There's little competition for the best recordings of Bruch's symphonies, but what competition there is is stiff, very, very stiff. On one side, there are Kurt Masur's opulent accounts with the Leipzig Gewandhaus Orchester from the late '80s, on the other, there are James Conlon's urgent readings with the Gurzenich-Orchester Kölner Philharmoniker from the mid-'90s. And yet Michael Halász and the Staatskapelle Weimar have found a way to top them both by delivering performances of surpassing warmth and beauty that still have unstoppable drive and momentum in this 2008 recording of Bruch's First and Second symphonies. One is reminded here and there of the composer of the famous violin concertos, but for the most part, Halász turns in performances of such conviction and authority that it makes one think Bruch's reputation as a symphonist has been seriously underestimated for the past century and a half. Captured in clear, colorful digital sound, this disc deserves to be heard by all fans of 19th century German symphonic music.
In an age of artistic conformity, Jan Dismas Zelenka (1679-1745) had a refreshingly individual voice. In his own time he was described as 'a reserved, bigoted Catholic, but also a respectable, quiet, unassuming man, deserving of the greatest respect'. His music earned Bach's respect for its serious contrapuntal procedures; today's listeners, though, are more immediately charmed by Zelenka's quirky turns of phrase and flashes of original genius. There are plenty of these in the Passion oratorio Gesù al Calvario (1735), one of the composer's three late oratorios. This is an essentially contemplative oratorio. All the 'action' is concentrated into a single scene in which the three Marys and St John are waiting on the Mount of Calvary for Jesus after he has been sentenced to death. The crucifixion itself is not depicted, just the emotional reactions to it.
One of the architects of bebop in the 1940s, Max Roach continued to lead innovative and exemplary jazz groups into the 21st century. He cut his first discs with Coleman Hawkins in 1943, and soon afterwards worked with Dizzy Gillespie both on 52nd Street and on record.
Grammy-nominated artist Max Emanuel Cencic presents Nicola Porpora: Opera Arias, to commemorate the 250th anniversary of Porpora’s death.
Max Ionata celebrates the decennial one of career with new egg whites from leader, for l' exactly entitled Ten, to the guide of a quartet completed from musicians of absolute levatura, like Luca Mannutza, Nicholas Angelucci, Nicholas Muresu and l' Fabrizio host Boxwood. L' egg whites, dedicated to the memory of Low Gianni, are made up of eight pieces - all originate them except " Who Can the Turn To" signed Bricusse-Newley - that they cover the customary ones, but always fascinose, lines of the newones, characterized dall' alternation of the single ones, great cohesion between the interpreters and swing to sell.
Praise 4 Joe: tribute to Joe Henderson. Luca Mannutza and Max Ionata retrace the musical story of the great American saxophonist, who died in 2001, in the dry form of the duo, through the famous compositions of Joe Henderson and the mature and personal interpretation of the two musicians. The dimension of the duo leads to reasoning on the structures of the pieces and on the absences: giving the right place to all the elements that make up the writing and the execution. Interpreting in duo the songbook of a composer, of an important musician, becomes a further challenge, in making ends meet the needs of a concert, a recording, a performance.
Hermann Max keeps on impressing me with his interpretations (I've heard his Bach Matthew passion and liked it very much). In this case he brings together a reverent but emotionally filled production of just a few of the many, many, many Telemann choral pieces that have been neglected over the years. Special praise goes to the counter-tenor Cordier, the tenor Wilfried Jochens, and the two basses Wimmer and Shreckenberg. But really, all the soloists are exceptional. The choir is wonderful. I've never heard such good sopranos, except for maybe Hengelbrock's women. Max really pushes the envelope on a couple pieces, especially one of the bass solos that he pushes along so fast that you can hardly hear the words. Amazingly, the interpretation works for the song and the energy is like nothing I've heard. The orchestra is as professional as any period ensemble I've heard. For those who like to follow Suzuki's Bach cycle, they might be interested in knowing that Achira Tachikawa, the 1st counter-tenor used by Suzuki in his cycle, is one of the four altos in the choir (this recording was made before Suzuki's first recording was). This is my first experience with Telemann, so I can't give a fair comparison to Bach, but I can say that I loved this cd and believe anyone who loves baroque Lutheran sacred music should pick this up as a wonderful find. I can't believe that nobody else has reviewed this yet! I am happy to be the first. Five enthusiastic stars!