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Classical Music
Stravinsky
| The 25 Thunderous Classics
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| Stravinsky: The Rite of Spring; The Firebird Suite (1919) / Prokofiev: Scythian Suite, Op. 20
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Considering that Stravinsky's Rite of Spring has been around for nearly a century, it's surprising that even today, conductors literally get lost while attempting to beat through it--and that goes for some of the biggest names. Difficult as the piece is, conductors have no excuse for major lapses, now that this recording is available for study. Bernstein not only keeps complete control of the complex rhythms and constantly-switching meters throughout the work but he also interprets it with fire and sweep and emotional versatility. The Firebird is equally breathtaking. It's priceless, too, for the fabulous horn solo played by the New York Philharmonic's legendary James Chambers. --Gwendolyn Freed
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| Stravinsky Conducts Stravinsky: Petrushka / Le Sacre du Printemps (The Rite of Spring)
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Whatever the limitations of Stravinsky's baton technique, no one else on disc conjures the same bustling excitement at the outset of Petrouchka. Overlapping, polyrhythmic textures in Petrouchka and in Le Sacre du Printemps come off with Mozartian lucidity, Mendelssonian lightness, and, well, Stravinsky-esque rhythmic exactitude (notwithstanding a few hesitant entrances). The clarity partly stems from the composer's use of his leaner revised scores, helped by close-up, analytical mike work by CBS. There are, of course, slicker, more sonically opulent versions of these 20th century landmarks. And then there are Stravinsky's. --Jed Distler
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| A to Z of Classical Music (3rd Extended Edition)
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A-Z of Classical Music is a remarkable 932-page, illustrated book, detailing the lives of all the great composers as well as many less known, but equally fascinating, musical masters. Like the Naxos range of recordings itself, A-Z of Classical Music is a rich source of inspiration for anyone either just embarking on a lifetime of musical enjoyment or for whom classical music has long been a way of life. Included within is an extensive glossary of musical terms plus a unique guide to classical music used in acclaimed films. Two-and-a-half hours of the finest music from across the centuries are contained on the accompanying CDs.
Is it a two-CD set with a particularly thick booklet, or a 562-page book with a compilation album attached? Either way, the unpretentious text by Keith Anderson offers an introduction to the lives and works of dozens of composers, together with recommended recordings from the Naxos and Marco Polo catalogs. Anderson includes a useful 59-page glossary of musical terms and an extensive listing of classical pieces used in films. The odd thing about the 36 extracts and complete pieces on the CDs is that they do not form an A-to-Z at all. Rather, they are arranged chronologically, from 1,000-year-old Gregorian chant to the opening movement of contemporary composer Philip Glass's Violin Concerto. Between these two points is the early music of Palestrina and Byrd; the Baroque glories of Vivaldi and Bach; the 19th-century Romantic masters, from Beethoven to Tchaikovsky; and such 20th-century greats as Rachmaninov and Stravinsky. Opera, song, and chamber music are barely represented, but only so much can fit into 151 minutes. Essentially a deluxe sampler of the vast Naxos catalogue, the discs offer a good introduction to some of the most famous and melodic music ever composed, while the book will be very useful to newcomers to the potentially confusing world of classical music. --Gary S. Dalkin
Features:
- Record Label: Naxos
- Catalog#: 8555319-20F
- Year Of Release: 2001
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| Stravinsky: Le Sacre du printemps (Rite of Spring) / The Firebird / Jeu de cartes / Petrouchka / Pulcinella
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2CD Lso/Abbado
This is an excellent Stravinsky collection on all counts. Claudio Abbado's recordings with the London Symphony Orchestra represent the high-water mark of his career, and DG captured the partnership in generally fine sound. This recording of the complete Pulcinella, with the songs included, set an entirely new standard for the work, and its excellence has worn very well in the couple of decades since its initial release. The performance of Jeu de Cartes (Card Game) also should win many new friends for this entertaining late work. As to the Big Three ballets, all of them were among the most recommendable versions when they first came out, and they still are. --David Hurwitz
Features:
- Record Label: Deutsche Grammophon
- Country Of Release: EU
- Year Of Release: 1997
- Notes: Lso/Abbado
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| Knoxville Summer of 1915
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CD St.Luke'S Orch./D.Zinman//Works:Barber/Menotti/Harbison
Barber's Knoxville, Summer of 1915 is a setting of a lovely chunk of prose text by James Agee describing an evening from his childhood. An accomplished singer himself, Barber's vocal writing is expert, and this work must rank as one of the finest examples of the art of word-setting in any language. Barber perfectly captures the conversational quality of the text, while at the same time clothing the words in an atmosphere of gentle nostalgia. It's a masterpiece that Dawn Upshaw sings with keen insight and lovely tone. The remainder of the program is creatively chosen as well, making this one of the finest vocal recitals available by an American singer. --David Hurwitz
Features:
- Record Label: Warner Classics
- Catalog#: 7559791872
- Country Of Release: NLD
- Year Of Release: 2011
- Notes: St.Luke'S Orch./D.Zinman//Works:Barber/Menotti/Harbison
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| Scheherazade
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This is a classic recording of these two works, led with grand authority by Fritz Reiner. The Chicago's brass and wind section play gloriously throughout, and the final movement of Scheherazade (we learn from the original producer [1960] in an accompanying essay) was recorded in one take--an almost unheard-of feat. This fast movement is taken at breakneck speed, with no loss of clarity or power, with the strings in the hands of magicians. Stravinsky's Nightingale has never sounded so exotic, so bristling over with color, since this 1956(!) recording under Reiner, and the wonderful surprise with this new release of old material is the revamped sound: the original "Living Stereo" was a fantastic breakthrough in recording, and this new SACD format has returned the spatial relationships to something so "real" that it comes as close as I've ever heard to a true concert hall experience. Simply glorious. --Robert Levine
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| Pierre Boulez Edition - Stravinsky: Rite Of Spring, Petrouchka / New York PO, Cleveland Orchestra
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With the New York Philharmonic on its best behavior, Pierre Boulez uncorks a reading of Petrushka that is vibrant, energetic, and full-voiced, with razor-sharp rhythm and ensemble. The solos, played by the likes of Julius Baker (flute) and Paul Jacobs (piano), have never been more effectively done. The recording, with the sizzling sonics typical of CBS's multitrack heyday, offers an X-ray of the score; the remastering is excellent. Pierre Boulez's interpretation of The Rite of Spring is perhaps more French than Russian, but it's impressive nonetheless. While it emphasizes structure, clarity, and texture over raw energy and visceral excitement, and always keeps something in reserve, it is tellingly potent in the "Glorification of the Chosen One" and the "Sacrificial Dance." In this account Boulez and the Cleveland Orchestra established a new standard for ensemble, virtuosity, and idiomatic execution of the music, and their recording remains one of the great achievements of the stereo era. --Ted Libbey
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| Brahms / Stravinsky: Violin Concertos
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Hilary Hahn is not only one of the best, but one of the most interesting young violinists before the public. Even as a teenager, she seemed uninterested in displaying her formidable technical mastery, concentrating instead on the music with a seriousness far beyond her years. Now 21, she has become a thoughtful, knowledgeable musician and an arresting, involved performer. Both qualities are reflected in this recording, beginning with the choice of the two concertos, which are entirely dissimilar--except for being in the same key--yet make an excellent pair, and extending to the program notes, which blend personal reminiscence and scholarly research. As for the playing, it is extraordinary. Technical difficulties do not exist. Even the most daunting passages, like the infamous G-major section in the Finale of the Brahms and the wild running-around in the Stravinsky, are dispatched with perfect clarity and consummate, effortless ease. Hahn's tone is intense, focused, variable, and of pristine purity in all registers, at all dynamic levels. She never loses her sense of meter or direction; her phrases have shape and elegance; and she needs no external effects. Her playing is austere and controlled, with an inward, noble expressiveness; she can change tone and mood on a dime. In the Brahms, the high soaring passages are ecstatic, the Finale is quite fast and very strict; only the Joachim cadenza is almost too free. Altogether, it's a most impressive achievement. --Edith Eisler
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| Flute for Relaxation
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