Classical music reviews

Estos discos vienen presentados en un envoltorio no habitual: en lugar del t�pico estuche de pl�stico se utiliza una fina funda de cart�n (no sin abundantes rese�as). Otra particularidad es que en ninguno de los fragmentos cantan a d�o Melchior y Traubel: siempre son acompa�ados, el uno o la otra, de un tercer cantante (de un nivel, por lo general, no comparable) que hace pareja con uno de los "protagonistas". Aunque tambi�n hay n�meros en solitario y fragmentos exclusivamente orquestales. Dicho �sto hay que afirmar que los dos discos son de un nivel de calidad m�s que excepcional, de una altura superior a lo mejor de lo que se suele conocer, incluso en los preludios orquestales (magn�ficos). Hay m�s de 90 minutos de Trist�n e Isolda que, despu�s de o�rlos, dejan a uno sin las ganas de escuchar a Karl B�hm o a Furtw�ngler (por maravillosas que sean estas versiones). Tambi�n un soberbio fragmento de "Rienzi", cantado por Melchior, y unos cuantos tracks de Lohengrin de gran calidad.

Although as billed this 2 cd album would seem to indicate we were going to get a series of duets between these two greats, these are Columbia studio recordings of the forties and the two sing separately, never together. (RCA has kept its two Melchior/Traubel duets - with Toscanini - consistently in print on LP, tape and CD as well as Traubel's Immolation Scene). The Columbia material here is drawn from 78 rpm albums, released as lps and then unavailable for a quarter of a century - restored to us at last. The set lasts two hours and seventeen minutes with Melchior getting the lion's share of one hour and fifteen minutes and Traubel following up with 62 minutes of singing.

This of course represents the much-mourned "bleeding chunk" variety of Wagnerian recordings which were all that we had available in pre-lp days. Except for one excerpt from RIENZI, the material is all from two operas LOHENGRIN and TRISTAN UND ISOLDE. Too bad some digital wizardry could not have been performed to replace Traubel's Tristan (Torsten Ralf) with Melchior but alas they didn't cover the same material so even digital wizardry could not help us here.

Recordings of Met broadcasts with the two paired in TRISTAN do exist and why they are not cd is a puzzlement.

The strength and purity of line of both Melchior and Traubel are unsurpassed. There was never a warmer Wagnerian soprano than Traubel and she is always totally on pitch - her notes are perfectly sung and her line is unwavering. I can't understand how people can hear Flagstad (who always left me cold) and Traubel and proclaim the former to be warmer. It simply isn't true. Traubel is velvet - for me simply the finest Wagnerian soprano ever recorded.

This is a treasure trove set and budget-priced. The digital transfers of the original mono sound are superb. Very highly recommended.

Even a non-Wagnerian will rejoice at hearing these discs, highlighting the work of the two best Wagner singers of the 20th Century, Melchior and Traubel, in their prime. The Traubel "Liebestod" alone is worth the price of admission! Here she uses her extraordinary vocal instrument to thrilling effect. Her prodigious technique, incredible breath control unmatched by today's singers, clear diction and rock solid intonation are glorious to hear. Her extraordinary performance is matched by Rodzinski's conducting of the New York Philharmonic.

Sony's remasterings are splendid. During the mid '40's Columbia was experimenting with various long playing formats, resulting of course in the "microgroove" records of 1948. All recordings from 1944 on were recorded on large 16 inch discs in anticipation of this breakthrough. As a result the original masters on these CD's are possessed of extraordinary clarity and richness.

The interplay on this cd is beautiful. Just put this one in your disc-player and relax. 'Waltz new' is my favorite track - John Abercrombie is not only a great guitarist - he can also write a pretty tune. You will not find another trio that has the unique sound of Gateway - and this is one of their best albums together.

Gateway consists of John Abercrombie, Dave Holland and Jack DeJohnette, three very popular and routine jazz musicians. They gathered for a gig in 1975 on the ECM label resulting in the album "Gateway". Two years later, they recorded "Gateway 2". After a 17 year long break from the group (Jack DeJohnette still played on some of John Abercrombie's records - notably "Timeless"), they recorded "Homecoming". They three of them comes with totally fresh minds, which make the recording a joy to listen to.

The 12 minute starting tune - the title track 'Homecoming' - is an up-tempo, creative fully which fulfill all expectations. 'Waltz New' is a bit slower, but it's very interesting too. 'Short Cut' begins slow, but with its swinging rhytm evolves into a song reminding me of a standard played by the Standards Trio; it has the same quality, notably because of Jack DeJohnette, but also Abercrombie's melodic discoveries. 'How's Never' is a funky, rock-style, groovy tune which with the sound of the jazz guitar makes it very interesting. On the last song, "Oneness", Jack DeJohnette plays piano, which he manages nicely, although it's not a very difficult tune, but the underlying harmonies created by the piano suites the acoustic guitar and the double-bass very good.

Altogether "Homecoming" is a great album, perhaps most so because of the long experience playing together. I really love how the drums match the guitar in a way that none of them is on the sideline. Everybody is contributing all the time. If you like guitar and jazz, don't hesitate to listen to or even buy this album.

This record and it's companion (Homecoming) are truly a pair of wonderful,"jazz" trio cd's. All three of the players Abercrombie, Holland and Dejonette are indidually masters of their crafts. Abercrombie moves in an out of sounds with incredible ease, at one moment sounding like Joe Pass the next like some "outside" distorted tonmeister. However, the notes are just "there", not calculated in any way, just kind of pulled out of the air. Saying Hollands bass is lyrical, substantial and supportive does not do him justice, one of the best upright players around. Dejonett's drumming sounds effortless and melodic. He has superb touch and control and his cymbal work is truly outstanding.

The whole cd sounds just as if the three players were communicating effortlessly to extract music that already exists. But enought of my extistential nonesense! It's a great cd with incradible depth and texture and offers many hours of exploration. Each time you put it on there is something new to be heard, some nuance that you missed the last time. Very highly recommended!

This was the second PDQ Bach album I ever heard (after The Intimate PDQ Bach), and I can never decide which is best. At times I can't get The Seasonings or The Unbegun Symphony out of my head. The live audience makes it even better---hearing other people get the jokes makes you feel you're at the show.

I must differ with the others only to the extent of mentioning my favorite part of "The Seasonings": the aria, "If You've Got the Money, Honey, I've Got the Thyme!" :-)

Complaint #1: Schickele made the self-congratulatory mistake of recording it with an audience. And thus drowning out his genius with unwanted noise. Complaint #2: Schickele's weakness for puns led to the dull self-congratulatory title. Which is a parody of Vladimir Horowitz's HISTORIC RETURN.

I'm flabbergasted by the crack musicianship that executed THE SEASONINGS. For instance, the unison trumpet & timpani at the start of OPEN SESAME SEED. And for some reason, that single bit of Beethovenian shtick means more to me that the entire banal oeuvre of Herr Ludwig himself. Have you ever noticed that the word "banal" consists of the letter "b" combined with the word "anal"? That's what the "b" in "banal" stands for, as a matter of fact: Beethoven. Anthony Burgess once confessed to being bored to tears by Beethoven's simplistic and painfully predicable harmonies. And I know for a fact that Schickele is just as bored-by-Beethoven as Burgess is. Schickele indicated this via the great wracked sobs of boredom in the BABYLON parody of OLD MCDONALD. Wherein Babylon is a code word for Beethoven. (Trust me on this one.)

Ranjani Krishnan has the most exquisite voice in Indian classical music that I have ever heard. Her deep voice and skillful mastery are uniquely spellbinding! The musical arrangements are lovely, and the group as a whole maintains tremendous integrity in their intentions as performers, artists, and peace activists. A rare find!

I discovered this album only after I bought their other album "Genetic Memories". I understand now that "Illumination" came out first so it is interestring to see how the group changed. I like to play this album when I drive in the car because it makes me feel like I am going all over the world. When I hear "Maitreem" I can imagine I am in India, then I hear "Jinete" and it takes me to Spain. When "white shadows" comes on I am in Morocco. All on my drive home from work. Mostly though, it relaxes me and touches me somewhere deep inside where I didn't know I could be touched. I really hope I can see the group perform live someday.

With this album, Al-Andalus has singlehandedly managed to transform the musical landscape in Spain, Morocco, the US and India. Not that they get credit for it. Illumination is a true mix of international musics. Truly sophisiticated and intellegent by musicians from these cultures who understand these cultures how they should be understood. Its had to believe that this album exists. What a fitting tribute to a new millienum. Illumination has direcly influenced all the major Arab/Flamenco fusion bands, but because the people in the group are ethnic they often don't get the credit they deserve. Song of the water glides over you like a spring rain and Jinete jumps with the poetry of Garcia lorca. They also combine Arab and Jewish music

A jubilant third CD from one of the most dynamic pianists around, "In The Moment" exudes optimism without any trace of sugarcoating. There are bittersweet moments, but there is always a sense of contentment and of moving forward. The title cut opens the CD with an exuberant run down the piano keyboard and a joyful development. Off to a great start!" Far and Near" is nostalgic and touching in its sweetness and simplicity. "Burying Home" starts with a slow, gentle melody as well as occasional cascades of broken chords, and evolves into a wistful but rhythmic "Taps"; I'd love to know the story behind this one! "Noodle Soup" is a lazy, bluesy improvisation. "Domaine Nouveau" opens with a kind of questioning feeling that I think most of us sense when moving to a new home, but evolves into a jazzy, gospel romp - everything is going to be fine here! "Steps to the Soul" and "Out the Window" are more introspective. "Ash Cave" is mysterious and more abstract. This is obviously a wonderful mixed bag of piano solos, and Bradley Sowash has mentioned that he's been advised to make his recordings more homogenous and in one mood. I, for one, am glad he continues to rebel against this commercial formula. A very multi-faceted artist, I love seeing the many pianistic sides of Bradley's music, and hope he'll continue to follow his muse in any way he sees fit! A great, meaty CD!

Critically acclaimed composer and performer Bradley Sowash blends contemporary jazz with classical stylings in these spirited solo piano pieces. Fast-paced, lyrical selections in which Sowash beautifully captures the pleasure of life's most intense moments.

Bradley Sowash bills himself as "the thinking man's pianist," and with the elegant, lyrical compositions he composes and performs, I can see why. Given the rich tapestry of emotions he weaves during the course of In The Moment, though, he's certainly a lot more than that. I've been following Sowash's career for several years now, and I can attest to his growing maturity as a composer and performer. His uncompromising integrity as an artist shines through on each track, making In The Moment one of the best solo piano albums of 1999.

"Steps to the Soul" combines heart-stopping technical virtuosity with melodic hooks. "Out the Window" also showcases Sowash's mastery of the ivories while creating a lively sense of play. Even with the abundance of solo piano music available, I strongly encourage you to give In The Moment a careful listen. It's that good. - Steve Ryals (reprinted from New Age Retailer, Sept. 99)

Into The Flow showcases Dan Cunningham's talents as a writer, arranger, performer and interpreter of a wide range of pleasing acoustic stylings. Here, he seamlessly weaves folk, classical, contemporary and meditative songs, ancored by his fluid acoustic guitar playing, and complimented by just the right amount of accompanying instruments. Dan's arrangements are clean and simple, never slick or over-produced, spicing this collection of songs with harp, cello, bass, percussion, humor, and the occasional use of voice. Highly recommended.

Having known Dan Cunningham for more years than I care to mention, I expected some nice music on his CD "Into the Flow." What surprised me, however, was the extent of the professionalism and artistry manifested within. This is great music to listen to - from Dan's short introductory "River Flow" to his ending interpretation of Tarrega's "Prelude" and a short medley of self-penned tunes. Traces of the famed Cunningham wit shine through on "Tejas Tango" with its initial imagery of a Mexican red-neck bar (if there is such a thing) with a sudden jump into a lively, double-time, picking extravaganza "a la" Chet Atkins. "This is My Prayer," a composition by Aldrea Reese-Brown is particularly captivating with a hauntingly beautiful melody (without words) added by Reese-Brown herself. Dan aptly employs a colorful palette of sounds and styles. Don't be afraid to try this album even if Dan Cunningham is not a familiar name to you. He's done a tremendous job here (I'm proud of you, Dan). This is great music to play in the background while doing your household chores, or to turn up and give it your total concentration, getting lost in the colors and sounds of Dan's musical potpourri.

The first time I heard Dan Cunningham play was many years ago when I heard him and Phil Keaggy in an informal coffeehouse type gathering where they both played acoustic guitars. Soon thereafter Keaggy formed the Phil Keaggy Band (PKB) with Cunningham on bass. His classical training came through on the PKB recordings even as he played bass guitar (no simple roots and fifths there). I was very pleased to recently find that Cunningham had done an acoustical guitar CD. The pure classical pieces (sarabande, prelude, grateful tears)show off his classical guitar skills while others are fun and jazzy (carnival breeze and same old grind) or fun and folky (loose dawg and rectangular sunlight). I really enjoyed "nothing i intended," which reminded me of the old acoustical PKB tunes. So while you can put Into the Flow on as background music (which I often do) you'll likely find yourself tapping your foot or playing "mouth organ" along with the catchier cuts. If you like well executed classical guitar this is a great CD but it isn't just technically proficient, it's fun and lively too.

Listening to this cd makes you feel that you're out on a wonderful night on the town on Broadway. Cy sings beautiful songs with passion and heart. Cy is a dynamic artist with a melodious touch on his grand piano.

This is the perfect cd for your next roadtrip. You can sing along as you enjoy the scenery going by, where-ever you are!

Every song is great. One flows into the next, inviting your ears and senses to just listen. You will find yourself singing along. This is evocative, easy listening music with positive undertones. It's mood lifting to hear his interpretations (because at one point in your life or another - you can relate to what he sings about.) The songs, The Colors of My Life, Bad is for Other People, It Started with a Dream, and all the others featured will have you believing that The Best is Yet to Come... I love this cd. I may need to buy another one, because I've played my disk so much!

If you love masterful songwriting, you'll love this CD. Lyrically and musically this is top drawer. I discovered Cy's music when listening to Barry Manilow's Showstopper album, and I'm so glad I did. "Some Kind Of Music" was worth the price of the CD alone.

I have always been a sucker for composers and lyricists singing their own songs, and Cy Coleman is perhaps the best at it, followed closely by Martin Charnin and Burton Lane.
The orchestrations are superb, easily the best I've heard in the genre. There is wonderful passion in these songs, which are excellently crafted.
Sometimes, Coleman's songs have seemed to me to be derivative of other songs. His "Hooray for our Favorite Son", from The Will Rogers Follies is really a dressed up version of his own "Pass Me By",from the movie "Father Goose". It was camouflaged by girls and tambourines.
The first track, "Some Kind of Music" seems an awful lot like Sinatra's "Let's Take It Nice and Easy".
The eighth track, "I Really Love You" is perilously close melodically to Frankie Valli's "My Eyes Adored You".
Why,then,5 stars? Because the songs are still wonderful, and spectacularly performed. Plus, I enjoy playing Tune Detective.

One of my favourite recordings of anything, here Brendel rejects all attempts at historically informed authenticity and gives full rein to the possibilities of playing Bach on a modern concert grand piano. The results are utterly musical and as 'right' in their own way as performances of Bach on the harpischord. But there is no 'right or wrong' when great music is made to resound with such conviction and truthfulness as Brendel achieves on this disc. The opening fantasia of the 'Chromatic Fantasia and Fugue' storms and surges with a truly elemental power as does the wonderful A minor Prelude.

I really cannot recommened this CD highly enough (and the sound is wonderful too)

Brendel is an incredible pianist, and a scholar of music as much as a virtuouso. This is a beautifully played and beautifully CHOSEN collection of music. In an interview included in the notes, Brendel points out that many of Bach's works seem to be written for instruments of the future: some pieces like the Chromatic Fantasy seem to be failures as written for the harpsichord but are wonderful played on the piano.

I don't miss whatever authenticity might be lost, then, by playing these on the piano. I loved how simple it was to hear the different strands of melody that wind their way around each other in the first movement of the Italian Concerto, and to hear how clearly Brendel articulated the rushing melody of the Prelude in A Minor. He's amazing: I started with his recordings of Schubert but am starting to prefer his versions of Beethoven and Bach as well.

Even his choices of what to play are revelatory. The Busoni arrangement of Ich 'ruf zu dir, Herr Jesu Christ is astounding. It was only after I ran out, got a book of the Busoni arrangements and tried to play the prelude myself that I realized how hard it was to play this (technically) fairly simple piece as beautifully and delicately as Brendel plays it.

Anyone who thinks that Bach is a dry, academic composer - or who wrote music that is coldly beautiful but not heartfelt - needs to hear these three minutes of music to know how much love went into everything he wrote.

A treat of Bach's most innovative piano works. The Fantasia and the two Fantasia & Fugues are powerfully played. Brendel has a very consistent and rounded sound, yet he plays Bach with an original and sparkling flair. He captures much intensity with these pieces without succumbing to eccentricity.

Perhaps this statement it may sound exaggerated, but in sharp contrast with his another remarkable composer as Aaron Copland, Ives remained as the loyal observer, who scrutinizes with admirable honesty and artistic commitment the non revealed aspects of the reality. Beneath the trivial vision, he composes music as Van Gogh painted, with a remarkable sixth sense depicted the recondite boundaries of the human condition, the changing nature and besides the undeniable interaction between man and nature.
I must confess my admiration by Ives since my first years. Since I was a teenager, his Question without answer, his Symphonies are permeated somehow for similar visions you can find in Carl Nielsen, (though Carl's vision goes overseas); this dark lyricism and somber poetry is still a landmark in the American music.
Another directorial triumph of Leonard Bernstein!

Just as Bernstein had done for the music of Gustav Mahler, he helped to popularize the music of an American original, Charles Ives (1874-1954). He found Ives a genius, too, as he said in a companion recording included with Columbia's first LP reissue of the historic recording of Ives' amazing second symphony.

Bernstein actually conducted the world premiere of the second symphony on February 25, 1951, and both Charles Ives and his wife, Harmony, were persuaded to the listen to the New York Philharmonic's radio broadcast. At the crazy "reveille" ending, the Carnegie Hall audience gave the work a thunderous ovation, which caused Harmony to remark to her husband, "Why, they actually like it!"

Four years earier, composer-conductor Lou Harrison, a friend of the generally reclusive Ives, conducted a New York orchestra in the world premiere of the third symphony. This is a more conventional work, which still has its share of twists, and one of the more interesting "what if's" comes from the fact that Gustav Mahler had seen the score and promised to conduct the New York Philharmonic in the world premiere; unfortunately, Mahler died that spring and his successors had no interest in performing a symphony by an "unknown" American composer. Yet in 1947, when Harrison finally conducted its first performance, the work was awarded the Pulitzer Prize. Typically, Ives refused the award, saying prizes were for boys.

The second symphony has long been associated with Leonard Bernstein and not just because he introduced it. Bernstein recorded the work in Brooklyn's St. George Hotel on October 6, 1958, and championed it. He recognized the genius at work. He marveled at how Ives so effectively incorporated American patriotic songs, hymns, and college songs, as well as subtle quotes from the music of Ives' musical heroes, J.S. Bach, Beethoven, and Brahms. The orchestration is lush, too, and deeply moving. There are odd twists, to be sure, and bits of humor, especially at the very end of the symphony.

When I first heard Bernstein's recording of the second symphony, I knew this was a very special work. Bernstein included it in a CBS "Young People's Concert" telecast. He helped us to appreciate this wonderful work and this recording is a lasting testimony not only to the work's brilliance but Bernstein's ability to interpret it with great love and affection.

The third symphony is a deeply spiritual work, abounding in the New England hymns that Ives so loved and admired. Ives had a particular fondness for Lowell Mason, one of the first great American composers. Bernstein's recording is highly enjoyable and very moving.

I have always loved Leonard Bernstein's musical lectures. This fine recording of Ives: Symphonies, No. 2 & 3 not only offers very idiomatic performances by the great late Bernstein, but includes his superb lecture on Charles Ives. As with other Sony recordings that include Bernstein's insightful commentaries, this CD is worth the price of purchase just to hear his educational profile of Charles Ives, a true "American Original" who marched to a different beat. I only hope that Sony eventually releases all of Bernstein's musical lectures on CD. The Beethoven 5th symphony needs to be re-released with his wonderful lecture on the making of the 5th symphony. The Sony "Royal Collection" (out of print) of Beethoven's 5th symphony included his lecture in several languages, but from what I've been reading it was a fiasco (not the lecture, but Sony's production of it).

Highly recommended.

This is absolutely the best "highlight" collection out there -- no others come close to the range and depth of material provided. But beware, this is not an "introduction to The Ring", as some claim -- the notes are skimpy, the titles of the excerpts are untranslated, there is no libretto, no description of the excerpts -- their context or meaning -- so what you have is a great summary of the works -- one that is most useful if you already know them -- something to take along with you in the car or while jogging or walking the dog to remind you of the real thing. Bear in mind that whatever the deficiencies of this collection, the others have the same faults also.

I can't find any of the four Ring operas here at amazon.com. This is very peculiar, but in case you, too, are looking for them, I can say that the Rheingold and Die Walkure are superb, but the Siegfried is vocally a catastrophe, beginning with the woeful Jess Thomas in the title role, and the Gotterdammerung is hampered by an inedequate Siegfried and a not veyr inspired dernesch as Brunnhilde. DG has remastered them all at mid-price, and the mid-Sixties analog sound was good to begin with.

Admittedly, it is a daunting task to try to "get into" opera, and even more so with Wagner's Ring. This CD is perfect for the beginner and the more experienced listener for various reasons. First of all, it spoils you somewhat in presenting you with the best pieces of the various operas. These "bleeding chunks" certainly give you a wonderful introduction to the various motifs, and most importantly, are very long pieces. The CD manages to capture several of the different flavors present in Wagner's opera.

Secondly, the CD is worth its price mainly due to Karajan's conducting. After listening to Solti's version of the Ring (also wonderful), I was suprised by the subtle hints he seems to charge through. You can literally hear the galloping of the horse, or subtle musical hints which add a great appreciation and character to the opera. Thus, if you have experienced several other conductors, but have not had the pleasure of Karajan, it would be worth the price.

Unfortunatly, some of the singing is kinda weak. Again, after Solti's Valkyries, you will have a hard time getting into the singing. And again, Karajan's Brunhilde isn't as strong as Solti's, but she still holds her own. Loge, here, sounds like a trickster (though he does sing/speak his words), and the Wotan's are alright.

In conclusion, this is perfect if you want to add flavor to your Wagner listening experience, or just want to know what the big deal is. I, of course, suggest getting one of the DVD's to get the big picture of what is going on (Levine's MET is a good start). So buy and enjoy.