Classical music reviews

Choosing between this 1979 live performance and Rafael Kubelik's justly renowned 1967 studio recording on DG (available in at least 4 different CD issues, including a boxed set of his complete Mahler symphonic cycle) is not easy. Both have much to recommend them--and to complicate matters, there's also a 1953 (mono) recording on Decca. Either choice, though, reveals Kubelik as perhaps the leading exponent, living or dead, of Mahler's First Symphony. Unlike many other interpreters (notably Leonard Bernstein), Kubelik wisely avoids hindsight in conducting this work, resists the temptation to inflate it to the scale of one of Mahler's later symphonies. Instead, he gives it to us straight.

Differences between the DG and Audite recordings? For a start, the Audite has MUCH nicer sound, a natural concert-hall balance that lets you hear what Kubelik, the orchestra--and Mahler--are up to. Kubelik takes slightly broader tempi in the third and fourth movements, while omitting the repeats in the first two. There's also a somewhat "looser" sense of pulse in the Audite, which on first listen may sound a little herky-jerky but comes to make more sense musically on subsequent listens. The more varied pulse, combined with the slightly more expansive approach, gives the music breathing room it didn't have in 1967. The main difference, though, is that Kubelik in 1979 had evidently thought long and hard about the score, and goes deeper into it--conveying its contrasting moods more tellingly than he did in 1967. In the third movement, for example, there's a deliciously kaleidoscopic transformation from the "funeral march" parody into the incongruous klezmer-band interlude, a far more subtle segue than the stark, episodic juxtaposition presented in so many performances.

There's a tradeoff, in that the DG version (which offers a bonus in the form of the "Songs of a Wayfarer," somewhat oversung by Dietrich Fischer-Dieskau) gives us a freshness and youthfulness that are appropriate to the First (Mahler was in his 20s when he composed it, after all) and which are less evident in the Audite. So I suppose a choice comes down to youth vs. experience, and I'm going with the greater "wisdom" of the older man. Either recording, though, is recognizably the product of the same basic sensibility.

At present there are three Kubelik recordings of Mahler's first symphony in the market. We have the very fine 1967 DG recording, one of the very best interpretations from Kubelik's BRSO cycle. And recently Audite released this exceptionally fine live performance from the Herkulessaal of the Munich Residenz, made in 1979, where Kubelik conducts BRSO in concert. Back in the catalogue is also an earlier mono account with Vienna Philharmonic Orchestra, recorded 1954 (Label Decca: it is now available at www.amazon.de in Germany).

The early Vienna recording has a sense of discovery about it, like Bruno Walter's NYPO mono recording of the same work. The two later recordings (DG and Audite), by contrast, display more developed and consistent interpretations, demonstrating Kubelik's superb grasp of the "Bohemian" character of the symphony. The interpretations are quite similar. The first movement is a demonstration in clarity and freshness, miles away from the overweight overload that for example Bernstein adds to the music. The second movement is a true l�ndler, taken in one breath. In the third movement, note for instance how Kubelik emphasizes the kletzmer-like trumpet playing, thus presenting a sexy, vulgar tone that is truly idiomatic with Mahler's music. The finale gets a clear and balanced account, consistent with Kubelik's understanding of the work as a whole.

Comparing the DG disc with the Audite, the latter has richer and more natural stereo sound. The interpretation is also somewhat broader. Considering the Decca mono, it is a slightly younger man's view of a young man's first symphony, less well recorded and played.

Mahlerites should have all three. But budget-minded collectors can buy the DG account with confidence. Hifi enthusiasts are advised to consider the live Audite record.

This is such an incredible performance...in so many ways it is defitely about nature. The incredible bird song opening to the way the octaves in the strings are made to sound so right. Sadly, time has been most unkind to Kubelik..his forte was Mahler and Dvorak at a time when both composers were considered second rate.

I had the good fortune of studying clarinet in Munich with a clarinetist from this orchestra...this gentleman always spoke highly of the incredible intensity that Kubelik brought to Mahler. Yes, the Bavarian Radio is a front rank orchestra. I know of very few groups who can play the Mahler Titan in such an epic way...so if you want the ultimate Titan just have a listen and you will know what I am saying...

Mahler is a difficult composer: brilliant, tortured, expansive, fussy... and it is easy to go to excess with him, Mahler himself having once stated that a symphony should include "everything." I grew up with the [now considered rather restrained] Bruno Walter recording, but auditioned and owned many other recordings over the years as well, also listening on the radio or TV when broadcast. I must say, this recording contains all the passion, lace-like delicacy, brute force, anger and triumph you'll ever need without resorting to excess. Yes, some avid Mahlerites will speak of this or that conductor's moments and I will agree that if you are passionate about this score, there may be instances here and there where you might wish for just a bit "more" but in so many other versions, that "more" also comes with down-sides, like making this work too episodic. Slatkin gives us all the "moments" as part of a well-conceived "whole" and that is what a symphony is, or should be... a journey consisting of moments, yes, but unified from a starting point to an inevitable finish.
Slatkin delivers as does his orchestra and chorus, from airy strings in the second movement to very distant horn and trumpet calls in the last... from awesome tam-tam smacks to the deep bell plates Mahler requires [NOT chimes!] it is all there, even the organ. Battle & Forrester are superb, the latter being in as good form as she was on the Walter recording I first heard back in 1960!
Then there is Telarc's engineering, and this SACD release FINALLY lets us hear everything they captured on the superior "Soundstream" 50k digital recording system. Such a pity the inferior Sony/Phillips 44.1k system won out. We've been missing so much for all these years. But now it is here, like you've never heard before AND at a 2-discs-for-one price no less!
If you like Mahler, add this one to your collection and you won't be disappointed at all. If you've heard Mahler on the radio and now want a recording at home, yes, this is the only one you'll need and you'll be missing nothing, music OR sound-wise.

This is the only version of the Mahler 2nd that I am familiar with, this recording is THE best recorded sound in my collection of approximately 300 classical CD's. The climax at about 2 minutes into the first movement is especially thrilling and every thing that follows is as good. As a bonus, the playing of the St. Louis Symphony and singing of the soloists, especially Ms Forrester, are as good as anyone could expect. I am planning to get a copy of the Bernstein or Rattle version of this music, and I hope to hear something new in interpreting this music, but I don't expect better sound.

I am not a fun of Slatkin's music but I was amazed with this one. The music is fabulous and you can feel the conductor's passion. The Saint Louis orchestra is in top form and as for the solists probably the best in this work since Schwarzkopf and Rossl-Majdan on Klemperer's account. Although I still prefer the later, I still believe that this is one of the best modern accounts available (along with Rattle's and Abbado's).

For years the Gramophone, among other sources of critical approval, has recommended a cautious, enervated Mahler Fourth by Maazel and the vienna Phil., also on Sony. This first Bernstein reading from New York, recorded in 1960, has been passed over, and yet it is amazingly fresh and exciting. Unfortunately, the Fourth has become, as one reviewer said, a lyrical intermezzo positioned between greater works, yet in Bernstein's hands it shines as an extension of the magical world of the Third Symphony, dreamlike and enchanted, full of wonder and spiritual intenisty. I hadn't listend to it for some years, and a recent reacquaintance reminded me that Bernstien earned his credentials as a Maherian, not by extroverted emotion but by having constant insights into Mahler's musical idiom. A great reading, arguably the greatest on disc.

I just want to note that this 1960 remastered version is great. I agree with all the positive comments below, but also want to emphasize that the sound is unusual & wonderful here. The microphones must have been mainly above Bernstein's head to get the unusually broad, clear sonic perspetive. The remastered sound is also of exceptional quality, and the resulting clarity fits the conductor's measured, highly resolved take on the music perfectly. Recommended, and a great bargain.

Despite the different explanations regarding what Mahler is telling us, it is obvious that Bernstein presents the Fourth Symphony in very musically appealing terms. Though typically identified with a broad range of emotional expression, especially in his Mahler interpretations, he actually seems a mite less sensitive or concerned with the sometimes lurking, uneasy aspects of this symphony, (in contrast to Tennstedt, for example). In the opening movement, the description, "dream-like", seems to fit Bernstein's portrayal. Simultaneously, he conveys an attractive lyricism. In the second ("death fiddler") movement, he expresses ample irony, while in the third, he radiates an almost aching beauty. A standout in the fourth movement is soprano Reri Grist, whose memorable performance sounds more child-like than most other sopranos I've heard. A good number of others have sounded "too adult", and some ridiculously so....I expressed high regard for Bernstein's Mahler Second, and not so high regard for his Mahler Fifth. Here, he delivers a reading I find both engrossing and very satisfying. For a long time, this has been and continues to be one of my favorite Mahler Fourths.

I had to stop in my tracks when i overheard this marvellous recording playing in my local music shop.initially,tacken aback by the brisk first movement i was soon hooked by the character and natural momentum of Reiner's account.I usually struggle with Mahler's 4th but Reiner has awoken my interest!

I was introduced to Mahler through the backdoor so to speak. The first recording I bought of his work featured the ninth symphony conducted by Bruno Walter (Angel Records #63029). On that recording I sensed the genius of Mahler, but found the recording production much too muddled to do justice to the nuances of both Walter and Mahler. My next attempt was Mahler's 10th conducted by Simon Rattle (EMI Classics #56972) . In this case I sensed a symphony that needed some editing. The genius of Mahler was there for the ears to behold, but the symphony itself seemed very unpolished, as if it needed a few more iterations of rework. I found it hard to sit through in one listening. Later I learned that Mahler never actually finished it.

So it has brought me great pleasure that my third listening attempt at Mahler's music, this Symphony #4 recording with Reiner, has been quite enjoyable and inspiring. Listening to this recording is like reading a novel that cannot be put down. Every musical passage seems to have something new and interesting to it. And the sound of the recording is quite good for 1958 circa. I especially enjoy the way every section of the orchestra has key roles to play throughout the symphony: winds, brass, strings, percussion, and vocal. If this isn't Mahler at his best, then I have much to look forward to.

I loved this recording as an lp -- my favorite stereo version, with Kletzki's Philharmonia recording a close second. I love it even more in this excellent sounding format. Now to the question: with Della Casa on hand for this recording, why-oh-why wasn't additional time setup up for her to re-record Strauss' Four Last Songs with Reiner/CSO? It would have made a great 4th side to the Das Lied Von Der Erde set that followed this symphony in the catalog.

One of many potentially great recordings that got away!

Downtown New York is famous for it's post-modern stew of approaches to the arts. A downtowner is likely to be a musician/artist or a poet/performer and the idea of one person controlling all aspects of a production isn't all that far-fetched. It's a new twist on the old Wagnerian ideal of gesamskunstwerk and perhaps the one figure that best represents this is Meredith Monk. Known as a dancer, choreographer, singer, and composer, Monk's work is complex and never complete without the visual element, based as it is on movement and striking stage pictures. Yet musically, she is a powerful force in her own right. Her conceptual frame work is based around her voice and exploring extended vocal techniques from world cultures and has developed from her early solo explorations, through the marvelous work with her vocal ensemble and even to her mega work opera, Atlas.

Mercy is the latest work to be recorded in the Monk canon, and it is a beauty. The piece is conceived for her vocal ensemble with the addition of a trio of multi-instrumentalists. Monk's process with a composition is interesting. She will supply sketches to her performers and then develop the work through improvisation, much like the process used by many modern dance troupes. The material is based on familiar musical modes and superficially has a resemblance to better known minimalists like Steve Reich and Phillip Glass. Except that with Monk, the improvisational element in the piece gives the works an internal life that goes beyond mere process music. Each piece is a journey, with a wonderful mix of the familiar and the surprising. The acuity of the vocal ensemble is astounding. They have all worked with Monk for many years and have assimilated her vocal techniques while each of them brings something original to the process. The result is a haunting recording, gently breaking over the listener like waves, but with a reservoir of deep emotion.

As always with a Monk work, it's a shame not to have a visual document for this piece. As DVD and CD-ROM technology get more and more advanced, it seems to me that this kind of work would be a no-brainer for technology. A DVD of the work might be more hypnotizing...in fact, if the work was recorded especially as a DVD, as opposed to a recorded live performance, this might be the best way to experience Monk's haunting work. That being said, this CD is a lovely, if only partial, document. ECM and Manfred Eichter have once again recorded this in their trademark sound.... spacious and dark, with an ambience that is as much a part of the music on their label as anything the performers do. This is marvelous late night music...deeply calming and emotionally moving. It is also one of the best introductions to the unique work of one of New York's most interesting post-modern figures.

....A masterpiece of stunning beauty....one of her greatest recordings.... full of passion and seasoned with grace.... 'Mercy' is a great place to start for anyone curious about the music of Meredith Monk.... and if you are a long time fan, it will rocket to the top of your fave list... it is recordings like this that make "hearing" such a wonderful thing.... a treat for your hear holes....

In this work Ms. Monk again demonstrates her unique creativity and why she received the MacArthur Foundation 'genius' award. There is simply nothing else like her work. This disc captures much of the performance of 'Mercy', which combined Monk's vocal compositions with Ann Hamilton's visual art. Monk's work is moving and intriguing. For those interested in exploring the voice as art, I readily recommend 'Mercy'.

The much acclaimed and award winning debut CD by Thomas Raniszewski, (rani-chev-ski), is not only a fine tribute to Thomas' musical talents, but should be an inspiration to independent artists. For Raniszewski has shown that talent gets attention, independent or label, talent makes difference. It is always exciting to see exceptional aptitude accepted and recognized. In addition to being a great listen, selections from Tommy's "A Midnight At A Time" have been very successfully used in guided imagery mediation and relaxation therapy sessions. Obviously "A Midnight At A Time" satisfies a broad spectrum of listeners and fans.

Ten generous tracks complete this first sampling of Thomas Raniszewski music. A pop-new age influence combines with nuance from classic and majestically scored film and stage scores. Pensive and touching lyrics are joined with music which carries its own message creating an enlivened experience of musical sensation. Indeed Thomas' music has staying power as endearing melodies linger and find home. Vocals and accompaniment are truly complimentary and the unique joining is just a portion of the Raniszewski touch.

This is a stay and enjoy CD. While "A Midnight At A Time" fares very well at gatherings, I get the greatest enjoyment when I am able to just enjoy. There is a flow which guides you on a musically inspired journey of sensation experiences. In track number five, "At Dorothy's Fantastic Seaside Arcade" The visual empowered piece brings lively images to mind with a strength reminiscent of various works in the rock opera "Tommy". All in all a great listen with strong fan value. "Dreams Of The Summertime" - instrumental was the 2004 recipient of the Genre Award in the fan base determined Pride In The Arts Awards by StoneWall Society.

I loved this album from the first song I heard. The music is very moving and beautiful. The instrumentals are outstanding. The performers he chose were acceptional. The Christmas cut "Through a Childs Eyes" was by far the most moving piece and should be made into a Christmas Classic to be heard every year. This music is for all ages. You will not go wrong in buying this album for all your friends and relatives for any occasion or holiday.

This is an incredibly promising album from Raniszewski, who has assembled musicians and vocalists that make this creation soar. Poignant, solid, catchy, dreamy, surprising. This album will entice you again and again, and rewards subsequent listenings with even deeper layers of sound texture and emotional insight. Experiencing this already well-developed album, I look forward to more from Raniszewski in the future. A very worthwhile listening experience!

In Mirror Of Emotions, classically-trained American violinist Farzad presents a classical crossover of contemporary, Middle Eastern folkloric, Latin, New Age, and Jazz to create a music that reaches across ethnic boundaries with a universal appreciation for the emotionally powerful melodies arising from his skill as a performer and his talent as a recording artist. Mirror Of Emotions comprises Searching (4:51); Thinking Of You (3:35); Santa Fe Nights (4:30); Flight of the Lovers (4:13); La Dadiva/The Gift (4:08); Conversation (4:32); Come Be With Me (3:03); Fiesta (3:37); Why? (7:05); and Farewell (4:59).

I purchased this album just a few nights ago after seeing Farzad perform at the San Francisco Bah�'� Center alongside some other wonderfully talented musicians, among them KC Porter, who has worked with artists such as Santana and Michael Jackson. Farzad proves himself to be not only a very talented as a violinist, but a very versatile one as well. The live performance I attended witnessed a wonderful blend of Eastern and Western music, and much of that is evident on Farzad's "Mirror of Emotions" album.

Playing violin since the age of six, Farzad received a diploma from the Tehr�n Conservatory in classical music. He earned his BA and Masters in Performance from two North American universities and has performed with the Dallas Opera, Fort Worth Symphony and Houston Ballet, Pop and Opera Orchestras. He was also designated as Concert Master for the second Bah�'� World Congress in New York City in November, 1992.

On "Mirror of Emotions", Farzad captures the various but basic emotions that all human beings possess, in both Eastern and Western melodies. "Searching," "Flight of the Lovers" and "Why?" showcase Farzad's Eastern roots, with deep, mystical rhythms and melodies. In contrast, "Santa Fe Nights," La D�diva (The Gift)" and "Fiesta" provide the listener with Western sounds in smooth jazz, pop and Latin-style melodies. And overall mix of musical textures and styles that keep the album in the player at all times.

I really enjoyed listening to this CD, it is a very interesting flavor and I have never heard anything like it before. I have heard a little bit of Middle eastern music before, and Farzad seems to throw in some latin american to that as well as other types of music that I can't quite recognize. Regardless, it makes for a very nice overall package and I would recommend this CD to people who really enjoy music. I look for forward to Farzad's next cd.

I sampled about ten other recordings of Mozart's Requiem before deciding on this one. Among them were the Bernstein, Solti, Von Karajan, Marriner, and Harnoncourt versions. This recording stood out for its historical accuracy, expression, interpretation, and quality of sound.

First, one should note that this is the Levin edition of the Requiem. While many will prefer the Sussmayer for its historicity and personal connection to Mozart, Levin's edition stands out in that some of Mozarts unused skecthes are included (notably in the Amen) and a good number of the harmonies are fixed. While Levin is a modern musicologist, he has a deep understanding of Mozart's intent and it shows through.

The Boston Baroque orchestra has a perfect feel for the Baroque/Classical tempi and rhythms. The sound of each instrument is clear and distinct without losing the dramatic extremes of the music or sacrificing orchestral depth in the process. The orchestra plays with the gusto and arrogance of the Classical era and larger orchestras simply cannot compete with the mechanical accuracy of the smaller, period ensemble.

The soloists are excellent, though I have never heard of any of them. They sing well alone or together with rich tones and perfect trills. Each of them demonstrates a strong understanding of Classical singing technique with warm timbres and good diction.

The choir stands out above them all, however. While the other recordings I listened to have oversized choirs, the Boston Baroque is audibly small, but highly capable. Their sound is commanding, but never blurry and every consonant is clear. While the larger choirs on other recordings sound truly epic in scope, they lack the emotional impact and clarity in the cadneza passages. I have never heard a more well balanced, perfectly tuned, and emotionally satisfying choir.

Pearlman's conducting is first rate; he knows the Baroque and Classical periods intimately and it shows through in the brisk tempi (such as the Dies Irae) and measured slow sections, notably the Lux Aeterna.

Telarc truly nailed the recording quality on the head in their balance of bass, treble, and clarity. There is a great deal of dynamic range in the music from soft to loud and the sound only seems to get better as you crank up the volume. There are no cracks, pops, or hisses to be found and the sound is remarkably live with little backspace or static. This is a first rate recording and a fantastic interpretation of Mozart's used and often-abused music.

First, if you've listened to or owned a "traditional" recording of the Requiem (I have Karajan's 1962) hold on to your hat, because the tempos will knock your socks off.

I already have BB's Bach Orchestral Suites (which gets all 4 on one CD) and I was STILL surprised.

Second, the Levin reconstruction is a more than worthy replacement of the traditional Sussmayr, including the completion of the Amen fugue and cleaning up some harmonic lines.

And, finally, the sound! This is clean, crisp and bright.

Accept no substitutes; if you like the Requiem, run out and buy this now.

Exelente grabaci�n. El coro es peque�o pero clarito, la orquesta suena espectacular (con instrumentos de la �poca) y los tempo son rapidos. Es una de mis grabaciones favoritas, el am�n es uno de los mejores que hay grabados. Lo �nico que no me agrada es el Hostias, podr�a estar tocado m�s al estilo del "Ave Verum Corpus", un poco m�s �ntimo.

Maxim is a over hyped former child prodigy. Among his generation, Gil Shaham, Joshua Bell, Kyoko Takezawa, Chee Yun, Christian Tetzlaff's intonation and music are more pleasing to my ears. Why I cannot find Kyoko and Chee Yun's records.

For some reason I have always been averse to recordings of single movements from other disparate recordings which usually makes the spotlighted artist seem a bit crass and commercial. But amazingly enough this THE ROAD I TRAVEL featuring Maxim Vengerov is anything but that! Perhaps it is just that this young violinist weaves such a spell that little tidbits from here and there seem justifiable: then perhaps it is just a forgiving ear that can jump around his 'Road' and share the good memories.

The selections vary from concerto movements from Shostakovich, Mendelssohn, and Tchaikovsky to movements from sonatas by Beethoven and Brahms to oddities like the Franz Waxman 'Carmen Fantasia'. Different conductors and orchestras and pianists partner each excerpt. But it just comes together. This is a fine recording for friends who don't understand the fanaticism of Vengerov's following. It makes a fine calling card for the virtuoso! Grady Harp, August 05

Wow... I've been a huge fan of Vengerov's for about 6 years now, but he continues to surprise me. When I first heard him play, I thought he was the best romanticist I had ever heard, but he probably wouldn't be good at much else. Then I heard him play unaccompanied Bach on a period instrument, and it was pristine. I had never heard him play any classical music, but thought that there was NO WAY someone could be a master of all three broad musical styles, but once again Vengerov surpasses my EXTREMELY lofty expectations and proves that he is a master of the classical style as well. These recordings of Mozart's sonatas are among the best i've ever heard, in every way. His technical proficiency is beyond reproach, and his style is flawless from beginning to end. This CD makes me want to dust off all of my Mozart sonatas and start playing them again!! I purchased this disc for the sole purpose of hearing Vengerov play Mozart, and I'm thrilled that I did so. This is another new Vengerov purchase that is easily one of my favorite CDs in my collection. I'm beginning to think that he can do no wrong!

it's a nice cd (great classical music of course), but you know, your mind can only take it so many times... I think I'm going to move on to MORE mozart for your mind

The two works on this CD that are most known are The Magic Flute Overture, which is filled with brilliance from measure one to the end, and the opening piece to the movie Amadeus, the G Minor Symphony. These two pieces are superb but just because they are more known, doesn't mean they are better than the rest of the works on this CD.
The Sonata in D Major for two pianos is incredibly brilliant. The first piano holds the main melody while the second piano mimicks it, and then a huge crescendo and BOOM! It is all over the place! (My father and I are both Pianists, and we both specialize in Mozart piano concertos and sonatas.) This piece is wonderful to listen to, and I plan to learn it. The three piano concertos are also spectacular and the Jupiter Finale is superb. There isn't a piece on this CD I can honestly say is even close to okay, they are all exceptionally good. I suggest buying this CD to add to your mozart collection.

BEFORE I LISTENED TO THIS CD, I KNEW NO MORE OF MOZART THAN DIM MEMORIES OF 'AMADEUS'.

AFTER LISTENING TO THIS CD BUT A FEW TIMES I BECAME OVERWHELMED BY THE NEED TO KNOW MORE ABOUT THIS COMPOSER.

FOUR MONTHS LATER, I COMPLETED AN OPERA COVERING ALL THE WONDERFUL EVENTS OF THE EUROPEAN TOURS OF LEOPOLD AND WOLFGANG...WITH WOLFGANG'S ORIGINAL MUSIC.

I DO NOT BELIEVE I COULD HAVE DONE THIS BUT FOR THE INCREASE IN MY IQ FROM LISTENING TO THIS CD.