"…Mielck composed all his works in the short span of four years. His catalogue includes a large number of works in the field of chamber music, including a string quintet and a string quartet. He also composed a symphony (1897), two overtures, a concert piece for piano and orchestra as well as one for violin and orchestra, the Finnish Suite, and two major vocal works in the German language…"
There is tough competition for the best recording of 'Macbeth', but for me the combination of Abbado's explosive and rhythmically taut way with the score and Shirley Verrett's tour de force as Lady Macbeth give this one the edge.
- Amazon By Julian Grant -
Symphony No.2 (Op.16, 1886) was composed by A. Glazunov under the influence of symphonic works by A. Borodin. E. Svetlanov characterizes the symphony in the following way: „…heroic scope, undoubtedly coming from Borodin, will be later revealed in a remarkable poem "Stenka Razin". One is tempted to call Symphony No. 2 "Volzhskaya'".
This 53-CD set is more than the sum of its parts. While not all the performances and recordings are top-notch, the overall quality is very high and as a historical overview of a label known for its sonic as well as musical merits, it's full of treasures. The Mercury sound at its best is vivid and still sounds remarkable and many of these recordings - such as the marches, show tunes and orchestral showpieces conducted by Frederic Fennell - demonstrate this amply. But it's not all lollipops by any means.
This Collector's Edition presents a challenge to reviewers. There's so much of it. I could never do it any sort of justice if I approached this as if reviewing a smaller set. This, after all, comprises 37 CDs. As it is all I have been able to do is to sample, reminisce about known recordings and write around the subject. With this caveat stated, let's make a start.
There are three principal strands of Britten recordings. These are broadly tied into and defined by record companies, artists and eras. First we have Britten recording Britten for Decca.
Alexander Arutiunian was born on 2 September 1920 in Yerevan, where he received his education (he later completed his training under Genrikh Litinsky in Moscow in the period 1946–48). During the fifty years of his composing career Arutiunian has written a large number of instrumental concertos, rhapsodies, poems for piano, violin and cello, flute, oboe, female voice and orchestra, and also the first Armenian concertos for brass instruments: the trumpet, horn, trombone and tuba. As a result of his interest in brass instruments, he wrote his Armenian Sketches quintet that became a repertory piece. His vocal and orchestral works has strengthened the international acclaim accorded to him. Arutiunian holds titles including Professor of Composition of the Conservatoire of Yerevan, People’s Artist of 1 ashug: a Caucasian folk singer and poet
© 1997 Svetlana Sarkisyan
Richard Wagner, the most controversial figure the arts have ever seen, whose music can move and overwhelm like no other, continues to divide the spirits even today. The year 2013, when we celebrate the 200th anniversary of his birth, is inevitably going to be devoted to the man and his work.
The Complete Wagner Operas offers the best of Deutsche Grammophon, two operas each from Decca and the BBC and EMIs Rienzi.
Paavo Järvi’s remarkably fresh-sounding Tchaikovsky Pathétique emphasizes the music’s lyricism and singing line, with flowing tempos and unforced, natural phrasing throughout. Accordingly the strings predominate in this performance, and the Cincinnati players make beautiful sounds, especially in the outer movements. Järvi treats the first movement’s “big tune” as a love song that grows more impassioned with each appearance. On the other hand he leads a quite angry development section, with biting brass ratcheting up the tension. The second movement goes at a lively, dancing pace, while Järvi’s quick-stepping third-movement march generates real excitement in its second-half, with brilliant playing by the Cincinnati brass.