Laid Back Review

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Laid Back ReviewWebster's dictionary defines a masterpiece as "An artistic work done with consummate skill". Gregg's "Laid Back" certainly qualifies that definition. Almost as spectacular is the fact that this was his first solo effort. Blues imply melancholy and this album is loaded with it. What sets this music apart from others, is the cleansed feeling it gives you after it ends. It's as if you have been baptized in cool southern waters. "These Days", "Queen of Hearts", "Please Call Home", and "Multicolored Lady" are four of the best but don't miss the rest as this album has more "hits" than some artists collect in their entire career! After I first heard the lyric, "Please don't confront me with my failures, I'm aware of them" from "These Days", I have felt it typifies the mood Gregg was in and what blues was all about. This was released in 1973 but sounds as fresh today as it did then. This is the Gregg Allman I'll remember.Laid Back OverviewGregg's 1973 solo debut also became his biggest hit, a #13 LP featuring his Top 20 classic Midnight Rider . Remastered from the original master tapes!

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Stephen Stills Review

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Stephen Stills ReviewI'm astonished by the comments of the amazon.com reviewer. Stills is the most accomplished musician in CSNY: He played every instrument except the drums on the debut record and almost all on Deja Vu. While all the guys in CSNY have their strengths, Stills is the one with cache with serious players. Incidentally, it's Stills, not Clapton playing the solo in the middle of "Go Back Home." (Clapton plays the coda). Listen to Stills handle the Hammond B-3 on the jam with Hendrix. It's a shame this guy never lived up to his talent, but when this album was released he was at the top of his game.Stephen Stills OverviewHis first (1970) solo record, with Crosby, Nash, Clapton and Hendrix on board! Includes Love the One You're With; Sit Yourself Down , and more.

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Carly Simon - Live from Martha's Vineyard: The Classic Concert Review

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Carly Simon - Live from Martha's Vineyard: The Classic Concert ReviewPop singer Carly Simon has rarely performed a "Live" concert, which makes this DVD version of her 1987 live concert from Martha's Vineyard (which originally aired as a special on HBO) all the more a collector's item.   The concert on this DVD represented her first live performance since 1980, and is one of a mere three concerts by the smooth-sounding singer ever to be captured on film.
This concert was filmed on June 9, 1987, which turned out (after some rain earlier that day) to be a beautiful Tuesday afternoon/early evening.  Pretty Massachusetts seafront scenery complements the proceedings nicely.  Carly's "Live" audience this day seems to be a rather small one, which allows for a more natural, relaxed, and "homey" feel to the performance.
The previous VHS version was pretty good too....for VHS videotape.  But it's really nice to be able to upgrade this great Martha's Vineyard outing to the improved DVD format.  This Digital version looks pretty darn good to me. It's not perfect, but definitely an improvement over the VHS version. Not having to deal with annoying VHS "tracking" difficulties, and being able to directly access each song via chapter selections, make the DVD version of this concert the ultimate video format of choice.
In the parlance of DVD-Video terminology, the picture quality here might be deemed as being slightly on the "soft" side. And there's still quite a bit of grain evident. It could definitely have been a bit sharper in places, but it still looks fine to my eyes. And the colors look very "warm" and natural.
Audio .... There's a new re-mixed Dolby Digital 5.1 Surround soundtrack here.  Sounds fantastic!  There's a second audio track included also -- an "enhanced" Dolby Digital 2.0 Stereo track, which ain't half bad either. Both audio tracks are quite full and robust.
There's a convenient chapter stop for each of the concert's 13 songs, so you can go straight to your favorite Carly tune.  And there are many "favorites" here (as far as I'm concerned).  About the ONLY thing that would have made this exemplary concert (and DVD) any better would have been if Carly had also performed "Haven't Got Time For The Pain", which isn't included in this concert's roster of hits.  But, even without that great 1974 ditty, the song selection is superb.
Here is a listing of songs contained on the DVD, in order of appearance (total running time for the concert = 59:45):
1. Give Me All Night
2. Anticipation
3. You Have To Hurt
4. You're So Vain
5. Do The Walls Come Down
6. Two Hot Girls
7. It Happens Every Day
8. Nobody Does It Better
9. All I Want Is You
10. The Stuff That Dreams Are Made Of
11. You Belong To Me
12. Coming Around Again / Itsy Bitsy Spider
13. Never Been Gone 
Menus .... The menu system on this DVD is a silent and static one, with no lengthy (or animated) transitions between sub-menus. (Kudos to this type of menu design!)  Several good pictures of Carly are seen on the various sub-menus.
A nice batch of Special Features adorn this first-rate DVD as well.  Let's have a look.......
>> A new interview with Carly, filmed in January 2004, which was created just for this DVD release.  It's a very interesting and informative bonus, as Carly reflects back on the "Vineyard" concert. The interview is presented in three separate segments, with a total running time for all segments amounting to 20 minutes and 10 seconds.   The individual sections of the interview are entitled "The Concert", "The Songs", and "The Band" -- with segment #2 ("The Songs") lasting the longest, at 9:23.  We see lots of bonus concert footage throughout this twenty-minute interview, most of which was taken from a second day of filming on Martha's Vineyard.  None of this second day's worth of filming actually made it into the final televised concert version. This is a very nice and well-done bonus feature! 
>> "Carly's Scrapbook" (Photo Gallery) -- I love a good photo gallery on DVDs.  And this one is quite nice indeed, featuring (as stated in the disc's official press info) many "rare photographs from Carly's personal archives".  This well-crafted gallery runs for 2:35 with no user intervention required. The gallery CAN, however, be paused for longer looks at any image. Thankfully, the "pause" button has not been disabled here.  This is a very interesting collection of Carly photos, displayed while Carly's 1992 ditty, "Back The Way", plays in the background.  Within this gallery, we see Carly alongside some other big-name stars in the world of music, such as Paul McCartney and John Lennon, and others.  There's even a photo featuring Carly with that great sax player, William Jefferson Clinton.  Yes, the former President himself must also be a Carly Simon fan.  :)
>> A Carly Simon "Discography" -- This text feature utilizes multiple screens to paint a word picture of the long career of the dynamic songstress.
>> Bonus Track: "The Right Thing To Do" (length -- 2:55).  This extra song can only be accessed through the "Special Features" menu on the DVD.
>> English subtitles for all songs. On-screen subtitles are also included for all of Carly's between-songs dialogue, as she briefly addresses the audience occasionally during the concert.
One special bonus that didn't end up making it to the DVD is a 2003 performance by Carly of "Let The River Run".  When the DVD was initially being planned, this extra song was expected to be included. But evidently there was a snag, and the tune was left off the disc. But even without it, this DVD amounts to a thoroughly pleasant sonic (and visual) music experience.
Any Carly Simon admirer with a DVD Player who does not yet have this terrific disc should add it to the "To-Get" list asap! The angst brought on by not having this DVD on the shelf just might cause serious physical side effects. :-)Carly Simon - Live from Martha's Vineyard: The Classic Concert OverviewOne of the truly original, trailblazing female singer/songwriters of all-time. Carly Simon "Live From Martha's Vineyard" -The Classic Concert captures a true musical icon performing some of her best-loved hits live on stage in a rare and extraordinary performance.Includes the hits You're So Vain, Nobody Does It Better, The Right Thing To Do, Anticipation, You Belong To Me, Coming Around Again and a new version of her Academy Award winning song Let The River Run.

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Sky Loom Review

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Sky Loom ReviewThis is the most beautiful CD I've heard in a very long time. I have been looking for a great recording of the Bartok Roumanian Folk Dances played on flute for awhile now. This is the best recording of this piece. I love hearing modern works for flute and harp. This is not the usual rep for both instruments. I can't praise this CD enough. Buy it and you'll find out for yourself. I'm a flutists and hope to hear Dr. Kemler perform live and attend some of her classes in the flute festivals.
That would be one of my lifes highlights!Sky Loom Overview

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Villa-Lobos: Bachianas Brasileiras (Complete) Review

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Villa-Lobos: Bachianas Brasileiras (Complete) ReviewLike most music-lovers, I have not paid much attention to Villa-Lobos's collection of nine works called 'Bachianas Brasileiras,' except for the extraordinarily popular No. 5 (the one for soprano voice and eight cellos) and the movement from No. 2 called 'The Little Train of the Caipira.' I had heard them cursorily (in a friend's collection) in the old EMI album, still available, called 'Villa-Lobos par lui-même,' a six-disc set with the composer conducting a French orchestra in his own works, done in the 1950s. But there has not been, as far as I know, a recent complete recording of the set. (I understand there is also one featuring a Brazilian orchestra, but I have never seen or heard it.) So, it is with great pleasure that I report that this set with the late Kenneth Schermerhorn conducting the Nashville Symphony is a real winner. It is the last thing Schermerhorn recorded before his death April 19, 2005. Indeed, Bachianas Brasileiras No. 1 had to be recorded with Andrew Mogrelia at the helm.
The nine Bachianas vary wildly in their instrumentation. No. 1 is for 'an orchestra of cellos'; No.2 is for chamber orchestra; No. 3 is for piano and orchestra; No. 4, originally for piano alone, was orchestrated in 1941 by the composer (but, oddly, its first movement is for strings alone); No. 5 is the familiar Aria and Dança for soprano and eight cellos; No. 6 is a duet for flute and bassoon alone; Nos 7 and 8 are for full orchestra, the latter a veritable concerto for orchestra; and No. 8 is for string orchestra. All the works attempt (mostly successfully) tp combine Bachian counterpoint, forms and use of dance rhythms with Brazilian folk song and dance. One hears intimations of two-part invention (No. 6), aria (several movements, including the absolutely gorgeous first movement of No. 4), fugue (several movements, including the marvelous lost movements of Nos. 7 and 9) and so on. Throughout it all is Villa-Lobos's talent for concocting delicious melodies and infectious rhythms. In the process of writing these homages to Bach he mastered manipulation of a ground bass, construction of arching forms, invention of toccata-like motoric drive.
One cannot say enough about the performances. It is true that the Nashville Symphony is not generally considered a front-line orchestra -- although they have made some smashing recordings of Schoenberg, Ives and Beethoven, among others -- and there may be some rough and ready playing in spots. Their strings, who play such an important part in the whole undertaking, sound silken and deep into their strings when necessary. The two Bachianas for cellos alone are simply gorgeous; they may not be the Berlin Philharmonic cello section, but they are darn good. The soulful solo cellist in No. 5 is Anthony La Marchina, the orchestra's principal cellist; I wonder if he is kin to long-time conductor of the Honolulu Symphony, Robert La Marchina. Rosana Lamosa, a Brazilian soprano, sings the cantilena and aria of No. 5; she is excellent but she does not erase memories of other great singers in this work: Bidu Sayão, Galina Vishnevskaya (with M. Rostropovich playing the solo cello part), Victoria de los Angeles, or Renée Fleming.
José Feghali, himself a Brazilian and a former medal winner in the Cliburn Competition, is a superb piano soloist in No. 3. Principal flutist Erik Grafton and principal bassoonist Cynthia Estill make the rather dry two-part inventions of No. 6 sound like great music. And in No. 6 Villa-Lobos conquered the problem of making an unaccompanied wind-instrument duet sound fuller than one might guess, with implied harmonies and Bachian harmonic suspensions.
The excellent booklet notes are by Richard Whitehouse. They are a fount of otherwise difficult to find information about the Bachianas. One final pedantic note: 'Bachianas' is both a singular and plural noun, so one speaks of a single Bachianas or a group of Bachianas. One occasionally (but not in this set) sees this: 'Bachiana Brasileira No. 5.' Wrong!
A strong recommendation for those who want to discover the too-rarely heard products of Villa-Lobos's love for Bach as filtered through his Brazilian sensibility.
Scott MorrisonVilla-Lobos: Bachianas Brasileiras (Complete) Overview

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I Sing the Body Electric Review

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I Sing the Body Electric ReviewWayne Shorter and Joe Zawinul were arguably the two geniuses most responsible for Miles Davis's development from the mid-sixties into his electric period that revolutionized jazz in the seventies. Shorter constantly pushed the music forward with his adventurous compositions for Davis's "second great quintet" (some fantastic music there) and participated in "In a Silent Way" and "Bitches Brew" which launched fusion. Zawinul was the mastermind behind many compositions in the electric Miles period and helped define the different sounds that were to come from keyboardists in this style. Then the two left Miles to do things their own way, and thus they started Weather Report. Their first album, self-titled, was filled with fascinating quick sketches of new musical ideas capitalizing on the new palette of sounds that came from electronics. This album continued those experiments, but in a more developed and profound way. "Unknown Soldier" in particular is a masterpiece in angular, unconventional composition that manages to be beautiful and very challenging. "The Moors" features an appearance by guitarist Ralph Towner who plays an improvised introduction filled with ideas and lines nobody had ever thought of before, while managing to be extremely funky in some spots. I read that Towner was practicing some ideas for his intro, and Zawinul was concerned that he would be overly self-conscious when actually being recorded, so they recorded Towner practicing for the intro without his knowledge. It was good enough that they actually used his run-through, and when he finally said "okay, I'm ready," they told him he was already done.
The second half of the album is edited down from a performance in Tokyo, and the energy of the band in a live setting is astounding. They do an electrifying version of "Directions," the tune Zawinul wrote for Miles which became Miles's signature piece during his electric period. There's something angularly funky and otherworldly about this very simple melody and the way they play it.
The unfortunate thing about this album is expectations after the fact. Weather Report had only a cult following at this time, so the sound associated with this band from their later recordings is nowhere near what this album sounds like. This music is a lot closer to electric Miles, though it backs off a bit from the rock rhythms and focuses more on the headier aspects of the electronics. As a result, the music is very esoteric and difficult to approach even from familiarity with later Weather Report. If you find the description of this album interesting and want to appreciate it, explore Miles in the late sixties up through "In a Silent Way" and "Bitches Brew," and then get the first Weather Report album, the self-titled one. This is very deep, exploratory music that is completely enthralling for those people who know how to listen to it. Become one of those people.I Sing the Body Electric Overview

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Batman and Robin - The Sensational Guitars of Dan & Dale Review

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Batman and Robin - The Sensational Guitars of Dan & Dale ReviewThis is a cash-in album originally released in 1966 to exploit the Batman fad. It has gained some noteriety over the years, because Sun Ra and members of The Blues Project played on it. Musically, however, it is nothing special. Most of the tracks don't have much of a melody, and just feature the musicians jamming. This is okay to listen to, but it doesn't really represent the best of either Sun Ra or The Blues Project. However, I do have to say that the nearly 7 minute "Batman and Robin Over the Roofs" is pretty wild, cool and swinging. One unfortunate thing about this CD is that it is in mono. I think that a good stereo mix would really enhance this recording. This CD is really for hardcore Batman, Sun Ra or Blues Project fans only.Batman and Robin - The Sensational Guitars of Dan & Dale Overview

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Midori ~ Encore Review

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Midori ~ Encore ReviewMidori starts Kreisler's march with an accented A and then slides wondrously to D. In the ensuing passages she demonstrates her extraordinary flair for making the tone ductile and kaleidoscopic by matchless control of bow pressure and masterly uses of slides and portamento. The middle part is played in a jocular mood, with a sense of irony, as evidenced in some deliberately obtrusive metallic tones and harmonics, bestowing a piquant taste to the music. This is a much more novel, fascinating, and spicy rendition than that of the renowned pedagogue Josef Gingold.
Her Praeludium and Allegro again shows copious nuance and contrasts. Unlike Milstein's awful recording at age 55, which is played like an exercise, the slow introduction reflects a deep introspection by this 20-year-old girl, which never sounds boring, but rather reminiscent of Bach's solo sonatas, only less profound. The variety of dynamics, shadings and tone colors plus rubato all add up to a superlative performance.
I was delighted to have the opportunity to compare Midori's rendition of Sarasate's Habanera. This is actually a fabulously composed piece with myriads of fantastic effects that will ignite the listeners' imagination. Unfortunately, Sarasate's audience probably could only be entertained by his outward mannerisms and showmanship, but could delve nothing out of the music. Those who listen to his recording will merely feel the music to be a superficial virtuoso piece played with the greatest nonchalance--which is the hallmark of Sarasate. There's scarcely any portamento, rubato, vibrato, and variety of tone colors and dynamics, which is the prototypical nineteenth century tradition. For instance, at the outset, a Spanish tune--also incorporated in the 3rd movement of Lalo's cello concerto--is repeated four times: the first two of the same pitch, both on the G string; the third and fourth each ascending an octave. Sarasate played all four phrases with the same bowing and manner, rendering the first two phrases identical. Drab indeed. Midori played the first phrase in an assertive stance, but the second time dragged out the seventh note, turning it into a provocative gesture. The third phrase, an octave higher, was tenderly played with sweet legato, thus providing a stark contrast with the fourth: spiccato at first, then a thrilling ricochet [throwing the bow down on the string so it bounces automatically for several times] in place of the printed legato grace notes, imparting a mischievous character. How wonderful!
Throughout the rest of the piece, Midori copiously and idiomatically--because her temperament is so ideally attuned to the Gypsy spirit--employed an infinite array of expressive devices, thus the piece was played frolicsomely, expressively, flirtatiously and seductively. One can find similar traits in her rendition of Bartok's Romanian Folk Dances. Simply listen to the opening melody played on the G string and one should easily recognize her individuality, especially when compared with other violinists with so-called patrician elegance, such as Szeryng. Her elastic and pliable tone stores pent-up energy, which seems about to explode at any time.
Midori's stylistic versatility is tremendous. Just when you're going to classify her as a Gypsy violinist, she and her meltingly beautiful tone come up with the most graceful, lovely, touching, and exquisite rendition of Elgar's Salut d'amour. Similar examples are Elgar's Chanson de matin, the introduction of Sarasate's Introduction et Tarantelle (the transition part in the middle is supreme, whereafter the tarantelle is played at an incredible speed), Paganini's Cantabile, Dvorak's Slavonic Dance No.2, Kreisler's Syncopation (plus a sense of humor), Gluck's "Dance of the Blessed Spirits", Ysaye's Reve d'enfant, and Tchaikovsky's Melodie (from Souvenir d'un lieu cher), which merits special attention. Towards the end of the piece, at its second climax, there were two phrases that differ only in one note, and she played the second phrase an octave higher, which really had a climactic and striking effect, what one can never achieve as perfectly if one follows Tchaikovsky's manuscript. Here again, we see that if the performer can think of an original way to express the music better than what the composer wrote, he or she can just forget about the composer's intention. That's the true artist and not just the executioner who implements what the composer--who is also a human being--writes even when he's less inspired.
For those keen on twentieth century music, several interesting, savoury and compelling pieces are recorded on this disc, including Szymanowski's iridescent, hauntingly beautiful La Fontaine d'Arethuse, Cui's Orientale, Bacewicz's Oberek, four preludes by Shostakovich, and the aforementioned Bartok's Romanian Folk Dances. Scriabin's devilish Etude in Thirds is, after all, an etude, but Midori does impart musical qualities to it. Her rendition of Prokofiev's March (transcribed from The Love for Three Oranges by Heifetz) most catches one's attention. In the original orchestral version, there's a fanfare-like introduction with drums beating underneath. In Heifetz's transcription, the piano plays the D's of the trumpets, while the violinist plucks C sharp with the right hand. But the sound recorded in this CD is stupefying: it is clear, resonant, yet amusical; it is positively not the sound of pizzicato, but more like a tapping or hammering sound! My conjecture is that Midori struck the wood of the bow at the piano. In any case, it is an ingenious act, and the sound is certainly more akin to the drumming of a marching band!
Of course, all these lovable pieces wouldn't be so adorable if the performer's technique was faulty, even when compensated by mesmerizing tone and inspiring artistry. Here's an artist whose technical agility you could fully trust, one who made a sparkling recording of Paganini's Violin Concerto No.1 at age 15, an onerous and intimidating piece which Heifetz never dared to record in his entire life.
In a nutshell, if I could only choose to have one collection of miniatures by one artist, I would not select those of Ysaye, Kreisler, Heifetz, or Perlman, but definitely Midori's "Encore!"; which is so felicitously titled.Midori ~ Encore Overview

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VH1 Storytellers - The Doors (A Celebration) (2001) Review

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VH1 Storytellers - The Doors (A Celebration) (2001) ReviewI almost did not buy this DVD, because I'd heard from one or two people that all the guest singers were "playing dress-up" as Jim Morrison. I bought it anyway, and realized they were completely wrong, right from the first track. This was a reverent tribute to The Doors and Jim Morrison. The energy and passion for the music was electric, and everyone was there just to say thanks to Jim and The Doors for bringing us their music. From their own music and the attitude these artists approached Jim's role with, it's obvious that every one of them was heavily inspired in their own art by Jim, and this is their way of giving something back to him. The backup musicians were wonderful, especially on The End. Admittedly, it took me a few listens to really enjoy hearing someone other than Jim sing it, but anyone who just sits back with an open mind and listens will definitely enjoy this. Not all of the singers were "up to Jim's level", but hell, Jim wasn't always up to Jim's level. He wasn't god, he was a creative, inspired frontman, performing with three other wonderful artists. This DVD is worth every penny, just for the musical performances by the three remaining members. The Doors have been my favorite group for about fifteen years now (*before* the movie came out, yes), and I feel very safe saying that this was the best, or at least as good as, I've ever heard them play. I've heard all the studio and live albums, even rare bootlegs. All three of them are thrilled to be back together, here. Robbie's playing was fast, incredibly controlled and filled with passion, John played the drums like a whirlwind, and Ray was ecstatically making love to his keyboards. If you're a Doors fan, or just a fan of the guest singers, I suggest you try this DVD. Don't think of it as people trying to "measure up" to Jim, or replace him, but think of it as a party in celebration of the art that he and the other three Doors created together.VH1 Storytellers - The Doors (A Celebration) (2001) OverviewVH1 STORYTELLERS:DOORS:CELEBRATION - DVD Movie

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Virtuoso Violin Review

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Virtuoso Violin ReviewThis CD features Itzhak Perlman at his best! I have bought several of these bargain discs on the EMI label, and I am yet to be disappointed. They feature great artists and great music - every one! Perlman is magnificent on this disc. His unique style and fiery temperament are perfectly represented. I only wish that EMI had advertised that the disc featured Spanish selections exclusively. I was particularly attracted by Sarasate's Bizet Carmen Fantasy, but all of the cuts were very satisfactory. If I had been in charge of producing the disc, I might have selected a few other pieces, but otherwise I cannot quarrel with what is an outstanding CD at any price, much less the ridiculously low price at which EMI offers these bargains. A must add to any collection of violin music, classical music in general, or Itzhak Perlman in particular!Virtuoso Violin Overview

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Stravinsky Conducts Stravinsky Review

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Stravinsky Conducts Stravinsky ReviewFor those interested in Stravinsky's 1959 Movements for piano and orchestra, there is a major disappointment here. Sony has mangled the first movement by ignoring a repeat, then plowing through the second ending immediately after the first ending. It makes me sick to hear it. Seeing the "Recent Stravinsky" LP in its miniature CD form was a delightful blast of nostalgia, but I'm still waiting for a CD issue of Movements. And an apology from Sony.Stravinsky Conducts Stravinsky Overview

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Centenary Collection 4: 1958-1967 Review

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Centenary Collection 4: 1958-1967 ReviewThis set marks the transition of classical recordings into the Stereo age. There is so much material that it is difficult to address it all, but I will do my best! The first disc, 1958, features an all-Mozart program by Rita Streich, including arias from her unmatched performances as Die Königin der Nacht and Blonda, as well as a rarely heard "Aer Tranquillo" from Il Re Pastore. These coloratura arias are delivered with such precision and flute-like high notes that you may doubt parts of them human! The second disk is Pierre Fournier playing two of Beethoven's later cello sonatas as well as the all-too-rarely heard Chopin sonata. The next disc is also cello, and features Rostropovich with the Schumann concerto, Rachmaninov Sonata (another rare gem) and a previously unreleased on CD Rococo Variations of Tchaikowsky, which easily outdoes even his own performance with von Karajan. The next disc, featuring Wilhelm Kempff, showcases two of his finer recordings: The Emperor Concerto and Hammerklavier sonata, both of Beethoven. There is something about Kempff's Beethoven sonatas that is truly enchanting (he recorded the entire cycle of 32 no less than three times, although the first had a few omissions for space). The next disc is from 1962, and that means von Karajan's Beethoven symphonies 3 and 8, which many people probably have in their collections already. Superb they are, but I would have preferred some lesser-known recordings. Karl Böhm's CD, unfortunately, does not do him the justice he deserves. The Mozart Sinfonia Concertante is somewhat banal, although the Strauss is very nice, especially Salome's Dance of the Seven Veils. Böhm shines brightest as an opera conductor, and the Salome is the only operatic selection. Pity.
Eugen Jochum brings spark to a very nice Brucker 7th and motets, even to a less-than avid Bruckner person like myself. Fritz Wunderlich is featured next, with warm, passionate arias from Mozart, Haydn, Verdi (in German!) and 12 magnificent Schubert Lieder. Although his career may have only lasted 10 years (ending with his untimely death, in the middle of recording Haydn's Die Schöpfung), Wunderlich is truly one of the great German lyric tenors. Géza Anda is next, with a nice Mozart K. 449 (in which he also serves as conductor) and a surprisingly eloquent Davidsbundlertänze. The last disc of this box is Narciso Yepes at his 10-string guitar. Full of resonance and technical virtuosity, he displays a program exclusively of Spanish music, including Sor, Albéniz, Rodrigo's Concierto de Aranjuez and Falla's Spanish Folk Songs with Teresa Berganza. The intimacy of this last cycle of songs, mostly rather simple, is truly exquisite.
Even though many classical CD enthusiasts may have a few of these recordings in their collections already, this set is well worth the price, displaying eloquence and precision all the way through.Centenary Collection 4: 1958-1967 Overview

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Flute & Harp Review

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Flute & Harp Review"Introduction and variations for flute and harp", by Rossini is a brief marvel in this incomparable crown for Rampal and Laskine. What it lack in length, it more than compensates by demonstrating how flawless a complex duet can be. Throughout the album, Rampal and Lakine perform at their peak, yet never grandstand. Their duet quality is seamless, regardless of the composer or complexity of the piece. When listening to this again for reviewing, I was awestruck, by the balanced mixing. No one instrument is given precedence, resulting in a most realistic album experience. I could only rate this a mere 5 Stars, but you will see a Nebula when reaching the jewel which ends this crown. Finishing with seventeen minutes of Debussy's "Sonata for flute, harp and viola", positively mesmerises. The performances are truly flawless in every piece, moreover, this recording is the difference between "performing" and the creatiion of art through sound.Flute & Harp Overview

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Albéniz: Echoes of Spain Review

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Albéniz: Echoes of Spain ReviewThere is no better collection of Albeniz on guitar, and no better John Williams recording. Once you have heard his version of 'Granada,' no other recording in the usual key of E will suffice. He actually tuned his 5th string up from A to B -- suicide on your A string! -- to get a more resonate sound in his transcription. Williams's extrovert style works wonders with 'Cordoba' and 'Sevilla' as well. Given this classic mix of an extrovert guitarist and an extrovert composer, the closing rendition of the "Tango is D" is all the more magnificent. Never was Albeniz more reflective; never was Williams more reflective. Arguably the best guitar recording ever dedicated to a single composer, though a series of recent and brilliant recordings by David Russell (of Torroba, Barrios, etc.) make it hard to make such a blanket statement. Anyway: buy this recording!!!!!!!!!
.Albéniz: Echoes of Spain Overview

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Marian Anderson: Brahms Alto Rhapsody & Lieder Review

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Marian Anderson: Brahms Alto Rhapsody & Lieder ReviewHere's a sometimes scratchy and wiry reminder of the artistry of American Marian Anderson (1897-1993), an American contralto about whom Arturo Toscanini said she had a voice heard once in a hundred years.
Anderson, a native Philadelphian, debuted with the New York Philharmonic in 1925 and scored an immediate success. She first sang at Carnegie Hall in 1928 and her reputation, like Paul Robeson's in the same period,was furthered by European tours where she did not encounter the racial prejudices she endured at home.
Andreson became such a fixture in American society a commemorative postage stamp was created to honor her memory in 2005 as part of the Black Heritage series. She is also pictured on the $5,000 Savings Bond.
Anderson works here from sometimes clear, sometimes scratchy 78 productions of Brahms' Alto Rhapsody, songs & opera excerpts by Brahms, St. Saens and Sibelius, and some American classics, sometimes abetted by Ormandy and the Philadelphia Orchestra. Elsewhere, Kosti Vehanen accomapnies the contralto in this memento, among other things repeating their famous duet at Washington's Lincoln Memorial in 1939. Vehanen worked with her in Europe to master some of the Scandanavian repertory included in this recording.
The gem of this collection is the Anderson-Ormandy collaboration in Brahms' Alto Rhapsody. The pair perfectly reflect the composer's heartbreak when he composed it as a wedding gift for Robert Schumann's daughter. Brahms silently longed for the girl and portrayed his unstated love through the music, which first reflects his melancholy and later seems to suggest a certain emotional accommodation against the forces at work.
Anderson and Ormandy are flawless in a good transfer from 1937. The singer perfectly captures the moment in each stanza and the male chorus comments on the composer's state of mind with equal potence. This is musicmaking on the highest plane of technical and emotional achievement. After this, the remaining songs & excerpts, a varied group, never display the same intensity of emotion. The concert is polished off with a couple American spirituals, repertory where the singer is most at home.
This memento will suit anyone that wants to better understand what made Marian Anderson an American icon in classical music and song during the Depression, before the war, and in the years afterward. Younger listeners used to being accommodated by DDD and SACD should make mental allowance for the sound, which is sometimes below any standard you may be used to.

Marian Anderson: Brahms Alto Rhapsody & Lieder Overview

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The Essential Falla Review

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The Essential Falla Review"The Essential Falla" is just that, including all of Manuel de Falla's major works (performed by the likes of Dutoit, Fruhbeck de Burgos and de Larrocha) on these two CDs. Highlights are excellent performances of Falla's three most famous works: "El amor brujo", "Noches en los jardines de Espana" and "El Sombrero de tres picos". The rest of the included music is perhaps less well-know but no less enjoyable. Perhaps the only quibble I have with this CD is the enclusion of the Harpsicord Concerto. While it is an enjoyable piece, it is very much a Stravinsky-esque neo-classical work, and it seems somewhat out of place amongst Falla's other, very Spanish, works. Nonetheless, if you enjoy 20th Century Spanish music, this CD is indeed an essential.The Essential Falla Overview

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Peter Fletcher Plays Erik Satie Review

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Peter Fletcher Plays Erik Satie ReviewErik Satie (1865 - 1925) remains an enigma to the classical music world. His compositions are so apparently transparent and minimalist that he simply defied classification for years. Highly regarded among the brilliant minds of his time, composers such as Debussy, Ravel, Stravinsky, Milhaud, his purity of impulse of creation, reducing the excesses of Romanticism to what would open the way toward modern music, is still a point of revelation.
Peter Fletcher is not only a brilliant musician, but he is also a musicologist whose absorption in the music that he elects to perform demonstrates sensitivity to the composer's impulses that allows him to enter the difficult world of transcription. This generous recording of the music of Erik Satie includes works that are indeed standard repertoire (the 'Gymnopedies' and 'Gnossiennes' are often performed by pianists and by orchestras in the famous transcriptions by Debussy, as well as the rarely heard works such as 'Sports et Divertissements' that Fletcher performs impeccably along with the French poetry beautifully recited by an uncredited female reader ('Tiny Thoughts for Children'). And after an array of jewels Fletcher ends this recital with the lovely waltz 'Je te veux'. Ah, Paris!
The recorded sound is warm in presence with excellent engineering. But in the end it is Fletcher's suave tone and quiet surface (no fingers on strings sounds here!) that allows us to simply listen to the gentle genius of Satie's melodies. No higher praise could be paid a performer. Highly recommended,
Grady Harp, January 06Peter Fletcher Plays Erik Satie Overview

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Rodrigo: Concerto Madrigal; Concerto Andaluz Review

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Rodrigo: Concerto Madrigal; Concerto Andaluz ReviewRodrigo is probably best know for his Concerto de Aranjuez for solo guitar (which Pepe Romero has provided the definitive recording of), but he also wrote the magnificent Concerto Andaluz for four guitars and Concerto Madrigal for two guitars. The Madrigal is performed wonderfully by Pepe and Celin Romero. They share a strong musical bond and seem to feed musically off of each other throughout the concerto. The Andaluz is here in its definitive recording. It was recorded and premiered by the Romeros in the late 60's but Rodrigo later added a wonderful cadenza section to the second movement which adds to its great emotional and musical impact. All in all, a great CD that I highly recommend.Rodrigo: Concerto Madrigal; Concerto Andaluz Overview

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Symphony 46: To the Green Mountains, Symphony No. 39: Symphony for Guitar and Orchestra, Korean Folk Song Review

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Symphony 46: To the Green Mountains, Symphony No. 39: Symphony for Guitar and Orchestra, Korean Folk Song ReviewI've known Michael Long since 1985 and since his release of this recording back in the early 90's, he has established himself as a first-rate guitarist. This recording is a sumptuously delicious escape into the post-impressionist orchestral writings of Hovhaness. While the performance at times seems excessively subdued - almost to the point as if the musicians have stopped playing - you are nonetheless transported to an ethereal musical chasms charmed by Long's phrasing and dedication to rhythmical nuances.This is a first-rate recording! Let's hear more!Symphony 46: To the Green Mountains, Symphony No. 39: Symphony for Guitar and Orchestra, Korean Folk Song Overview

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Rodrigo: Complete Concertos for Guitar and Harp Review

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Rodrigo: Complete Concertos for Guitar and Harp ReviewThese are probably the best recordings of the Rodrigo guitar concertos available. There is noticeable analog tape hiss in the background but this is a small price to pay for these excellent, classic recordings. The technical precision of Pepe Romero on the guitar along with the excellent performance of the Academy of St. Martin in the Fields and the equally good sound engineering is a rare treat. Rodrigo and the Romeros seem meant to go together so this CD set is a must have. It's unfortunate that an equally good recording of the Concierto Serenata is not included. The performance on the harp is disappointing. I am puzzled why Catherine Michel breaks into chords where Rodrigo wrote arpeggios. If this is artistic license it is a poor choice. The sound of the harp often fades behind the sound of the orchestra too. The entire recording seems poorly engineered. The orchestra sounds distant, as if it is poorly mixed or too few microphones were used. In the absence of a better performance, the Concierto Serenata would have best been left off the disc.Rodrigo: Complete Concertos for Guitar and Harp Overview

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