Classical music reviews

A safe buy.

This version definitely is more sophisticated instrumentally. The union of Brecht as a revolutionary writer and Weill as a revolutionary composer was so momentous, and what they produced together so little, that I want to own every version of what they did together. I performed in a Brecht play, the Caucasian Chalk Circle, directed by a famous (then) East German director who was permitted to come to America then. Not one song was memorable. That dinamic of Weill and Brecht was not there. They truly made history in their few works together.

If you want to know about their dinamic, this version of The Three Penny Opera will give it to you. This version has many more dialogue links between the songs. You get the Ballad of the Pirate Jenny sung both the way it was first intended and the way it evolved (by Polly at her wedding and then by Jenny).

The minuses of this recording: I miss Lotte Lenya. I hate the translation provided with the CD. You just have to buy the other version (Bruckner) for that.

There was some discussion about what Brecht intended and whether this version supplied that. I have to say from my experience with a Brechtian director, this version is true. My German director made us study the paintings of Bosch to set the scenes, insisted on the innocence of certain characters. These Brechtian conventions are carried out totally. At the end when Mack the Knife is pardoned and you hear the collective "Ah," that is a Bosch scene.

The innocence of Ute Lemper is wonderful. Compared to the Bruckner version, she has a bit more defiance when she is trying to explain how she ended up with Mack the Knife. I just love it!

Equally nice about the box set is the inclusion of multiple new recordings, thus making this a worthwhile investment for fans. The Peter Sculthorpe Quartets are a particularly nice addition, as are the added Piazzolla, Part, and Riley compositions.

Along with this, the "classic" Kronos recordings are all here: "Black Angels" "Different Trains" "Salome Dances for Peace" (well, exceprts), and Feldman's Piano and String Quartet. Of particular note, I think is the inclusion of Gubaidulina's Quartet No 4, a fabulous recording that is otherwise hidden in Kronos' recording "Night Prayers."

Yes, this is quite an investment, but I firmly believe that it's worth it - longtime fans and newcomers alike have a lot to gain from this collection.

There are probably more non contemporaries performed by the Quartet over the years than this selection would indicate. That undercuts their ties with the sense of revolution in music throughout the ages, but it leaves more time for the present: and that is where one expects the group wishes to be, is most contributory and challenged, and is best and most fairly judged. Highly recommended, both for those who know Kronos's work well and wish a handsome tribute on their shelf, and for those who do not but are open and ready to be affected, whether impacted esthetically, reminded socio-morally, or whatever combination of both befits.

He takes his troup to NYC to Manhatten Center, in Oct of 1957, and have the legendary RCA producer, John Pfeiffer and Lewis Layton, produce and engineer this recording session to be encaptured on 3-track tape (where the "Billy the Kid" was released on RCA "New Orthophonic tape recording" - the BCS-130), then to eventual vinyl (LM/LSC-2195). Gould, being somewhat of an arrangement conductor in the 50's, manage to pull the stops out in how these two Copland pieces are to be presented-to where the listener can feel that they themselves are back in the Wild, Wild West of the 1880's. He doesn't rush through these two pieces like some other conductors do. Gould takes his time trying to tell the story within the music. He uses emphasis, emotion, tempo and dynamics where it should be per each chapter in a story. Excellent listening for all!

This BMG "Living Stereo" release of the LSC-2195 Copland/Gould is a faithful reproduction as it can be of the original vinyl release.

The performances of the suites from Copland's ballets "Billy the Kid" and "Rodeo" are among the best ever recorded. They benefit not only from Gould's wonderful sensitivity and appreciation but from excellent playing by the "pickup" orchestra and the still remarkable "Living Stereo" recording process, in which RCA used only three microphones and advanced mastering techniques.

Ferde Grofe's "Grand Canyon Suite" was a "labor of love" as the skilled composer/arranger spent considerable time carefully depicting his impressions of one of the greatest natural wonders of the world. Grofe had been a very successful arranger for Paul Whiteman and is still remembered for the very first orchestration of George Gershwin's "An American in Paris," premiered by Gershwin at the piano with Whiteman conducting in New York's Aeolian Hall in February 1924.

Grofe composed a number of original orchestral works in later years and the "Grand Canyon Suite" is probably his best. It contains memorable melodies and is skillfully orchestrated throughout. It so impressed Arturo Toscanini that he recorded it in 1945 for RCA Victor, under the supervision of the composer. Grofe himself conducted a recording of the suite for Everest Records in 1960. Gould's recording is excellent. The final movement, depicting a spectacular thunderstorm, is absolutely awesome. I think this recording may surpass an earlier favorite, also recorded for RCA Victor, by Arthur Fiedler and the Boston "Pops" Orchestra.

This is all very fun and very exciting American music.

Le Orme are masters at using their instruments and vocals to absolute perfection. Just listen to the second track of this CD, "Ad Gloriam," where Le Orme uses instruments and background vocals to deliver a sweet, relaxing musical piece.

This CD is excellent. The music is fantastic and the sound quality is terrific. This CD is a must, even if you do not understand Italian. Once you listen to this CD, you will get hooked on Le Orme music.

I definitely recommend this CD.

When one reviewer stated simply, "the Album sings for itself" that is no overstatement by any means. It really does. What you will hear is simply superb singing. For some the light, nearly a cross between falsetto and natural voice of the tenor may seem a bit odd, however, the sound is beautiful, and actually very correct for that style of music (especially if you consider that no tenor at the time this music was "new" sang anything in CHEST voice above the A flat, everything was in what was called "head" voice, or what we would call a very refined falsetto that blended seamlessly into the natural voice). Don't let that put you off, this is not Wagner nor late Verdi, and it is definitely NOT Puccini. The gentle caressing sound of his voice is just perfect for this music. As for Sutherland and Horne, well, with this recording you will see that they are worthy of every bit of praise they receive. Their technical skills are sublime. What I found so interesting when I bought this recording the first time was the variety of music. Much of the music presented I had never heard of before, and many of the composers I was completely unfamiliar with. The result was a lifelong search for interesting music. I have collected many of the scores of the works sung here. Some were modern printings, but some are scores owned by various singers who sang these roles, including their own embellishments. For those who would agree with Maria Callas that we "over embellish" these days, I would say, I don't think so at all. Most of the embellishments used in this recording are actually quite modest compared to those sung by the original artists.

One thing is for sure, it is probably not likely that you will ever hear this music sung so well, with so much style, so true to the feel of its age, as you will find it here. The very first number, though originally written for a castrato, is by far the most exciting piece imaginable to begin a set with. I couldn't imagine a counter tenor ever doing justice to this piece ever. And the ending piece, a Bolero, is one of the most beautiful "show stoppers" for mezzo imaginable. In short, you have two disks filled with music to grab your heart, soul, and mind. You are literally taken away from the very first piece right to the exciting bolero that ends the recording. It is such a pity that these remarkable artists didn't record many of these operas from which this music came in their entirety. After buying the scores, I can assure everyone, they are filled to overflowing with much lovely, and very special music. All they lack are artist capable of breathing joy and life into them. In this recording such wonderful artist were found.

If you like the classical sounds of music, then you will like this. Check out the samples on this page that they provide, that's the best way to review.