Rameau had the somewhat dubious fortune (in his own time, at least) to be such a powerful creative personality in the field of orchestral music that the quality of his dances sometimes overwhelms the operatic context in which he places them. From our point of view today, this hardly seems a liability, especially when it permits the performance of marvelous orchestral suites such as this from his various theatrical productions. Les Indes galantes (1735) contains some wonderful dance music, scored with the composer's usual imaginative flair.
Philippe Herreweghe directs these Schumann concertos with severity and urgency, with an impact that’s particularly strong in the opening movement of the A minor piano concerto. The soloist is Andreas Staier, who plays a mid-19th century J.B. Streicher instrument. But it’s not just the use of period instruments (this is certainly the kind of piano Schumann would have known) that proves so fascinating here; rather, it’s the minutely detailed way in which soloist and conductor interact during this performance. Note, for instance, how astutely Herreweghe’s wind players articulate the sorrowful first subject group after the soloist’s opening salvo, a passage that sets the tone for all that follows.
Mozart's Requeim is another masterpiece where he unleashes his overwhelming genius, which even his jealous contemporaries could not not find words for other than "divine". At the same time, it is also a subject of great controversy as to how the unfinished portions should have been completed (serious listeners should try to learn more about how Sussmayr completed the work and how his work is criticized). Whatever the case, this is unquestionably one of the greatest works of art ever created by man….
Conductor Philippe Herreweghe returns to the helm of the Royal Flemish Philharmonic for another set of Beethoven symphonies on the PentaTone label, this time the First and Third. Again presented as a multi-channel SACD hybrid disc, PentaTone's sound is clean and detailed without too much digital sterility. Unlike the album that included the Fifth Symphony and was fraught with many rhythmic peculiarities, Herreweghe's reading of the First and Third symphonies seems diligently respectful to every nuance of the score.
…Campra was one of the leading French opera composers in the period between Jean-Baptiste Lully and Jean-Philippe Rameau. He wrote several tragédies en musique, but his chief claim to fame is as the creator of a new genre, opéra-ballet. He also wrote three books of cantatas as well as religious music, including a requiem…
This is a rather brisk reading of Brahms' masterpiece, the most ambitious work in his output, one of the greatest compositions of its type. When I listen to this piece, I often sit numb, in awe of its profound beauty, of its emotional range and intellectual depth. I hadn't heard it for some time, so this recording occasioned a most welcome reacquaintance. Though Herreweghe's tempos often pushed the music to its limits here (except for the first section), the performance never actually sounded fast, or at least not offensively fast. In fact, it challenges my previous favorite, the Levine/RCA.
The Collegium Vocale Gent and Orchestre des Champs-Elysées interpret Beethoven's Missa Solemnis for PHI. This major work of the sacred repertoire, high on the list alongside Bach's Mass in B minor and the Mozart Requiem, is Beethoven's longest work and assuredly the one that demanded the most work. The composer even considered the Mass his finest work.
There is no doubt that the forces Herrweghe has employed here are some of the best in the 'Passion' business. Aside from this, however, one cannot eliminate the fact that there are several other notable recordings of this work that stand on their own merit, which for the most part are as 'good' or as 'bad' as this one. The three that I own which includes this one(all reviewed by me on Customer reviews) are: Gardiner's 1988 recording with the outstanding Monteverdi Choir that sparkles and shines as only they can; the 1994 Cleobury King's College Choir recording, whose soloists are superb etc. etc. etc. So it all really amounts to what YOU hear and what turns YOU on!
This latest version of the so-called Gm-on Par/ito (the title isn't Mozart's) enters a very competitive field. These French players do not have a specially smooth ensemble blend (notably when the horns offer a brazen forte), but they are generally well tuned and individually they have a tight touch; there is some very attractive if rather understated solo work, from the first oboe and the first clarinet, and the trios of the minuets, for example, are often particularly happy. ..