Classical music reviews

Perhaps it should be mentioned that 5 of the songs in Mahler's Des Knaben Wunderhorn are set as dialogues between a soldier and a girl. In both the Baker/Evans and Schwartzkopf/Fischer-Dieskau recordings, both singers participate in those songs. In this recording, these songs are performed by one or the other of the two vocalists;not both.

This is a fantastic reading of these songs. Both von Otter and Quasthoff are superb Mahlerians who give these songs distinct character and color. Quasthoff's singing of Der Tamboursg'sell is most affecting. The pathos of the song is wonderfully brought out.
I've heard many singers tackle these songs (Bernd Weikl does a fine job as well) but the performances here stack up with the best of them.

Having reviewed the Bonney/Goerne/Chailly recording of Mahler's DES KNABEN WUNDERHORN and settling in to that fine CD of this important cycle of songs, it feels a bit traitor-like to offer a new recommendation of this music. Perhaps it is partially due to being in the afterglow of Thomas Quasthoff's radiant performance of KINDERTOTENLIEDER with the Los Angeles Philharmonic that propelled the purchase of this CD.

Be that as it may, this volume of the songs of DES KNABEN WUNDERHORN now tops the list. Anne Sophie von Otter is such an extraordinary artist that her performance here is no surprise in its execution, subtlety, and sensitivity. But it is the revelation of Thomas Quasthoff as a Mahler virtuoso that crowns this wondrous recital. His voice is not huge, but it is so intelligently used and has such intrinsic beauty and nuance that it begs comparison with the finest singers in this repertoire of the last century. Claudio Abbado and the Berlin Philharmonic provide the finest possible collaboration.

One can only hope that he will soon record KINDERTOTENLIEDER: rarely sung by a male voice, Quasthoff brings insights that are continuously revealing in this most difficult of Mahler's song cycles. Grady Harp, November 2004

When one hears Bernstein's approach to this symphony, one can hardly believe this is one of Mahler's 'less popular' symphonies. It's equally hard to make a clear choice between this recording and Bernstein's earlier groundbreaking 7th for CBS (Sony). Luckilly we don't have to make that choice and just enjoy both versions.

This performance (rather darker, more expressive and more robust than the 60's version) truly captures every bit of organized chaos and suspense. The NYP-ers play like never before (just listen to those clarinets, those 'misbehaving' trombones and just about every other orchestral section) and find your ears shuddering when those famous final pages come to a close with the immense, overpowering brass choral. This is the real thing!

The only setback in this recording is, perhaps, the sound, which is like almost all NYP live '80-s recordings for DG a bit on the dim side. But don't let this stop you. When you're looking for a Mahler Seventh that represents more than just an interesting musical intermezzo between the emotional hyperbolic 6th and 8th, than this is the one to get. This recording goes deeper whilst making less compromises than ever before. Well, enough of the superlatives, enough of the wordly recommendations, the listening experience is worth a million words. Not to be missed.

After his first Mahler cycle in New York (Sony), Bernstein returned to his home orchestra three times, for the Second, Third, and Seventh Syms., in his second cycle on DG. He more or less owned the Seventh, which he instinctively understood wtihout having to underline and exaggerate. I'd like to compare the 1965 and 1985 versions, keeping in mind that both have been cited as the "best ever."

Sound: The 1965 Seventh has excellent, clear analog sound. It was made in Avery Fisher Hall, like the later version, and the engineers put us midway back in the hall, so there is no spotlighting. Delicate overlapping and ensemble are more important than visceral impact. The DG engineers move us into the heart of the orchestra, which makes the sound brighter, more immediate and intense. The DG sonics are still clear, though, and digital glare is minimal, thank goodness.

Tempos: In both readings Bernstein stays well within normal range, and until the last movement he keeps the same speeds, exactly so in the long first movement. But the finale in 1985 is almost 4 min. slower--Bernstein has abandoned his earlier thrilling rush. However, the sonics are so much more immediate in 1985 that the two come out about equal in exhilaration.

Interpretation: British critics fostered the canard that Bernstein was excessive in Mahler and grew more so with age. In fact, the 1965 reading is quite delicate and full of finesse; it was Bernstein's genius to catch all the nuances without losing the shape and momentum of the symphony--nothing is remotely fussed over. The 1985 reading is equally detailed, but there is more expressive underlining, to be sure. We are clearly hearing the same basic performance, although the orchestra, perhaps because they are playing live in concert, is scrappier at certain points in 1985 (note the sloppy opening to the finale) than their impeccable coutnerparts twenty years earlier.

Overall, I expected a bigger difference than I heard. Of these two great performances, if you want more detail and naturalness in the interpretation, pick the 1965 version, which is much more economical on its single mid-price Sony CD. If you want sonic impact and the added livelines of a concret, pick the 1985 version on two full-price CDs from DG (not even a filler). Mahler has become such a staple that there are quite a few Sevenths of stature, including Rattle's from Birmingham, both of Abbado's from Chicago and Berlin, and Klemperer from London (the latter is slow and sometimes very slow--be advised). I find both versions from Tilson Thomas lightweight and fussy, and the fascinating Scherchen is stuck with raw recording and an equally raw orchestra--but far from the worst he ever had.

I remain happy with both Bernsteins, yet having heard a transcendent Mahler Seventh from Welser-Most and thhe Clevelanders, I will rush out to buy their CD the moment anyone decides to record it.

What makes this interpretation great is that Bernstein reveals Mahler's Seventh as wildly romantic! Bernstein cuts through that jangle of surface notes to reveal the tenderness hidden within. That is what makes Bernstein the best Mahler interpreter of his generation - his understanding of the love that lies beneath the surface of Mahler's compositions. Buy it without reservation!

I agree with the reviewer who said the sound engineers must be special. It's a perfect, more kind sound for the piano. More churchy; almost with a bit of echo.
And the playing is superb (I only heard one cut on FM, but was impressed!)
Say makes the piano resound, resonate. Wonderful.

I bought this CD because I wanted a sampling of Mozart's piano sonatas and the reviews here were so glowing. Well, there's a reason all three recordings of Fazil Say on Amazon.com come with a solid five stars each! His playing sounds so different from all the other pianists on offer - does this guy have a better piano? better sound engineers? :) In any case, this is a piano album which has the power to overwhelm the listener with the sheer beauty of the sound of the instrument.

For those who find the title "Ah, vous dirais-je, maman" intimidating - this is actually the age-old melody of "Twinkle, Twinkle, Little Star", and you can bet when Mr. Say plays it it can break your heart and make it whole again.

His way of interpreting the pieces is perfect. I had a chance to listen to him in Aspendos (Ancient theater). That was great. He is also a good composer. I strongly suggest you to listen this CD. It gives you a clue of Fazil Say's creativity.

Suzanne Teng, the original flutist with the group "Angels of Venice", breaks out on her own in this playful and exotic 1999 release. Teng shows herself a master of flutistry, not only the playing the standard western "C" flute, but also piccolo, alto and bass flutes, dize (Chinese bamboo flute), ney (Turkish flute) and panpipes. Her tone is rich and liquid, and her improvisations range from jazzy to sinuous to ephemeral depending on the style of the piece. Many of the selections have a strong Near- or Far Eastern flavor, but the mood remains gentle and cheerful throughout the album, without any of the dark intensity that characterizes some of the "Angels'" work. Teng is not alone in "Mystic Journey" either; many guest artists lend their well-established talents to the mix to create ever-varied layers of texture. Gilbert Levy provides intricate world percussion accompaniments, while cellist Martin Tillman, Prince Diabate, Hans Christiansen of Rasa and Greg Ellis of Vas (among others) also pop in to lend a hand, making for a richly orchestrated album that is full of apt and interesting surprises. Occasionally the flute melodies seem a little trite and meandering, qualities that are at odds with the earthy, percussive background, but overall this album is appealing. Teng's simultaneously light and down-to-earth compositions find ways to be relaxing without being boring--a common pitfall for many New Age artists. The music of "Mystic Journey" would be great for warm-ups and slow-dancing for belly dancers, as well as just pleasant listening after a mundane and stressful day at work. Other recordings featuring Suzanne Teng's flute-playing include "Awake Inside a Dream" and "Music for Flute, Harp and Cello" by the Angels of Venice. For more bamboo and metal flute improvisations, in this case without accompaniment, check out also Richard Warner's `Quiet Heart / Spirit Wind".

I fell in love with the music of The Angels of Venice years ago, and thus when I learned that Suzanne Teng (a former "Angel") had produced a solo work, I was very excited. But the music on this CD easily surpasses anything Teng had done with the Angels of Venice. Lyrical melodies, accompanied by enthnic rhythms on traditional percussion instruments, overlaid with Teng's own haunting performances on Asian flute, transport the listener to another time and another place -- both in this world, and in the "otherworld" created by Teng's mystical music edge. Tibetan singing bowls, Middle-Eastern bells, Celtic strings and a vast assortment of drums and wind instruments create a musical whirlwind that will leave the listener breathlessly awaiting Teng's next musical offering.

I ordered this CD after only hearing two songs which I "accidentally" heard while flipping the channels of the television. There was a performance done on Public Access and I was surprised to see that a CD was available. I ordered one for myself and a friend who is a yoga instructor. I love this CD! It is perfect for yoga or meditation or even just in the background while working. The music is heartfelt and joyous and everyone who hears it immediately loves it. I would definitly recommend it, especially if you are looking to expand your collection of instrumental music. Personally, I love flute pieces, so this was a perfect choice for me.

If you play piano, or if you like concerts of piano, buy it! It's really fantastic. The liszt's totentanz it's simply uncredible. He played another "metamorphosis" of a valse by Johann Strauss. I've never seen nothing similar, it's really "animal". Another point is that I know Mr. Freire and, I don't know why, he doesn't like recording. The few freire's recordings is saved in concert. So, this is unique, fabulous recording. I repeat: just buy it!

Aren't those people in Paris lucky. Not only do they live in the most beautiful city on earth, but they are also about the only ones that can catch a glimpse of this great pianist nowadays. Fortunately, there is this disc set. Both in repertoire, technique and artistry Freire belongs to a small and highly select group of musicians. Mozart in refined perfection. Liszt performed in a way that makes you fear that the end of times will soon be upon us. Schumann and Chopin served equally well. Last but not least there is Freire's Godowsky. With the exception of Marc-Andre Hamelin, there is no pianist even coming close to this level of performing this composer. I hope that this issue will increase the recognition and output of this master of the 88.

Nelson Freire's inclusion in this collection has brought him back to the recording studio and two new recordings, one with the Liszt concertos, another a live concert, have come out since. Sony has rereleased some budget CDs with him which, unfortunately, are badly recorded; avoid them. If you want to try his artistry, get instead this wonderful collection, plus the Phillips Duo disc which has Martha Argerich pairing up with friends on a number of works. Freire is famous for dreamy romantic works, but you'll love the subtlely and power of his Brahms 3d piano sonata as much as his Liszt or his Schumann. Among the releases of the "Great Pianists" collection, this one is a true gift which restores to the public an elusive but distinguished artist.

A hilarious album, filled with inspired parodies of small-town radio, original instrument recordings (the Träumerei), weather forecasts, "Anchors Aweigh", you name it. By the way, just as The Stoned Guest is a parody of Mozart, this album constantly rags on Beethoven: the Schleptet is compared favorably to Beethoven's septet, he is accused of "awkward contrapuntal exercises", and so on. Toward the end of the Dull and Late Show, Beethoven finally gets his revenge.

I was first introduced to the "artistry" of P.D.Q. Bach in the late '70s via "The Wurst of P.D.Q. Bach" compilation. That album is long gone, so, now that I'm going through my mid-life "transition", I'm rediscovering good ol' P.D.Q. via the original Vanguard recordings. This is, to my knowledge, the third of the P.D.Q. Bach recordings, and it is truly a side-splitting classic. Even if you have "The Wurst", get this recording if you are at all a radio fan. It's especially funny if you have ever worked in radio and have any experience with on-air "adventures". WARNING: if you listen to this while driving, make sure you're on a road with a good, wide paved shoulder. You will likely need it so you can pull off to recover from a fit of hysterical laughter.

This is my favorite PDQ Bach because it seems to be closest to their roots at the University of Southern North Dakota at Hoople. It's the smallest things that make it best (from What's My Melodic Line): "The first prize is the entire recorded works of Vivaldi (or is it Scarlatti?) on convenient 45 RPM records sent to you once a month for the next 38 years". These guys are definite Baroque snobs, but loveable at every point. I like everything about this CD - especially the "commercials". The high school sports reports are priceless.

Buy this CD and you will never regret it.

There is no doubt this is a fine performance of both the clarinet and oboe concertos but could somebody please inform Mr. Pay (and the recording engineers, and the rest of the world for that matter) that a few of his clarinet key pads seem to be sticking. This "key-pad-sticking" annoys me to no end and sounds like I'm listening to a long play record that is covered with lint and dust. SNAP.....CRACKLE.....POP!!! I would have easily given this review a "5-star" rating if it weren't for the key-pad nuisances. I used to play B flat clarinet, bass clarinet and contra bass clarinet for ten years so I know a thing or two about clarinets.

A nice record by the Academy of Ancient Music.
Using original instruments or copy`s, they produce a sound image quite diferent from what we are use to hear, especially on the clarinet concert.
The CD comes with a very good booklet; telling the story behind the record in English, French and German.
A record not unly for the few, but for all lovers of brilliant music. And of course MOZART.

This CD is a successful coming-together of two of Mozart's best concerti, two brilliant soloists and some very good conducting.

More often than not, the Oboe Concerto in C is heard in its flute version - transposed to the key of D. This recording presents Mozart's original layout of the oboe concerto played with period instruments or accurate replicas. The bold stability of the key of C major suits the optimism of this concerto, composed in what many call Mozart's mid-period. Fresh yet mature, the language is extremely expressive. The contrast between the three movements goes to the heart of 18th-Century theory on dramatic contrasts - with the confident Allegro, the lyric Adagio and the bouncy Allegretto.

Tempo choice is impeccable. Orchestral textures come across as vibrant and dynamic thanks to the consummate experience of the Academy of Ancient Music, one of the premier Baroque orchestras. But the playing of Michel Piguet is what really sets this performance apart. The sheer fire he puts into the solo makes this music as current and heartfelt as if he really "lived it." His sound is full and expressive, and his choice of cadenzas nothing short of exquisite. The climax to the high "e" in the first movement's cadenza - and the way Piguet reaches it - is delightful.

The Clarinet Concerto brings the listener to another mood - that of Mozart's more somber "third period." Compared to the oboe concerto, the tones are darker, the melodic phrases longer and the counterpoint between the solo and the orchestral voices more complex and pronounced.

One of the important things that sets this CD apart is this. Mozart did not write this piece for a conventional clarinet (in A or Bb) - but for an experimental hybrid instrument capable of extending the clarinet's normal range down to a low and eerie bass register. This instrument, the "Basset Clarinet" was reconstructed for this recording and played masterfully by Anthony Pay.

Thus, the many passages that were transposed an octave higher to suit the modern clarinet (losing most of their dramatic flare) have been restored to their proper pitch - much to the music's advantage. Hear the basset clarinet's "dialogues" between its high and low register, close your eyes and imagine a soprano and a baritone exchanging lines in a sublime opera...

Good choice on continuo playing too. Rather than conducting from the podium as modern conductors do, Hogwood conducts from the harpsichord and the fortepiano respectively. This adds yet more contrast to the different colors of the two concerti - the first brighter, the second rounder and more sedate.

Overall, an excellent CD, that combines great musicological research with expressiveness, fire and passion.

This stuff could be used at Guantanamo, unlike Glass' wonderful Hours soundtrack. I love water, but not when it's dripped over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and overand over and over and over and over and over and over and over and over and overand over and over and over and over and over and over and over and over and overand over and over and over and over and over and over and over and over and over for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for for up to 19 minutes per track. I have this an extra star because the performers are competant, although how they can play this stuff is beyond me.

I always seem to discover something new each time I put one of these discs in. Repetitive, mathematical, and frenetic. Great background music.

If I had a gripe it would be that after a while, this type of minimalist music gets a little monotonous. I haven't yet been able to make it through all 12 parts without taking a break.

If you like this CD set, I'd recommend "The Continuing Story Of Counterpoint" by David Borden. It has a bit more variety.

In order to approach Philip Glass's Music in Twelve Parts, I recommend the following prerequisites:

1.) Make sure that you have enough money to purchase this extraordinary piece of music. While the three discs which make up this piece of music may tend to be categorized as "box set," in truth, this is no compilation of Philip Glass's greatest hits or rarities. Instead, what you receive is the singular, defining greatest 'hit' of Glass' repetoire.

2.) Set aside at least 3 hours and 26 minutes of your day to sit and listen to this piece of music uninterrupted as it will take at least that long to make it through all three discs. "Music In Twelve Parts" is a single piece of music, just like Mozart's "Requiem" or Prokofiev's "Romeo and Juliet," and while one is capable of listening to the individual parts out of sequence, doing so would ruin the intended effect of the piece of music as a whole.

3.) Listen with open ears and an open mind. One of the problems many people face when meeting Glass for the first time is that they are confronted in an ugly sort of way that Philip Glass does not sound like the traditional composers, like Beethoven, Debussy, or even Brahms, and he doesn't even sound atonal, like Boulez, Messiaen, or Schoenberg: many realize that Glass is in a category wholly removed from these composers, and they tend to not like it because they were expecting something else. I say this because not only was this my first perception of Glass, but it's also the same sort of response I meet in others, such as friends or family, when introducing them to the work of Philip Glass.

Glass' early work, especially Music in Twelve Parts is riddled with arpeggios. Yet, while there is definitely an electronic keyboard driving the pulse of the piece from start to finish, the true quality of the piece is displayed in the other musicians, especially the woodwinds, who must not only keep pace, but who must also be able to change key and delve into further slight variations on the drop of a dime. Music in Twelve Parts may, indeed, sound minimal and abruptly simple, but the endurance required when playing such a piece requires immense skill and precision. Be sure to keep your ear attuned for this.

4.) Finally, enjoy. The great thing about Glass' music is that there's no interpretation needed, no cryptic meanings, and no hidden secrets. If you play Music in Twelve Parts backwards, what you hear is Music in Twelve Parts. Nothing more, sorry.

It's an excellent piece of music, and a wonderful experience!

While serious critic decry Mr. Lynch's work as "average", its popularity should tell you that these cheerful melodies are hitting the right note with many listeners. Does music always have to be complex or deep to be good? A roaring pop music industry should tell anyone that it doesn't.

So Ray Lynch doesn't write complex music. That's not a bad thing . "No Blue Thing" is listenable, especially the best piece on the album "The True Spirit of Mom and Dad." The two voices, high violin and deep synthesizer seem to represent the character of two loving and influential parents, traveling through happy and serious times. My favorite, however, is "Evenings, Yes" which has a meditative oboe solo and is very pretty. It'ssomething to listen to when doing yoga or relaxing. A pleasant album for fans of synthesizer New Age.

This is far and away Ray Lynch's crowning achievement. The formula is more or less a carbon copy of his 1986 hit DEEP BREAKFAST, only the ideas are fleshed out, the melodies are stronger and more mature, and the balance between accoustic and synthesized is much more 50/50, creating an emotional depth the earlier release could never achieve. The sound is also richer, owing to the advancements in MIDI technology over three years no doubt. While DEEP BREAKFAST is great for a lazy Summer day, this is a teriffic album to play in mid-October, as the leaves are changing colors and life begins to settle down. Some critics may dismiss his music as lightweight (the venerable Terry Wood seems to be one of them), but regardless, the music is timeless and from Lynch's heart. And frankly, with the music he creates and the genre he's a part of, it's a little strange to apply the term "one-hit wonder." But anyway. . .

"No Blue Thing" is essentially a sister to "Rhythm In The Pews" and, to an extent, "Celestial Soda Pop," right down to the melodic percussion that was sort of a trademark at this point. The accoustic/electronic interplay first comes to play in "Clouds Below Your Knees," with the achingly beautiful cello line, answered by flute later on. These songs are also more complex than on DEEP BREAKFAST, as "Here & Never Found" and the pensive "Drifted In A Deeper Land" showcase. "Homeward At Last" is another synthesizer showcase, the bouncy piano line creating a real sense of forward motion. (That's a good title, that one.) "Evenings, Yes" is the accoustic counterpart-- a piece written for guitar, oboe, flute, violin, and cello, that is just striking in its beauty. This song alone helps prove that Lynch is not just a simple New Age artist. And finally, there's "The True Spirit Of Mom and Dad," the album's centerpiece. While it may be a bit over the top to some ears, personally, I think it's Lynch's greatest composition. Very well done. If you're looking for essential Ray Lynch (though I'll admit, that would be kind of strange), get DEEP BREAKFAST first, then explore the wonders of NO BLUE THING.

I find that my emotional self is instantly accessed. I cry, am filled with a wonderful joy and all the feelings in between. Whenever I listen to Ray Lynch's music I am moved into a spiritual place that is non-dimentional, a universal place of great beauty.

As of today, I have not received my order....will you please check on it and reply :ddsrody@msn.com

Actually I am not quite keen on Maxim's interpretation. The tone is too dry. I prefer Gil Shahm, and Joshua Bell's interpretation. Among Maxim's Russian compatriot, I like Vladimir Spivakov's interpretation. I wonder why Spivakov did not record as much.

For years, I'd somehow gotten the impression (from where, I'm not even sure any more) that he was all flash and no substance.

What he *is*, is a genius.

I've listened to his recording of the Tchaikovsky Violin Concerto with Claudio Abbado conducting the Berlin Philharmonic twice (again) tonight, and am now quite certain that the man's bow arm is not subject to the force of gravity *or* the laws of physics. It brings home, more than anything I've ever listened to, the difference between an accomplished amateur and one of the best in the world at what he does.

Vengerov's bow arm is preternaturally agile, in ways that cause *my* right arm to hurt just from trying to *think* about them. His control over every muscle, from the big, gross-movement monsters of the shoulder and upper arm to the tiniest muscles in his fingers at the frog of the bow, shows in every note, every beautifully-executed phrase. Especially in the cadenza at the end of the first movement, but really, throughout the disc, he shows time and time again why it is the *right* hand that makes a master violinist, and not the flashier, seemingly more-dextrous left.

All of which might be incidental, if this wasn't the Tchaikovsky. The Beethoven is a more completely perfect concerto for the violin, but *no one* orchestrates like Tchaikovsky. Every important phrase is given over at precisely the perfect moment, to *exactly* the instrument that ought to voice it. And even Claudio Abbado's occasionally plodding direction can't screw up the Berlin Philharmonic when they're playing with a musician of Vengerov's caliber.

If you're a fan of the violin, of Tchaikovsky in general, or of Maxim Vengerov in particular, and *don't* own this CD, you should rush right out and buy it.

Vengerov's performance runs the gamut from playful and humorous to dark and brooding, but his playing on this piece is always brilliant, always appropriate, and nearly flawless, a tour de force of virtuosity, musicianship, and thoughtful interpretation. This disc is the perfect illustration of why major labels and major orchestras continue to occasionally assay a new recording of one of the warhorses of the repertoire.

The Glazunov is a pleasant, well-played, and occasionally moving "B" side (if perhaps a bit light), 'though here Vengerov is not quite as convincing as he is in Shostakovich's Violin
Concerto #1 on his disc with Rostropovich conducting the National Symphony Orchestra.