„… the release of a special audiophile treat. It is not without reason that French critics have just awarded the choir the ‘Diapason d’or’ prize.“ (K Int’l)
Genius can be defined in a number of ways. One such definition is to be the right person in the right place at the right time; another is to have the capacity to move your audience to tears. Monteverdi meets both these criteria with flying colours. His professed ambition was to "move the passions of the soul," thereby drawing tears from his audience, and he achieved this with greater efficacy than any of his contemporaries. The use of the word "madrigal" on the title pages of his eight collections (and a posthumous Ninth Book from 1651) is therefore deceptive, concealing radical stylistic changes which brilliantly reflect the turbulent, exciting times in which he lived.
Heitor Villa-Lobos is without a doubt Brazil's most famous composer and one of the great creative personalities of the twentieth century. His oeuvre is gigantic in its dimensions and perhaps can be compared only to that of Darius Milhaud, who, by the way, was a close friend of his. In any case, Villa-Lobos was the first to introduce the music of Latin America to the world's concert halls, and influences from this music do indeed abound in his oeuvre. cpo is now presenting the first complete recording of his colossal symphonic work complex in a boxed set of seven CDs at a special low price! The SWR Radio Symphony Orchestra under the American star conductor Carl St. Clair has taken on this enormous task, and the result can only be described as a bravura achievement. You can look forward to an orchestral tour de force operating on the highest level!
Milhaud’s six little symphonies are brief, lighthearted experiments in sound combinations, and they are also very charming. These performances are delightful … precise, spirited, brilliant …
I don’t see how anyone could go wrong with these performances, which MDG captures in bright, characterful sound.
Deutsche Grammophon has another excellent Schumann Concerto in its catalog, the Pollini/Abbado, with the Berlin Philharmonic, coupled with a good but not great Schoenberg Piano Concerto. Not surprisingly, Pollini is more muscular and evenly balanced in the Schumann, even if he is, as usual, a bit straitlaced. Pires is always the sensitive and probing artist, or so it seems. Here, she is alert from the opening descending chords to the expressive potential in every bar. She puts much more thinking and feeling in her interpretation than Pollini and most others I've heard.