the way in which the last movement of the same work recapitulates -- in a non-artificial, and necessary fashion -- the thematic material of the first. His sense of symphonic architecture is evident at every turn.
   
   In addition, he has a marvelous sense of orchestral color -- witness the very beginning of the first symphony's second movement, with its gently rocking strings and mysterious harp-strummings.
   
   Kalinnikov's achievement as a symphonist cannot really be overpraised. It has been the victim of the opposite treatment, for what reason I cannot say. The works are attractive, and thoroughly worked-out in the high symphonic style.
   
   This CD is a must-have for any serious fan of symphonic music.



2. This disc of Kalinnikov's two symphonies (sadly he died young) is wonderful. No need to pursue the more expensive versions.
   
   These symphonies are very enjoyable and memorable. When I listened to them, I thought to myself "these melodies were meant to be".
   The symphonies do suffer a tad from a slightly over-sugared texture.
   
   If you are expecting Shostakovich-like compositions, don't bother listening. These are in a post-romantic vein...slightly lugubrious slow movements, but very compelling melodies, expertly written. Expertly performed.



3. Of Vassily Kalinnikov's two symphonies, the first is the most often played. It is easy to see why: it has the sort of folksy accessibility that pot-boilers are made of, and it skids merrily from one tutti to the next. The second, much like Elgar's, is a more inward-looking affair (although much less than Elgar's) - still the same catchy rhythms but without the First Symphony's explosiveness. While Kuchar and his Ukranians attack the First head-on, they do appear to be less at home in its successor, where Järvi's Chandos recording still sets the standard. The First Symphony, however, is played excellently, and this is probably the most energetic recording of it to date. Excellent work from the orchestra, particularly the brass and woodwinds.



4. I bought this CD on impulse and I'm so glad I did. These 2 symphonies are well worth getting to know. If you like Borodin you will definitely want to hear these. I was worried at first they might be dull late romantic period pieces but Kalinnikov has a light touch that makes these symphonies riveting throughout.



5. The canon of Russian Romantic classical music is so large that it is almost impossible for one person to listen to it all. But trying sure has its rewards, and this is one of them. I found this CD by browsing thru lists of Russian composers, and listened to it on a whim. I am glad I did. These two symphonies are probably the only two works by Kalinnikov that is available online, and they show a musical genuis. Both works are wonderful symphonies encompassing various moods, melodies, and harmonies. Both extend upon the Internationalist tradition begun by Tchaikovsky and are quite enjoyable to listen to. I highly recommend it.

5 comments about Rachmaninov: The Isle of the Dead Op.29/Symphonic Dances Op.45.

1. The performance of The Isle of the Dead on this disc is arguably among the very best. Vladamir Ashkenazy's account is a powerful reading bringing to bear a scene of desolation and despair. The build up to the climax of the music is taken at an even, inexorable pace that gives the music an explosive impact. The gradual fading of the music, as if the isle is disappearing into a distant fog, is nicely played. The Symphonic Dances is a vibrant and dynamic reading and was actually criticized by some reviewers for adopting a faster tempo for the first dance in the first movement than should have been taken. The second movement is beautifully phrases and elegantly played by the Concertgebouw while the final movement moves at a good steady tempo with attention to the details of the score, and the music is brought to a fiery conclusion.
   
   The famous recording by Kiril Kondrashin of Symphonic Dances, made in 1963, is equally driven and marvelously played (certainly a must hear performance) but this 1984 performance by Ashkenazy and the Concertgebouw can stand beside that seminal performance, and does have better sound.
   
   The recordings are beautifully engineered with truly excellent sound.



2. I figured this CD is cheap enough that I could buy it for the Dances alone, which I'd heard before and wanted for my collection. The reviews seemed to indicate this is the best CD of this music.
   
   I'm glad I had no expectations from The Isle of the Dead, which is at best an outstanding expression of morbid dreariness, gloomy and chill throughout, and amply lengthy for its point to sink in. But unfortunately, the commonalities between the Isle and the Dances are emphasized, not just in the CD booklet but in the way Ashkenazy conducts the Dances. Somewhere, you can buy an account of the Dances with more propulsion and less focus on the grave. Buy it instead, unless you are seeking a therapeutic cure for euphoria, in which case this disk gets my highest recommendation. It is well recorded.



3. Yes, here is offered to you the isle of the dead and some symphonic dances. The pace, tension, timbre ...everything about the isle is great. The other pieces, I do not know but they fill up the cd. The sound quality is great, but the four stars are caused by those dances. The cover -picture is very nice and well, i do not know why on the item here this painiting is niot shown. I hold a version from 1984 where DECCA was still called LONDON.



4. Rachmaninov was really on to something when he strayed from composing his usual piano pieces and created the symphonic tone poem Isle of the Dead and the Symphonic Dances. Though there are plenty of fine recordings, this one stands out because world class pianist Vladimir Ashkenazy, who understood the music of Rachmaninov, is its conductor. I had no idea that Ashkenazy, aside from being a pianist, was also a conductor. Now I will check out other recordings in which he is the conductor. Here, he puts on another hat that suits him just as well. He brings out the many layers of the music. Isle of the Dead was based on the surreal, abstract and symbolic modern painting by Brocklin. The painting still baffles me. What is the Isle of the Dead ? Let the music tell you. It has a distinct Wagnerian and Mahlerian feel to it, as musicologists have noted. But this is not an homage to these late Romantic Germans, it is only natural that a dream-like and symbolic tone poem should evoke the music of composers whose work had dream-like qualities and symbolic strength. Because this music is a tad minimalist and slightly twelve-tone, music scholars also note a hint of the Impressionistic music of Debussy, with fleeting melodies that are slow and quick and not heavy at all. In contrast, the Symphonic Dances are jovial, thunderous and lively pieces, evoking Russian dances and an orgiastic, frenzied bacchanal. Rachmaninov pulled out all the stops and Ashkenzay does as well in his conducting. The Concertgebuow Orchestra of Amsterdam was a fine orchestra, one of the leading ones in Europe, but sadly it's underrated. It is at the same level of the Gewandhaus of Leipzig and Berlin Phil. This is a terrific, terrific recording.



5. The star of this CD is an exciting and beautifully recorded Symphonic Dances, the last orchestral work Rachmaninov wrote (1940) before he died. The other work on this CD, the Isle of the Dead, dates from 1909 and only appeals to me when I want to hear Rachmaninov at his most morbid.
   
   Usually one can get the Symphonic Dances coupled with an entire symphony (Temirkanov on RCA, Jansons on EMI), so it's stingy of Decca to limit this CD to 55 min. But if you want a highly charged technicolor reading of this work, Ashkenazy remains the best choice (it is also included in his budget box of the symphonies.)

3 comments about Vivaldi: Lute Concertos.

1. I'm no classical buff, in fact I'm more into alternative stuff,
   but this CD is beautiful.

   If you ever wanted some classical work, and wanted
   something a bit off the beaten track, i.e.
   not the stuff you hear in adverts, this if for you.

   Checkout the samples...you'll end up playing it for years and years.

   I know I never get bored of it.




2. I would recommend Il Giardino Armonico's version of the Lute Concertos for those who prefer period instruments.



3. This CD is a MUST for any collector of Vivaldi's music

5 comments about Beethoven: Symphony No. 9.

1. I have three recordings of the Ninth from Cleveland, Szell's, Maazel's, and the current one. All of them are rewarding, although Dohnanyi's might be marginally the weakest of the three. The main focus of his interpretation is lyricism. This is not a dramatic or earthshaking Ninth. Rather, it is highly consoling, almost an epicurean Ninth. The sound of the orchestra is breathtakingly beautiful. General opinion is that Szell was the greatest conductor of the Cleveland, but I feel that the orchestra played even more beautifully for Dohnanyi. The vocal soloists are good and the chorus performs with fine ensemble. There is nothing idiosyncratic about this reading. Part of the undramatic effect may be due to the sound engineering. It is well balanced but rather distant, heightening the blend and euphoniousness of the orchestra. I am sure I will return to this Ninth with pleasure, but I suspect Gunter Wand will be in circulation on my CD player to offer a more heaven storming reading.



2. Recordings like this make me realize at least partly why the classical recording industry is in the state it's in. The late 1970s and 80s saw a steady stream of half-inspired recordings of works that had already been overrecorded. The fact that they were now done in DDD sound was good enough to sell CDs for a time, but once people got over their sonic fetish and once the older, better recordings by Klemperer, Szell, Karajan, Furtwangler, etc., were reissued on CD, the decline of conductors--particularly in America--became achingly apparent. Such is the legacy of this CD, as well as the rest of C von D's hum-drum cycle for Telarc. This is a bland, middle-of-the-road performance of the 9th that is *beautifully recorded,* with a very natural acoustic (read: the strings aren't overmiked, as they often were in early digital discs). But the musicians here aren't saying anything, though they say it with great technical facility. The tumultuousness of the first movement, where we feel that the universe is being created and destroyed before our eyes (or ears), lacks the momentousness. (On a side note, the trumpets are kind of ratty to my ears. Surely this was intentional, but I wonder what the point was.) The scherzo's main theme sounds like an arthritic elephant, and while the trio section is the first moment things start to come to life, the tempo of that section sounds awkward coming after the tempo of the first section. (Without getting too complicated, accelerated sections tend to sound best when the new tempo is a multiple of the previous tempo; the outgrowth tends to sound organic without the listener really understanding why.) Cleveland sure has pretty winds, though! The slow movement is boring and here more than anywhere else the American Clevelanders sound like fish out of water. Listen to a Central European Orchestra to get the charm, the sweetness, the lilt, of this very Viennese movement, which here is completely lost. To me the orchestra here sounds like it's trying to recreate an idea, rather than living it. In short, where's the humanity???
   
   The finale is in many ways the most disappointing movement. The opening "horror" fanfare is too sedate. (Admittedly, this is my most common complaint of Beethoven 9ths in general. Lenny got the fire about right.) The still, awkward Ode does not have much joy as it works its way up the stringed instruments, to climax in a rather hollow-sounding baritone (although, in all fairness, I've heard worse). Robert Page's crisply-trained choir belts out "FRE-ude SCHO-en-ner GOET-ter-FUN-ken" loudly and forcefully, but with the feeling of an auctioneer. There's no attention to line, to TONE, to Beethoven's deliberately naive melody (I mean naive in a good sense here). And really great finales make my hair crawl in awe when they reach "Seid umschlumgen. Millionen!" Some of the most amazing choral writing until we reach the exaulted realms of Mahler's 2nd Symphony many years later. Here I feel it falls short, though again the chorus is polished. But compare Karajan, Furtwangler, or heck, even Toscanini, for some spiritual ferver. And for a really good chorus in general, hear Haitink's LIVE performance on Philips with the Concertgebouw (NOT the studio). Though in other ways it disappoints by being too sedate, it has one of the best-sounding choruses I've ever heard--they really make sense of the choral parts. Unfortunately this recording is now OOP and hard to find.
   
   I bought this CD when it first came out in 1986, and like everyone else I was impressed by the sound, and it was my first Beethoven 9th on CD. (It might have been the first Beethoven 9th released on CD, and almost certainly the first digital 9th.) At the time I'd only heard about six or so recordings of the 9th, but now, with about 25 of them under my belt, I can hear many shortcomings here. Newcomers to the 9th will probably be excited by this well-recorded, taut performance, but people with more experience with this music and with its epoc and message may find this too sterile or facile.
   
   Unfortunately, I can't recommend one totally great 9th. Each one has its strengths and weaknesses, not to mention downright eccentricities. But this wouldn't even make my top 20. Reiner, Furtwangler (especially the WWII recording on Music and Arts), Karajan '63, Cluytens, both Bernsteins (Sony and DG) and many others easily top this, though none is completely satisfying in itself. But this is a recording I'd skip, unless I were interested in demonstrating the sound quality of my audiophile speakers.



3. I would agree with everyone in saying that this recording starts out pretty weak...really, the whole performace is kinda on the performing for a bad movie soundtrack side...but...in the choral part...i have to say, i wouldn't have imagined this much passion in cleveland...the singers nail it very well, and the ocherstra picks it up to follow them and makes the last movement awsome...but...the orchestra alone...seems pretty limp. still, the choral parts are one of the best you can find. for them, i'm glad i own this...i still wonder what got in them this day to sing their guts out like they did. not technically great, but passion rules for the 9th.



4. I don't think this is a perfect recording of this symphony, but I don't think I've ever heard a perfect recording of this symphony either. Suffice it to say Dohnanyi's is my favorite overall rendition. I have some small quibbles with it: As another reviewer mentioned, the beginning does indeed sound a tad underpowered, although the power builds as the movement continues and the final two notes are just huge. As well, I think the scherzo is a shade too slow, although Dohnanyi uses the slow tempo as an excuse to bring out a mysterious quality in the movement that I do enjoy. And the "fanfare of terror" at the beginning of the final movement? Just not very terrifying, folks (although it does stay together remarkably well; the orchestra sounds muddled in other interpretations I've heard).

   But that's where my criticisms end. As usual, Dohnanyi manages to bring Romanticism into his interpretation without ever falling into melodrama. Crisp accents and a remarkable precision from the orchestra are the order of the day, yet there is still a clear musical picture here: Dohnanyi and the CO know what the music is trying to say. Aside from the quibbles I mentioned above, the first and second movements come off with tightly controlled power and precision. The third movement is particularly notable; some conductors just set the dynamic level at mezzo forte and drill right through it, but Dohnanyi gets a remarkably lush, warm sound from the orchestra, wistful and consoling at the same time. As amazing as the third movement is, however, it just can't compare to the unbelievable finale, where the orchestra (aside from the very beginning) and chorus just take off. The "Ode to Joy" theme is taken pleasantly up-tempo (I admire Bernstein's vision, but I think this theme just drags on forever the way he conducted it; not so here), and the whole movement is imbued with a joy and a sense of anticipation I haven't heard anywhere else. When the chorus returns after the orchestral fugue, it'll blow you out of your seat. The slower moments that follow are amazing in their own way; they're reverent and mysterious, clearly communicating Beethoven's wondrous vision of a heaven "above the canopy of stars." After that, it's a full-blown race to the end of the movement, which I had to listen to about twelve consecutive times when I first bought this CD. You just can't listen once to an ending as powerful and joyous as this.

   So overall, this is the rendition of the Ninth I keep coming back to. The sound may not be quite as balanced on other versions, and von Karajan in particular definitely had the edge with his soloists, although Vaness et al. are no slouches. But this rendition has a sense of vision and power I haven't heard elsewhere.

   (Liner notes include the full sung text, by the way.)




5. I feel the first movement in Dohnanyi's Beethoven 9th is a shade underpowered, but I think it is an intentional approach, allowing the performance to build power as it goes along. Thus the first movement is more sleek than powerful. The Scherzo seems more committed, and the performance truly flowers in the slow movement. Some performances of this slow movement just settle back into a sort of generic lushness, but this performance has a searching, tender quality. The finale is the best-- Spacious yet forward moving, this rendition of the finale is so glowing yet precise, that most other versions seem careless to me now. In sum, not a perfect recording, but quite rewarding.

4 comments about Schubert: Symphony in Bm No8, D759; Symphony in C No9, D944.

1. With this CD, Sir Charles gives us, the listeners, a fresh new take on these two masterpieces. It features all of Mackerras' usual trademarks: an unbelievable tightness and clarity of sound as well as a rich yet controlled emotionalism--an earlier reviewer said that the finale of the "Great" symphony will "explode out of your speakers" or something to that effect, and that reviewer is right. The Scottish Chamber Orchestra is up to the task, responding with a nimble quickness that is paradoxically light and powerful at the same time; the players produce a rich, dark sound while at the same time staying together and keeping everything up-tempo. Part of this is the prominent role given to the brass, which sound more "natural" (i.e., period instrument type) than on other recordings; however, here as in many other Telarc recordings, the balance between instrument families is as close to perfect as it could possibly be. Overall, Mackerras and the SCO give these two recordings a grandiose, bravura feeling that's very rarely found anywhere else. I have only two minor complaints. One is that Mackerras tends to rush through the endings of movements, keeping the drama of the music from reaching its absolute, fullest potential (though it comes darn close). Also, stylistically the music doesn't feel as Viennese as on other Schubert recordings I've heard, and perhaps more than any other composer, Schubert needs to feel Viennese. In particular, the first movement of the Unfinished Symphony as it's recorded here doesn't seem to be a lamentation as much as an outburst. The Academy of St. Martin-in-the-Fields, strangely enough, did a better job ensuring that these symphonies were stylistically correct. However, if Mackerras occasionally sacrifices style for raw power, that's a small, small quibble with a CD that's otherwise so technically precise and passionate with such wonderful sound quality. In short, while this CD may not provide the "classic" or "definitive" interpretation of these two symphonies, it gives us a new take on said symphonies that's excellently done from start to finish, and definitely worth a place in any music lover's library.



2. Schubert's Symphony No. 9 is written on such a grand scale and full of such bravado that you cannot help but be inspired to conquer a small country while listening to it. Sir Charles Mackerras brings dedicated restraint into line with optimum tempo and the result is momentous. You will wish you were conducting yourself! The orchestra is an hybrid mix of modern instruments and natural horns. The effect is splendid on the ear and actually balances quite well. The Scherzo is thunderous and the Finale will stampede from your speakers. The "Unfinished" symphony is plaintive and actually seems quite remorseful. It is lovingly rendered here just after the 9th. So you will have to wipe the big smile off your face and reach for your hankie. Telarc captures all the nuances in shining clarity. You will not want to miss this recording!



3. This splendid recording is an excellent testament to musical scholarship and performance at its finest. Mackerras leads the Scottish Chamber Orchestra in a spirited, consistently fine performance of Schubert's "Great" C Major (9th) Symphony noted for the steady, even tempi of its movements. Mackerras does a great job emphasizing the score's complex architecture without losing sight of its elegantly melodic qualities; sadly most performances I've heard live or recorded have tended to emphasize either the score's architecture or melodies, not both simultaneously (A classic case in point is Haitink's interpretation with the Vienna Philharmonic Orchestra which I heard last month at Carnegie Hall; Haitink was much more interested in the score's lyrical qualities.). Mackerras' deferrence to Schubert's original intentions, most notably with the opening horn solo of the 1st movement, makes much sense, especially in the transitions from pianissimo to forte (soft to loud) throughout the score. My only minor criticism is that the orchestra's performance of the fourth movement didn't sound as vibrant as the Vienna Philharmonic's (That may be due to the fact that waltz music is quite familiar to the Vienna Philharmonic Orchestra; Schubert alludes to this Viennese music in this movement.); otherwise the level of musicianship is identical. Mackerras' interpretation of the 8th "Unfinished" Symphony is equally inspired, and rewarded with lush, warm playing from the Scottish Chamber Orchestra. Certainly both performances have to be regarded as the definitive versions of these symphonies. I own and admire greatly Mackerras' period instrument versions with the Orchestra of the Age of Enlightment, but the Scottish Chamber Orchestra's playing sounds a bit warmer and more inspired. Telarc's sound quality is absolutely first rate.



4. Intrigued by Sir Charles Mackerras's recording of Schubert's 10th Symphony in D with the SCO (Hyperion CDA 67000) I thought his Telarc recording of the 8th and 9th was worth a punt. Boy was it ever! Most recordings of the "Unfinished" tend to be melancholy. Most recordings of the "Great" tend to be flaccid and rambling. This recording is neither. The secret is using the manuscript's tempi. For the "Great" Mackerras reinstates the two beats to a bar tempo, instead of the usual four. This

   produces a unified pulse in the music. Dramatic crescendos don't sound forced. And with a clearer laying out, the use of all repeats seems logical, not indulgent. The approach gives the "Unfinished" a fresh look; wistful not maudlin. Be warned though, natural horns brighten the sound considerably, but for me, clean up the usually muddled sound from the brass. A true revelation, beautifully recorded, and above all, a testament to detail and scholarship.