It’s a shame that Végh never recorded a complete Schubert symphony cycle: he was virtually unmatched as a conductor of classical period music. No one knew better how to float a melody (to hear his way with the opening of the Fifth Symphony check out my review of the dreadful Minkowski cycle). It was a combination of characterful phrasing, perfect balances, and (crucially) players encouraged to get involved in the interpretation and characterize their individual parts. In other words, these performances are true collaborations.
In many ways, the extravagance of this package equates the profligacy of the prog rock combo themselves. After all, how else but on a triple-LP collection could one hope to re-create (and/or contain) an adequate sampling of Yes' live presentation? Especially since their tunes typically clocked in in excess of ten minutes…
I've been listening to Brandenburgs non-stop for the past three weeks, for some reason. I love the Ristenpart recording, and I like the Britten version even better in some ways. This Baumgartner recording has a certain elegance. The pace is a tad slower and the ambience a bit thicker. The second movement of the first Brandenburg hits that emotional place a bit better than in the Britten version. I would be hard pressed to say which I prefer overall, but on first listening I sure loved this recording.
These performances of three early and one "late" symphony of Schubert are both bracing and youthfully brisk, done on tart "period" instruments of Schubert's time. This produces what Schubert would have heard and expected to hear. Just listening to each performance convinces that these are "right." Sound is good. Warm and focused.(amazon.com)
I’ve long overlooked Pepper’s later work, there is so much good stuff in his prime, but when I stumbled on this lovely three box set recorded in 1977, and with one of my recent favourite bassists, George Mraz, and Mr Elvin Jones on drums, a second opinion was long overdue. Recorded over three nights before a relaxed appreciative audience (no jackass stomping hooting or whistling, – apologies to those who welcome the more demonstrative audience ) this live set automatically has you turning the lights down low and joining the audience, a decanter positioned strategically within arms reach.
In a way, Brown was the Wynton Marsalis of his time; like Marsalis, Brown came on the jazz scene following a period of significant stylistic change. However, unlike Marsalis (who rejected the free jazz made famous by the generation just preceding his own), Brown chose to embrace the innovations of his immediate elders. In the process, Brown became one of the great post-Gillespie trumpeters, developing a voice that spoke the language of bebop with a distinct, personal inflection. In September 1953 – having just recorded his first dates as a leader for Blue Note – Brown went to Europe with Lionel Hampton.
Anyone's Daughter was a late-'70s, early-'80s symphonic prog rock band heavily influenced by Genesis as well as by German bands such as Elroy and Grobschnitt. After breaking up in the mid-'80s, the group reformed in 2000. Consisting of Uwe Karpa (guitars), Matthias Ulmer (keyboards, vocals), Harald Bareth (bass, lead vocals), and Kono Konopik (drums), Anyone's Daughter was formed in 1978. Their first record, Adonis (1979), featured English vocals, epic tracks with reflective and aggressive moments, and a prominent keyboard sound with heavy use of Moogs in particular. Anyone's Daughter (1980) found the band moving towards shorter material, but 1981's Piktors Verwandlungen, on which the band first sang in German, was their most experimental work…
Released between 1991 and 2005, the selections in The Warner Recordings encapsulate the period when Pierre-Laurent Aimard was signed to Erato and Teldec, performing mostly 20th-century fare and some music from the 19th century. Aimard is famous for his contributions to the modernist catalog, and his performances of works by Pierre Boulez, Elliott Carter, György Ligeti, and Olivier Messiaen are regarded as scrupulously executed and authoritatively interpreted. Aimard also recorded early 20th century pieces by Charles Ives, Alban Berg, Maurice Ravel, and Claude Debussy, as well as Romantic masterpieces of Beethoven and Liszt. A pianist's pianist, Aimard is well-rounded in his repertoire and a true master of keyboard technique, yet he has received considerably less fanfare than many of his flashier colleagues. Yet connoisseurs of piano recordings know that Aimard is indispensible, especially for his special feeling for French music, and his recordings are important documents that serious students and newcomers should appreciate.
This double album consists of Tchaikovsky performances that have been issued in several different forms. The Symphony No. 5 in E minor, Op. 64 was recorded in 2012, when the Arctic Philharmonic Orchestra, a joint project of the cities of Tromsø and Bodø, was still called the Nordic Philharmonic; from a marketing point of view, with graphics showing the orchestra members, instruments and all, standing in the snow, the name change was a good one.