Recordings

The best, and sometimes the worst, in recorded music.

A Crop of Recordings I: Shostakovich, Scriabin, Schönberg, Nielsen, Brahms, Strauss, and a Piano Recital

Steven Kruger—with the kind permission of Fanfare Magazine—here begins a series of reviews of recorded music. All these are from CDs and SACDs, but of course the download is rapidly becoming a more important source for recordings. Of course the rest of us will be chipping in as well!

Wagner, Tannhäuser Overture. Sibelius, Symphony No. 2 – the BSO’s first recording under Andris Nelsons

Nelson's debut recording with the BSO

I don’t think I have heard the Boston Symphony sound this full and deep since Koussevitzky. This CD inaugurates Andris Nelsons’ era at the helm of the BSO and signals a reinforcement of the orchestra’s considerable strengths in the more brooding side of the continental repertory.

Sviatoslav Richter (1915 – 1997) on Disc: Hunting the Snark

Angelic demon.

Two musical instruments rise above all others in their humanity — the violin, because it comes closest to imitating the singing voice, and the piano, because it comes closest to conveying human nature. As human nature is vast, so is pianism. You can sequester yourself from territory that is too hot, cold, angry, lustful, domineering, or terrifying. Some pianists base their whole career on safely walling off the troubling aspects of human perversity (Alfred Brendel comes to mind, with his ability to make even Liszt wipe off his shoes at the door), while only one has been courageous enough to venture without a care into heaven and hell.

The Music of Mozart’s Last Months: La Clemenza di Tito at Emmanuel, Die Zauberflöte at Salzburg under Furtwängler, 1951, and Beecham’s Requiem from Pristine.

The primary occasion for this writing was Emmanuel Music’s fine performance of Mozart’s last opera, La Clemenza di Tito, under Music Director Ryan Turner. However, two extraordinary recordings of works Mozart composed during those busy final months of his life have appeared, as downloads from Pristine Classics, and they are not only magnificent in themselves, but they provide an enlightening context for this somewhat elusive opera seria. These recordings are of the legendary 1951 Salzburg performance of Die Zauberflöte under Wilhelm Furtwängler in the spectacularly improved sound we have come to expect from Andrew Rose, and a magnificent studio recording of the Requiem under Sir Thomas Beecham from 1954-56.

“Music for a Time of War” – The Oregon Symphony under Carlos Kalmar play Ives, Adams, Britten, and Vaughan Williams on a Pentatone Release…Highly Recommended!

The Review has quite a backlog of recordings piled up, and we hope to make our way through as many as we can. I especially wanted to make note of this full concert recording by the Oregon Symphony, not only because our own Steven Kruger wrote the perceptive and witty program notes, but because of its exceptional musical quality and its truly extraordinary recording. A multichannel recording from Pentatone Classics, which released the Berlin concert performance of Der fliegende Holländer under Marek Janowski reviewed a few months ago, it amazed me with its timbral and spatial naturalness. It most definitely belongs in the reference collection of any audiophile, whether they are inclined to multichannel playback or not. I listened to it in stereo on headphones, using an SACD-compatible player.

Richard Wagner, Der fliegende Holländer: the beginning of Marek Janowski’s Historic Series of Concert Performances of the Ten Mature Operas and Music Dramas

Since his renowned 1980-83 recording of Wagner’s Ring with the Dresdener Staatskapelle, Marek Janowski has acquired a cult following, especially in Wagner, not unlike Jascha Horenstein or Reginald Goodall. His steady, active tempi and decisive phrasing evoke an older performance style which goes back, it is thought, to the days of Richter, Seidl, and Mottl. Janowski, when asked if he studied historical performances of Wagner expressed his devotion to Wilhelm Furtwängler and an admiration for the Bayreuth performances of Hans Knappertsbusch, which, he points out, are not at all as slow as is generally thought. Janowski’s own mentor in conducting was Wolfgang Sawallisch, who left an easily noticeable mark on Janowski’s mature style as a conductor, with his restraint and and constant vigilance over orchestral balances, as well as the balance of dramatic flow and structure. In fact, there is a good deal in common that one can hear in the performance under consideration and Sawallisch’s 1961 Bayreuth performance. “Ein guter Meister…”

New York Arts’ Recommended Books and Classical Recordings 2011

Modern Flash Dictionary by George Kent (1835). The British Library Board.

I should most likely not distract you from giving a subscription to The Berkshire Review as a holiday gift. We need subscriptions to carry on our work, but there are a few items that have come in for review that I can warmly suggest as excellent gifts. These are not systematic, and they are not always serious, but we do recommend them. Some of them will be reviewed in detail over the following weeks.

Mozart and Yellow Warblers: Recent Performances of the Piano Concertos on Disc (Part I of a Series)

While spending almost twenty years closely listening to Bach’s more than two hundred cantatas bewildered some of my friends would decry my project and say, “They all sound alike – how can you tell them apart?” These people, sophisticated music lovers who simply did not care for the Bach vocal repertory, refused to admit they glossed over these works in a superficial way. To my ears, of course, each and every cantata had uniqueness that clearly articulated it from the rest of the pack. Yes, there were many structural similarities, and Bach’s musical language is the unifying tongue, but, to say Bach’s cantatas all sounded alike seemed heretical, born of inferior taste and auditory skills. Years later, when I started watching birds, I came upon the family of yellow warblers, illustrated in Roger Tory Peterson’s definitive field guide. Boggled by the subtle markings which distinguish these birds, it seemed that page after page pictured the same damned bird, and I recalled my friends’ remarks about Bach’s vocal works.

A tip for our readers: How to get the most out of New York Arts and The Berkshire Review for the Arts.
What if I hate reading on computer screens, even tablets?
We get occasional inquiries from readers about whether we plan to launch a print edition of our arts journals. The answer is that we've given it some thought, and we're still thinking about it.
It is not only our older readers who object to reading them online. There are even some millennials who would rather read from paper. One of our readers got the simple idea of using the sites as sophisticated tables of contents. She prints out each article on three-hole paper and files them in a loose-leaf album. I've devoted a lot of time to finding the very best print and pdf facility there is. Just click on one of the icons at the top right of the article and print!
Click here to make your tax-deductible donation to The Arts Press, publisher of New York Arts and The Berkshire Review. Or click on the notice in the sidebar. The Arts Press is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The Arts Press must be made payable to“Fractured Atlas” only and are tax-deductible to the extent permitted by law.