4 comments about Saint-Saëns: Piano Trios Nos. 1 & 2.

1. This is splendid idiomatic and memorbale performance of two fine chamber works. The recording is most realistic. No reservations whatsoever.



2. These two trios are well played on this disc. As usual with Saint-Saens the music is unfailingly tunefull and pleasant. The writing for the piano is particularly good -- perhaps because the composer was a pianist of some renown. I thought the sound quality was good but occasionally somewhat distant or veiled but certainly acceptable. Of course the naxos price is just right.



3. Saint-Saëns's two piano trios both rank among his best works. The four-movement first is more playful, with many syncopated rhythms and intricate melodies; the five-movement second, published close to thirty years later, is even better. Saint-Saëns delayed its completion for a while, and one can understand why when listening to it - it's obvious that a lot of work went into its composition. Although written for only three instruments, it rivals in power and majesty some of his most interesting large-scale pieces. Each movement is excellent enough when isolated from the others, but the cumulative effect of the whole is what makes this a masterwork. The piano writing is brilliant throughout, and this recording has a perfect sound balance, which is especially important in chamber works. The Naxos price is inviting, but it doesn't even matter: this music is priceless.



4. Separated by a thirty year stretch, the two Saint-Saens piano trios, coupled here together by Naxos for the first time on CD (to my knowledge), are beautiful, enduring, melodic works in the tradition of Schumann and Mendelssohn. It's incomprehensively mystifying to me that these trios have never entered "the standard repertoire." They certainly should have before this. Well, so it goes. Better late than never. Lucky us!
   
   The Op. 18, written in 1863, is an immediately and thoroughly attractive work, every movement memorable. Particularly haunting is the lyrical Andante. The Op. 92, written in 1892, is every bit as moving and irresistable as its younger sister--- but, perhaps, a touch wiser and more ruminative; yet, again, each movement is a gem (and Camille, that sly French devil, has given us five, rather than the usual four, to treasure). As with the Op. 18, special mention should be made of the enchanting Andante.
   
   The Joachim Trio, playing splendidly, receive a fine realistic and warm sound.
   
   [Running time: 65:28]

5 comments about Beethoven: The Piano Sonatas.

1. As a longstanding admirer of Ashkenazy, I was eager to hear how he interpreted this "New Testament" of piano literature (as it has been called). I was not disappointed. Ashkenazy's formidable virtuosity and probing intellect are much in evidence throughout this set. His approach emphasizes the titanic rather than the reflective aspects of these works, and for that reason some listeners might prefer Kempff or Schnabel, particularly in the later sonatas. Ashkenazy can make the piano sing pellucidly or roar commandingly, and this wide dynamic and toal spectrum is entirely appropriate for Beethoven.
   
   I am not about to give away my Backhaus, Kempff, Schnabel, and Frank recordings; each of these artists provides a unique perspective on this greatest canon of solo keyboard literature after Bach. But to these illustrious sets I must now add Ashkenazy; for the present his extraordinary artistry will place him near the top of this select list.
   
   The remastered recordings (from analogue originals of Seventies vintage) vary from good to outstanding. There is just a hint of what sounds like temporal distortion here and there; also the treble register of Ashkenazy's instrument is not as truthfully caught as his "roaring" bass. Strongly recommended nevertheless.



2. Somewhat to my surprise, the Ashkenazy cycle is the best recording of the complete Beethoven sonatas. I bought every Beethoven recording by every major Beethoven pianist and spent over 1,000 hours comparing all those recordings to each other. The only cycles close to the Ashkenazy are the little-known Claude Frank, Seymour Lipkin and Paul Badura-Skoda cycles (the Badura-Skoda cycle of 1970 on the grand piano, not the fortepiano version). After those come the better-known cycles by Richard Goode, Barenboim (2nd cycle, for DGG), and Kempff (2nd cycle, in stereo), and the little-known cycle by Annie Fischer. I leave aside the Schnabel set which continues to define the standard for interpretations despite inadequate sound, and many high-quality recordings by Richter who never did a complete cycle.
   
   I say "somewhat to my surprise," because Ashkenazy is not known as a Beethoven pianist. He is regarded as a great interpreter of romantic music, with the big technique and beautiful tone needed for that repertoire. Well, he has the big technique and beautiful tone, which is good. However, what is most noticeable to me is the scrupulous attention paid to Beethoven's text. In that regard, Ashkenazy is the equal of Claude Frank and Rudolf Serkin, which is high praise indeed.
   
   The purpose of buying a complete cycle is usually to form a base for a collection. One can quibble with some of Ashkenazy's interpretative details or with Decca's recording techniques. However, the question then becomes: what is the alternative? The competing cycles are either a little worse or a lot worse. After buying one complete cycle, the lover of Beethoven can then add a number of other sonata recordings -- the Horowitz recordings for RCA Victor, the Rubinstein recordings, the Gieseking disk of the Pathetique and other works, the Pollini late sonatas, many of the Richter recordings. If I am asked to recommend one Beethoven sonata cycle as the basis for a collection, I would unhesitatingly recommend the Ashkenazy Decca cycle.



3. Beethoven, like Bach, should be played as though one was capable of fathering 22 children. It is not to be played in a passionless, mathematical manner. (This is not to say that only men can play these composers as they were meant to be played, as Clara Haskill, Marie Claire Alain, Zuzana Ruzikova, and Wanda Landowska can prove otherwise.) I am basing this review on the Hammerklavier and Tempest sonati, two of my favorites. Mr. Ashkenazy brings a passion into the playing (as well as a technical mastery) that brings them alive in a sense that Helmut Walcha and Karl Richter made Bach keyboard music an emotional,almost cathartic, experience. I will always think that Robert Casadesus was the ultimate pianist for Romantic keyboard, but Ashkenazy makes all thirty-two of the sonati live and stand alone as wonderful musical experiences for the listener. Too many great pianists, and the Twentieth Century had many, only recorded the 'warhorses', but there is not a movement on this recording that is not superlative and stand alone. The allegretto from op.31, no 2 (Tem[est) is as close to perfection as my limited musical knowledge can imagine. Not being a pianist personally, I cannot speak as a virtuosi, but as one who has listened for almost fifty years, this is a recording that would bring pleasure to to anyone who loves music.



4. This set has never been a critical favorite. I doubt anyone would claim that Ashkenazy is one of the great Beethoven interpreters. And yet it makes for quite pleasurable listening. For starters, we have Ashkenazy's high technical prowess, his beautiful tone and general finesse. We seem to have accepted as great Beethoven pianism, playing that ranges from the painfully plain (Brendel) to the downright ugly (Kuerti). But Kempff has shown us that a non-aggressive beauty can reveal another side of this great composer. Ashkenazy is not in Kempff's league as a Beethoven interpreter, but nearly every performance is effective here and evinces a real musical fluency. More ambitious Beethoven players (e.g. Kovacevich) have often made recordings that totally miss the mark.
   
   So, this set would be a perfect for listeners coming to this music for the first time. And seasoned Beethoven sonata listeners might enjoy it as well. Just don't expect poetical profundity.



5. These are the complete piano sonatas. My primary concern was what would be the quality of the recordings. I am happy to say that these are excellent. These and the complete sonata recordings by Gulda are both first rate. A pleasure to listen to.

5 comments about Tchaikovsky, Sibelius: Violin Concertos.

1. I can never pass up a good Sibelius Violin Concerto and picked this CD up for a couple of bucks in a bargain bin. Needless to say, it was well worth it. I've never been very impressed with recordings from the '60s, but this one is excellent. The acoustics are superb -- obviously not as good as modern ones, but not "muddy", as the reviewer below said. The Philadelphia Symphony Orchestra sounds outstanding on this recording, and Ormandy is a master. For example, there are parts of the Tchaikovsky concerto where the orchestra's playing is even more breathtaking than Stern's. Is that possible? Ormandy jumps strongly into the rollicking 3rd movement of the Sibelius concerto, unlike a lot of the limp and flaccid performances I've heard under other conductors. And of course, Stern is phenomenal here: it may not his best disc, but it's definitely a very good one. He is characteristically warm and passionate, eschewing show-offy technical fireworks for a down-to-earth and very emotional style. His playing can be just slightly loud in places on this disc (which probably has more to do with the placement of the microphone than anything else), but overall it's a fantastic recording. Five stars.



2. This has to be one of my favorite CDs. Peter Tchaikovsky's Violin Concerto has to be one of my favorite pieces by the violin, and Jean Siblius does a great job on his too. Isaac Stern does a great job, making only one mistake in the third movement of the Tchaikovsky piece. As always, Eugene Ormandy does a great job conducting his Philadelphia Orchestra. I find this an almost perfect replica of what Peter Tchaikovsky and Jean Sibelius pictured when they composed their pieces. This is a very good price considering that I have seen it in bookstores for [a lot more]....



3. These are wonderful performances, full of the flair that made Stern famous. I was glad Sony chose this particular version of the Tchaikovsky with Ormandy and the Philadelphians for his "Life in Music" series, rather than Stern's later version with Berstein and the NYPO. This earlier recording captures Stern with more spontaneity and displays his virtuosity to greater effect. The faster passages of the Tchaikovsky are handled with ease, even at speeds faster than normally heard. The Sibelius was recorded much later and therefore has slightly better sound but the performance again is on a very high level. It may not be THE best version of this concerto out there, but it is very satisfying. Overall I would recommend this recording.



4. The Tchaikovsky dates from the 1950's and the recording shows its age, although Sony has done an admirable remastering job. The violin is placed very forward in relation to the mic, which captures Stern very well. The fluidity and technical precision he exhibits in the quick passage work reminds me of Heifetz in his almost robotic ability to hit every note. To Stern's credit, he is considerably more poetic than Heifetz in this particular work. This might even be a top recommendation if not for the orchestra not being captured very well. The orchestra is too far back and sounds a bit muddy. The sound in the Sibelius is much better (recording from late 1960's), but Stern's performance is not on a par with the Tchaikovsky. It is quite adequate and probably better than average, but it is missing that last bit of dark mystery I associate with this piece. This reading pales in comparison to Lin/Salonen on Sony, Repin/Krivine on Erato, and Kennedy/Rattle on EMI.



5. The Tchaikovsky on this album is good, very good, but the Sibelius is somewhat mediocre. I have other recordings of Isaac Stern, and they are quite good, but a master of violin can't always get it perfect, and the Sibelius concerto here makes that obvious. Much better, in my opinion, is the recording with Anne-Sophie Mutter, and even better is the Heifetz (although the quality of the recording isn't that good, it's still a great performance).

2 comments about Classic Thanksgiving Songs of Praise.

1. It's Thanksgiving Day as I write this. The music on this CD is great for Thanksgiving, or any time of the year. "Praise My Soul," "Immortal, Invisible," and "Ave Verum Corpus" are particularly well done. The Halifax Choral Society has a nice, clear sounds. My only criticism is the omissions; how could you not have "We Gather Together" on a Thanksgiving CD?! "Now Thank We All Our God" would have been apposite as well. On the other hand, there are very few CDs devoted exclusively to Thanksgiving, where Christmas CDs are a dime a dozen, so this is a must-own. In addition, fans of Holiday music, English hymns and Baroque concertos will enjoy it at any time of the year.



2. This is a great collection of fall/harvest/thanksgiving hymnes. I enjoyed listening to it and getting in the Thanksgiving mood.

4 comments about Field:Piano Music, Vol. 1 (Nocturnes and Sonatas).

1. This is delicate, peaceful music. Perfect to listen to perhaps as one gazes out into nature. Yes, the composer captures a spirit of Chopin, but has his own gift. The recording also includes two of his sonatas, and in these works in particular the compositional voice is his own. A beautiful recording.



2. Me gusta mucho el piano, y buscando autores poco conocidos (al menos por mi), encontre este disco,y me gusto lo que escuche.



3. THIS REVIEW APPLIES TO VOL.II, which should be purchased as a companion to this CD!
   
   Words are going to fail me here. Frith is a sorcerer-the piano sings under his fingers--one almost hears the instrument draw breath between phrases. One hears the influence of Donizetti and Bellini, and the piano "sings" a real legato line, nuanced just the way a singer would do it. Frith is the perfect pianist for Field's prophecies of Chopin. This music would not be as beguiling played by an artist less attuned to its particular sort of sensitivity. I've heard a lot of other performances of this repertoire that don't begin to do show it for what it really is. It's like hearing a routine performance of, say, "Casta diva" that merely accounts for what's on the page, and then hearing Callas lavish her artistry on the same aria. Suddenly the intelligence and musical and dramatic instincts of the artist makes what seemed pedestrian spring to vivid life. The recorded sound is warm and natural. You MUST hear this!



4. ***NOTE: THIS REVIEW APPLIES TO VOLUME TWO AS WELL THAT THE LISTENER IS ADVISED TO PURCHASE AS A COMPANION PIECE.
   
   I've only recently discovered the works of John Field. What a pleasant surprise. Field's work is like that of no other. The listener is treated to a wide range of performance techniques covering a vast landscape of musical geography and temperament.
   
   This collection of excellent Nocturnes and Sonatas fits right in with other piano specialists: Chopin, Liszt, Beethoven and Schubert.
   
   For those asking "who's John Field," here's the answer.
   
   The recording performed by Benjamin Frith is excellent. His performance is both nuanced and powerful. The transcription to CD has been executed flawlessly and the price is right, less than ten dollars.

5 comments about The Photographer.

1. I am a huge fan of instrumental music, but I was surprisingly unimpressed by this CD. With the exception of Track 3 (the instrumental version of "A Gentleman's Honor"), this CD was underwhelming. Other reviewers might tell you that Glass has a way different and engaging way of composing music, in actuality, Glass's music is just a huge stylistic mess.
   
   If I had to pinpoint one thing which Glass did that I had the most agitation with, it would have to be his use of the contrasting spoken voices (to the singing voices) in the first track. It really stood out badly against the rest of the song.



2. Glass was so imaginative to put himself into the mindset of the 19TH century, and to perceive how shocking the introduction of photography must have been. The incessant repetitions, and long slow builds, brilliantly tie together the atonalities, and the screeching "Dorothy's flying monkeys" vocalizations. The effect creates a multiplicity of layers of imagery. It can either be a very exciting work, or an annoying one. If you're working on a sculpture or painting, it's great background. If, at the moment, life is what's happening while you're busy doing other things, it won't be your cup of tea, that day. Such duality of responses is typical of extraordinary art.



3. At first I found "The Photographer" was somewhat weak as compared to other PhGlass scores; but then-several years later-I discovered I liked it enormously!
   At times it's pleasant, well-timbred (repetitive) music, and at others it plays durably on the same kind of obsessional harsh notes as "Einstein"!
   The piece was designed to accompany a 'mime show' about one (not so) famous photographer. Tracks 1 and 3 are somewhat weaker ('songs'); but #2 and 4 will make you go out of your mind-whether you like them or not!
   The recording is spotless as usual with the usual Philip Glass team. The 4-page booklet gives an overview of the initial staged performance. There seems to have been music for the whole length of the 3 acts: why do we have here but a (so short) selection? I can't wait to have 2 hours of "Photographer"!!



4. Glass has a number of CDs that are better known than this one, but The Photographer remains one of my favoriteds. It's funny, I just saw "The Hors" which has a Phil Glass score and there are great similarities between that score and this one he did almost twenty years ago. So I say don't go buy the new one but check this one out instead.



5. The mid-80s are a mixed-bag for Glass. While one could get wonderful pieces such as "Glassworks" and "Akhenaten", there were also these marketing-department dogs such as "Songs From Liquid Days" and "Danceworks" that were more irritating than illuminating. And while this starts off with a toss-off bit of fluff ("A Gentleman's Honor"), it soon develops into the wonderful and dramatic workout that follows. 'Act III', the final longer work here, is amazing, in fact, as it possesses a sense of drama that one doesn't always encounter in Glass's music of this period (the 'Funeral' from "Akhenaten" is another example). This work is also helped by the presence here of Glass's ensemble, which he seems to have felt more comfortable with as a compositional force than the larger forces offered by orchestras, etc, during this time. It is, though, an expanded version of the Glass Ensemble, with added brass and winds, and when this all kicks in in the final part of the work, it's one of those 'hang onto your hat' moments! One to get, even with the flaw of the "A Gentleman's Honor" toss-offs.

5 comments about Rachmaninov: Symphony No.2.

1. Eugene Ormandy enjoyed a good relationship with Sergei Rachmaninoff, who called the Philadelphia Orchestra his personal favorite, and they were fortunate to work together a number of times. Rachmaninoff recorded all four of his piano concertos with the Philadelphia musicians for RCA Victor, as well as the "Rhapsody on a Theme of Paganini." Rachmaninoff even conducted his third symphony, a condensed orchestral version of the "Vocalise," and "Isle of the Dead" with the Philadelphia Orchestra.
   
   For some reason, Rachmaninoff was asked by RCA Victor to cut the second symphony, probably so it wouldn't take so many 78-rpm discs. This edited version somehow became the one most conductors used over the years. Even in the early 1970s, Andre Previn recorded the cut version of the symphony. However, in 1973, Eugene Ormandy performed the uncut version on this recording, probably as part of the centennial celebrations of Rachmaninoff's birth. This is a definitive version, superbly played by the Philadelphia Orchestra, which captures all of the intensity and wide emotions of this wonderful music.
   
   Other reviewers have offered more details about the nuances of the music and this outstanding performance, which was originally issued on an RCA Victor "Red Seal" LP. Victrola later issued the recording on both CD and audio cassette; it remains a high mark of Ormandy's career and a lasting document of his great performances of Rachmaninoff's music.



2. Ormandy's performance of Rachmaninov's Symphony No. 2 is one that I've repeatedly enjoyed for over 30 years, and I'm glad to be able to finally hear it in its unedited version, which Rachmaninov himself preferred. I love its warmth and vibrancy... and it is not without rhythmic vigor, urgency or excitement.
   
   What I like about Ormandy, as compared to other self-preoccupied and indulgent conductors such as LB and others, is that his ego never comes between the composer and the performance. I find that particularly refreshing when the music comes through without the conductor standing in the way and trying to make things happen rather than letting the music generate from within itself as Ormandy does.
   
   Another highly regarded Ormandy performance is the Brahms Violin Concerto with Isaac Stern. Ormandy was known for being an effective and gracious accompanist, and his talent for this very thing is amply displayed. So while some of his performances *may* seem to lack distinction, it's certainly not the case with Rachmaninov, who happened to hold Ormandy in high regard both as a colleague and personal friend. I write this because I've found Ormandy to give consistently fine performances rather than displays of temperament, and I consider him one of the most musical of all conductors.



3. Avid collectors who read the American Record Guide know that its editor never passes up a chance to praise Eugene Ormandy far above Karajan or Bernstein, a quirk that maddens most serious music lovers, for whom Ormandy was, if not the hack of hacks, a well-intentioned but dull conductor. This 1973 recording of the Rachmaninov Sym. #2 is a bit unfair to him; near the end of his life Ormandy's concentration and rhythm became feebler. There's no snap or bite to the rhythms here; it's all a smooth silky flow.
   
   That suits the Philadelphia sound, which isn't overly lush here but agreeably flexible and light. If you don't want Rachmaninov to sound too soulful, here's the recording for you. Even as a non-fan, there were moments of such gorgeous sonority from the orchestra that I sat back and admired. It makes me wonder if Ormandy has an earlier Rachmaninov Second on Sony that's worth checking out. He certainly shows his love of the music on this CD.



4. Eugene Ormandy remains one of my favorite maestros of all time, but his reputation and overall impression seems to pale from those of Karajan and Bernstein. This may be because he didn't live to record for Deustche Grammophone, probably the most high-profile and trendy label, and, more important, some performance seems much less an intruiging than others. Examples of not so impressive recordings including Shostakovich's Symphony No. 5, R. Strauss' Zarathustra (Sony), Saint-Saens' Organ Symphony (Sony). Others are good but pale to other conductors; Gershwin's American in Paris (Sony) to Bernstein, Beethoven symphonies (Sony or RCA) to Karajan. But I do know, and heaven knows, when he's good, he's REALLY REALLY GOOD. Tchaikovsky's Marche Slave (Sony), Tchaikovky's Violin Concerto (both Sony with Oistrach and EMI with Pearlman) is another; so is this album. Whether you want to be exposed by the classic "Philadelphia Sound", or listen to the America's most brilliant string section, or just to buy a mid-price CD for your collection, this is worth a fortune. Except for the dated, somewhat old cinema-like sound, a bit poor for a recent 1975 recording, the musical quality is at its highest. The famous third movement will make you want to fall in a very passionate, affectionate love. This is absoutuely one of Ormandy's crowning achievements.



5. The 1973 Ormandy version of the Rachmaninoff Second is my personal favorite, even more than the Previn, which itself is very passionate and energetic. One of the false charges critics level against Ormandy was that his famed "Philadelphia Sound" was a uniformly applied formula of warm, lush string tonality. This simplistic contention ignores the peerless contributions of the brass, winds and percussion. But, most importantly, it ignores Eugene Ormandy's complete and subtle understanding of the music he conducted. Like Erich Leinsdorf, Ormandy could memorize a score in a few hours. Like Toscanini, Ormandy comprehended the score on an intuitive, emotional, level.

   This recording of the Rachmaninoff Second Symphony exemplifies this philosophy of conducting. Just as Sir John Barbirolli had a consumate, authoritative and implicit command of the music of Elgar and Sibelius, so did Eugene Ormandy possess the same qualities when it came to Rachmaninoff's. Whereas a conductor such as Stokowski or Previn (whose recording belongs in the Stokowski camp) would have command of the obvious, what gives the Ormandy recording its sense as an honest and thoroughly heartfelt performance is Ormandy's command of the intangible. What drives this performance are the nuances between and beneath the notes. A cursory listening could lead one to dismiss this performance as "formulaic," especially given the more "animated" performances out there. But with an understanding of Rachmaninoff's music, of his friendship with, and tutelage of, Ormandy, and of the ends to which Ormandy suboridinated the orchestra -- One realizes the "Philadelphia Sound" was hardly an end in itself.

   The first movement opens in a state of dark melancholy. The strings, especially the basses, are sumptuous and full-toned. The development of the first theme is gradual; Hints of what is to come are given, but the Philadelphia holds something back. The Rachmaninovian device of building up to the climax is very aptly employed here. The one thing I most enjoy about the performance of this movement - and the symphony as a whole - is that the when solo instrumentalists play in the foreground, they do not overshadow the playing of other sections and other soloists. This is key, since there is so much going on in this movement. It is very Russian, very Romantic: Weaving this tapestry of sound, all the threads remain integral, yet brilliantly visible. The introduction to the second theme by the violas is very delicate, punctuated acutely by the lower strings (cellos and basses). It is a very solid, yet gentle, rendering, especially as the winds wander in and out of the the orchestration. The bittersweet theme introduced by the solo clarinetist leads to the most sensual exposition of this movement I've heard. The ending of the movement is rousing, and jolts the listener with the unexpected: Instead of finishing on a single note played ff on the double-bass, Ormandy substitutes the same note played staccato on the timpani!

   Of all the movements, the second, Allegro molto, is the most thoroughly Russian of all. Beginning as a festive winter's sleigh ride, this panoply of jubilant sound brings to mind Rimsky-Korsakov moreso than Tchaikovsky. There is a concerted and purposeful buildup of tension to an explosive main theme, which is reintroduced in the symphony's finale. As lighthearted, however, as this movement is, the feelings of ecstasy are offset by the ever-present suggestion of mortality. What most impresses me is the sense of contrasts Ormandy and the Philadelphians present: The most striking aspect of this movement are the aggressiveness of the basses; the false expectation produced by them is spirited away in a deftly-executed and understated ending in mezzo-piano. It is a case of the fall of sledge-hammer as the prelude to the proverbial feather.

   The third movement, Adagio, is the most memorable of this symphony. It begins as a simple liebeslied, through a lucid and evocative solo on clarinet. The emotional theme of the movement is unmistakeable to anyone who has ever loved, and lost, a paean to unrequited love. Yet, the movement as communicated by Ormandy and the Philadelphians tells not of morose defeat, but reminiscing of the joy of love, before it was lost. With the most unadorned simplicity, the main theme is imparted by gentle turns-of-phrasing on a four note figure for oboe. Strings and brass turn over the theme, seemingly returning the passion to the present time, if only fleetingly. The restatement of the second theme, a six-note figure handed over by the solo French horn in turn to the viola, oboe, flute and clarinet suggest the passage of time since, of seasons changed and events beginning to fade from memory. The adagio ends with the flutes and clarinet. What was once a flame becomes a flicker, slowly dying out. This is the most natural and unforced playing I've ever heard of this movement.

   The finale (Allegro vivace), on the other hand, is an impassioned hymn of deliverance. With brass and percussion at the forefront, much of the opening theme hearkens back to the first two movements. However, the tension and conflict introduced in those movements has been resolved. The introduction of the second theme, primarily by strings - and echoed by the flutes and trumpets - gives reassurance that while love may not have triumph, that life nonetheless does. After a quite dolce interlude - a refrain from the adagio - the triumphal denouement kicks in. A celebration affirming life itself, the finale recalls the suspenseful and powerful end of the Third Concerto.

   Buy this disc!

5 comments about Paul Hindemith: When Lilacs Last in the Dooryard Bloom'd (A Requiem for Those We Love).

1. Abraham Lincoln's funeral may well have been the greatest and most heart-felt pageant of mourning in American history. The funeral train from Washington to Springfield, Illinois, stopped and exhibited the catafalque and casket in town after town, with huge lines of mourners, 100,000 at some stops, waiting to express their grief.
   
   One mourner, Walt Whitman, wrote a poem to express his feelings of devastation. That poem, "When Lilacs Last in the Dooryard Bloom'd", is my choice for the most powerful elegy in English, ever. Paul Hindemith set the poem to music at the end of World War II, and included in his setting a Jewish folksong. There's no reasonable doubt that he intended to extend the meaning of Whitman's poem to include mourning for all of modern history. It's a piece of music so moving that it shouldn't be performed for mere entertainment.
   
   When it is performed, however, it should be done superbly, and this recording by Robert Shaw and the Atlanta Symphony is far from superb. For one thing, the diction is awful; the words can't be understood. The muddiness of the chorus and the Wagnerian sostenuto of Shaw's conducting turn the dirge into a drudge. There's only one other recent performance available on CD, by a German orchestra and chorus singing in German, and yet the impact of the words is stronger in that performance. Please, somebody! Give this monument of literature and music the performance it deserves!



2. I have long been a fan of the musical genre of the Requiem. Though this piece is not actually a requiem, I wanted to hear this elegy to Pres. Roosevelt as interpreted by the man who commissioned it. The work is fantastic in its form, and the ensemble, esp. the soloists, is marvelous. I am very impressed by it, and I recommend it wholly.



3. At first I had trouble comprehending this work. But once I became familiar with it I was awestruck.
   
   I am a big Hindemith fan. And this is my favorite work. It tells a wonderful story, about life, yearning, sorrow and grief. And it unravels in the most marvelous way.
   
   If you like Hindemith, add this to your collection and you'll be very happy.



4. Robert Shaw was one of the greats of choral music, that goes without saying. Even if some of his recordings sound a bit "dated" to some ears, he was an important pioneer of American music.
   
   The vocalists, Stone and de Gaetani, are without a doubt ideally suited to this work. They clearly grasped the poetry of Whitman and the wonderful music of Hindemith, and wove them into wonderful vocal art.
   
   Hindemith, in my opinion a vastly underrated composer, spreads his wings and shows his overall musical talent in this requiem. Not just as the "German academician", but as a sensitive artist. He combined the genius of the German tradtion he represented as a refugee from Europe with the American genius of Whitman. In doing so, he created powerful art during some of the darkest days of the 20th century.
   
   This recording is highly recommended. I've listened to it dozens of times and it never fails to impact me emotionally.



5. Altho Mr Shaw invariably knew the Soloists, best-fitted for each of his musical choices; This pair, William Stone/Jan de Gaetani are ideally chosen, awesome singers in their wondrous musical and textual roles! Whenever Shaw employed Stone, such a handsome impressive Basso, it was obvious how closely they related. This fearless bass promptly gave one huge bear hug to Caroline Shaw!
   
   Such over-powering words of Walt Whitman demanded and received descriptive, dramatic settings by Shaw's great Atlanta Chorus, during one inspired period of later-life in Atlanta. I regret in waiting too long the enjoyment of hearing this while writing on my Computer. From an opening 4-tone theme: A up-to C- down to F, followed by E-natural, all of which give extra tension by added, unwavering, underlying C# pedal tone! All together they enhance descriptive sorrow in anguished results of a Choral Masterpience from a wondrous team of Shaw's commissioning of Paul Hindemith to adding the extra-ordinary Requiem text of Walt Whitman!
   
   Hindemith, new resident of the USA knew of Shaw's love for Walt Whitman's Poetry, leading him to Commission Hindemith suggested Whitman Poems nearly in 1945! At that time Hindemith recalled, how he felt like the "Sorcerer's Apprentice" enough that he was caught-up in the "Trinitarian Symbolism" of W.W.'s three themes: 1) "the fallen Star of Abraham Lincoln" (Father Abraham) 2) "the profusion of Lilacs, banking the coffin of Lincoln" (Crucified as the Son) 3) "the beautiful singing Warbler entwined with the chant of my soul." Two Favorite Stanzas, No 6) Song, Oh How Shall I Warble"; No 8) "Oh Sing on! You Gray-Brown Bird" Both are greatly inspired as Symbolic of the Holy Spirit!
   
   All of Walt Whitman's picturesque symbolism was given full sway by Hindemith and Shaw! It is Awesome hearing this carefully crafted Masterpiece after an earlier Columbia recording of N.Y. Philharmonic, Louise Parker, George London + Choral-Master, Hugh Ross. The differences become sparkling with Shaw's Carnegie Hall Preview by the Collegiate Chorale to this one of the ASO in 1990. From one who is grateful for this Love-Feast, Long-Retired Chap Fred W. Hood

No comments about Entre Dos Mundos.

4 comments about Fritz Wunderlich: Great German Tenor.

1. I just finished again listening to this CD that I've had for maybe fifteen years. I most often prefer complete operas, but of course those are not always available. For me, Fritz Wunderlich can do not wrong, although a very knowledgeable friend of mind objects to his German. I think his German is top drawer, but it's not my native language.
   
   Il mio tesoro... has never been high on my list of arias, but when Wunderlich sings it as Folget der Heiffgeliebten... it took me many hearings before I stopped crying at the first two notes. Tearing is one thing, crying is a bit silly, but there it is.
   
   His exquisite singing is only once slightly under pitch (I really don't care; I only remember it). Moreover, he has friends on this CD -- Grummer, Lorengar, Prey, Frick...
   
   I think I have everything he recorded that appears on CD and I also have a DVD of the Barber -- in German, of course. My only discomfort is with Koeth who is a good singer, but of course a lyric and not a mezzo or even close to one.



2. Fritz Wunderlich had it all -- an incredibly beautiful voice and the artistry to use it with drama or tenderness, as the music called for. He also had genuine emotional and musical integrity. He was almost certainly the greatest lyric tenor of the recorded era. Regretably, he died in an accident in his mid 30s. But, although his recorded career was short, he left a surprisingly large legacy of outstanding recordings, many of which are included in this 3-CD set. Some people may be put off because Wunderlich sang famous Italian, French, and Russian arias in German. PLEASE don't let that keep you from acquiring these recordings. When you hear Wunderlich sing, the language in which he is singing will seem inconsequential. Only the incredible beauty and artistry of his singing will matter. This man was special and so is this collection.



3. Fritz who? You may well ask, for the great Fritz Wunderlich died before he'd ever achieved true international stardom. But to my ears, at least, he possessed the most beautiful lyric tenor voice on record. He had it all - superb musicality, power, warmth, and a gorgeous and immediately recognisable timbre. He could also be exciting when he wanted to, as his tour de force performance of Granada (available elsewhere) thrillingly proves. Wunderlich's death in 1966 - a few days short of his 36th birthday - deprived music lovers of a fantastic talent.
   
   
   
   This 3CD set reinforces that loss. Among the many highlights included here is an unforgettable Folget der Heissgeliebten (Il Mio Tesoro) from Don Giovanni. It matters not a jot that Wunderlich is singing in German rather than Italian. He knew how to overcome the relative harshness of the German language with his poetic phrasing and honeyed diction. Here his breath control is amazing, and his passion transforms the character of Don Ottavio from a one-dimensional fop into a red-blooded hero. Tremendous stuff.
   
   
   
   But for me his greatest achievement is his rendition of the aria Komm, O Holde Dame from Boieldieu's La Dame Blanche, featured on Disc One. Play this first, and you'll be entranced by the beauty of Wunderlich's faultless legato, then thrilled by the intensity and energy of the conclusion. (Admirers of Mario Lanza will note how similar Wunderlich sounds here when he reaches for the high notes.)
   
   
   
   Showcasing Wunderlich's achievements in both opera and operetta, this set is the perfect introduction to one of the greatest tenors of them all. If you enjoy this, I'd also recommend his Deutsche Gramophon 5-CD set (simply entitled "Fritz Wunderlich"), which includes a sublime Pearlfishers Duet with Herman Prey and the aforementioned Granada.



4. This three CD set of Wunderlich is a gem. It features one of the most beautiful pure lyric tenor voices of the century at its absolute best. Though Wunderlich sings all the arias, including the Italian and French ones, in German, his innate musical understanding of the composers and the pieces conveys a musical and emotional authenticity rarely matched in other recordings. Listening to these arias, one can understand why Wunderlich's singing is described as "German bel canto": Wunderlich combines the German fine sense of musicianship, musical intelligence, and style with the Italian attributes of purity and evenness of timbre, open throated singing and excuisite legato phrasing. Just listen to the perfect rendition of "Komm holde dame" in the first CD, with its effortless, floating high notes and even bel canto style singing. Compare this with Wunderlich's interpretation of Pinkerton in the duet and aria from Butterfly, with its perfect diction and phrasing, singing that displays a complete understanding of Puccini's melodic line. And, for sheer joy and delight, to feel good about yourself and humanity, listen to the operetta arias of the third CD. This is the greatest recording of operetta arias in the world. Wunderlich loved to sing these songs and brought an enthusiam and flair to these arias that is simply infectious for the listener. If you've never heard Wunderlich, this is your golden opportunity to acquient yourself with one of the greatest voices of the century.