The Music Pages | July 2009


	Cat. No.: 480 0391 Barcode: 0028948003914 Label: Decca 2CD Release Date: July			Ernest Ansermet \| BEETHOVEN: Symphonies Nos. 1-4; Coriolan Overture ARTISTS L’Orchestre de la Suisse Romande Ernest Ansermet TRACK LISTING BEETHOVEN Symphonies Nos. 1-4 Coriolan Overture In the latest instalment of the Decca Ansermet Legacy, Decca Eloquence introduces the Swiss conductor’s recordings of Beethoven – his symphony cycle, overtures and the rare Weingartner arrangement of the Grosse Fuge. They are issued as three 2CD sets. François Hudry, the supreme commentator on the art of Ernest Ansermet writes, “the new vision he brought to the Beethoven symphonies was astonishing. Perhaps he was too early in what he did, in his respect for the text and in his weeding out of all the Romantic touches and subjectivity which held sway at the time. Without recourse to so-called ‘authentic’ instruments, Ansermet was trying to return to the composer’s intentions, as given in the score, avoiding the imposition of any responses of his own on the audience.” In Beethoven, Ansermet heard not just a titan but a romantic, sensual man, not just a thunderer but composer of sensitivity and subtlety. Even the mighty ‘Eroica’ was allowed to a reveal a softer, perhaps even a more feminine aspect. Whether he was conducting Beethoven or Ravel, Ansermet had a fine ear for instrumental colour, and a talent for keeping rhythms well-sprung and flexible. At times, Ansermet’s Beethoven even seems to anticipate the ‘authentic’ Beethoven performances that became popular in the 1990s, although Ansermet got his results without having to rely on the sometimes unpredictable behaviour of period instruments. "[Ansermet] interprets Beethoven 4 with grandeur and authority and perfect spontaneity… Ansermet's reading of Coriolan is fine… The attack and chording, and the shaping of the overture otherwise, are all impressive, and the vividness of the drums is particularly striking." Gramophone RETURN TO THE TOP

	Cat. No.: 480 0394 Barcode: 0028948003945 Label: Decca 2CD Release Date: July			Ernest Ansermet \| BEETHOVEN: Symphonies Nos. 5-8; Egmont Overture ARTISTS L’Orchestre de la Suisse Romande Ernest Ansermet TRACK LISTING BEETHOVEN Symphonies Nos. 5-8 Egmont Overture In the latest instalment of the Decca Ansermet Legacy, Decca Eloquence introduces the Swiss conductor’s recordings of Beethoven – his symphony cycle, overtures and the rare Weingartner arrangement of the Grosse Fuge. They are issued as three 2CD sets. François Hudry, the supreme commentator on the art of Ernest Ansermet writes, “the new vision he brought to the Beethoven symphonies was astonishing. Perhaps he was too early in what he did, in his respect for the text and in his weeding out of all the Romantic touches and subjectivity which held sway at the time. Without recourse to so-called ‘authentic’ instruments, Ansermet was trying to return to the composer’s intentions, as given in the score, avoiding the imposition of any responses of his own on the audience.” Beethoven’s Fifth Symphony, so familiar today that one risks taking it for granted, sounds almost as if it were composed in one sitting. The composer is supposed to have described the famous four notes that open the symphony as ‘fate knocking at the door’. Even though they have been endlessly appropriated and parodied by popular culture, their power and fascination remain undiminished after more than two centuries. Even twenty years after its premiere, when the symphony was performed in Paris, French composer Jean-François Le Sueur claimed to be so disoriented that he could not find his head, when he tried to put on his hat! Ansermet’s ‘Pastoral’ seems to depict the feelings of a sympathetic visitor to the country, not the experiences of an actual country-dweller. Warm, hazy textures and an unerring sense of line are its hallmarks and in the finale he lets the melody soar, freely and lightly, into the evening sky. His Seventh is less of an orgiastic romp than in other hands and Ansermet conducts it as if it were an extension of the ‘Pastoral’. The orchestral sonorities are given mass, but inner voices are not obscured. Ansermet’s reading of the Eighth is as monumental as that of the “bigger” trio of symphonies preceding it; in no way is it to be treated as a “lesser” work than its bedfellows. RETURN TO THE TOP

	Cat. No.: 480 0397 Barcode: 0028948003976 Label: Decca 2CD Release Date: July			Ernest Ansermet BEETHOVEN: Symphony No. 9; Overtures - Prometheus, Fidelio, Leonore 2 & 3; Grosse Fuge ARTISTS Joan Sutherland, soprano Norma Procter, contralto Anton Dermota, tenor Arnold Van Mill, bass *ARTISTS* L’Orchestre de la Suisse Romande Ernest Ansermet TRACK LISTING BEETHOVEN Symphony No. 9 Overtures - Prometheus, Fidelio, Leonore 2 & 3 Grosse Fuge In the latest instalment of the Decca Ansermet Legacy, Decca Eloquence introduces the Swiss conductor’s recordings of Beethoven – his symphony cycle, overtures and the rare Weingartner arrangement of the Grosse Fuge. They are issued as three 2CD sets. François Hudry, the supreme commentator on the art of Ernest Ansermet writes, “the new vision he brought to the Beethoven symphonies was astonishing. Perhaps he was too early in what he did, in his respect for the text and in his weeding out of all the Romantic touches and subjectivity which held sway at the time. Without recourse to so-called ‘authentic’ instruments, Ansermet was trying to return to the composer’s intentions, as given in the score, avoiding the imposition of any responses of his own on the audience.” Ansermet delivers a lean, muscular performance of the Ninth with a slow movement of cool beauty. The youthful choir adds real zest to the finale and aided by a quartet of star soloists (this was Joan Sutherland’s first recording for Decca) Ansermet gives the choral finale real nobility. CD2 of this set includes Beethoven recordings (selected Overtures and the Weingartner arrangement of the Grosse Fuge) by Ansermet being released for the first time. "…the depth and concentration of the Ansermet shines decisively out… Ansermet's reading is taut and imposing” Gramophone RETURN TO THE TOP

	Cat. No.: 480 0662 Barcode: 0028948006625 Label: DG CD Release Date: July			William Steinberg; Daniel Barenboim HINDEMITH: Symphony: 'Mathis der Maler'; Concert Music for Strings and Brass; Der Schwanendreher ARTISTS Boston Symphony Orchestra / William Steinberg Daniel Benyamini, viola; Orchestra de Paris / Daniel Barenboim *[Der Schwanendreher]* TRACK LISTING Symphony: 'Mathis der Maler' Concert Music for Strings and Brass Der Schwanendreher William Steinberg made only three recordings for Deutsche Grammophon and his Hindemith recordings, authoritative, sumptuously recorded and pulsating with energy are among the most invaluable in the Hindemith discography. Barenboim’s coupling of Der Schwanendreher is no less welcome, offering what is substantially an important 20th-century viola concerto, and being a viola player himself, Hindemith’s writing for the instrument is unimpeachable. “This disc … belongs in every serious classical music collection” 10/10 ClassicsToday.com "Steinberg plays [Mathis der Maler] very ‘straight’, not letting emotional passages become sentimental, but still sending a thrill down the spine at the glorious climax of the ‘Three angels’ tune and the hair-raising final ‘Alleluja’; and the Boston strings are wonderfully precise in their enormously busy and exacting lines… The Concert Music, composed four years before Mathis for the Boston Symphony Orchestra's 50th anniversary, similarly bustles with energy: it makes a particularly interesting coupling because thematically it contains foreshadowings of Mathis. Benyamini is a splendidly rich-toned soloist in the "concerto on folksongs", Der Schwanendreher, which is excellently recorded.’ Gramophone RETURN TO THE TOP

	Cat. No.: 480 0643 Barcode: 0028948006434 Label: DG CD Release Date: July			Rafael Kubelik \| JANACEK: Sinfonietta; Taras Bulba; Concertino ARTISTS Rudolf Firkušný, piano Symphonieorchester des Bayerischen Rundfunks Rafael Kubelik TRACK LISTING JANÁ?EK Sinfonietta Taras Bulba Concertino for piano and chamber orchestra Together with Sir Charles Mackerras, Rafael Kubelik’s name is synonymous with the music of Janacek. Here, reissued at budget price, are his superb readings of a trio of Janacek masterpieces recorded for Deutsche Grammophon, recordings that have plenty of weight, get to the heart of the emotion of the music as well as giving it clarity and transparency when called for. "…a splendid recording…authoritative performance – and not least for the impressive sound." Gramophone RETURN TO THE TOP

	Cat. No.: 480 1138 Barcode: 0028948011384 Label: Decca CD Release Date: July			Jorge Bolet \| Piano Encores ARTISTS Jorge Bolet, piano TRACK LISTING Albéniz/GODOWSKY: Tango Bizet/GODOWSKY: L'Arlésienne - Adagietto Chopin: Études, Op. 25 Nos. 1, 2, 11 CHOPIN: Nocturnes - No.2 in E flat, Op.9/2; No.5 in F sharp, Op.15/2 CHOPIN: Waltzes - No.6 in D flat, Op.64/1 (Minute); No.15 in E minor, Op. posth. Debussy: Prélude: La fille aux cheveux de lin Godowsky: Elégie for left hand Mendelssohn: Rondo capriccioso; Hunting Song (from Songs without Words) Moszkowski: En automne; La Jongleuse R. Strauss/GODOWSKY: Ständchen Schubert: Ballet Music from Rosamunde DE SCHLOEZER: Étude Op. 1 No. 2 Jorge Bolet was an avowed Romantic, happy to relax once the serious business of his recital is over. Like Moiseiwitsch, he could be mischievously enterprising, challenging his audience to guess the composer of this or that rare poetic jewel or confection – or, like Rubinstein, he could affectionately confirm and recreate their favourites. With delightful old world charm, fleet of finger, yet ever conscious of the singing line, Bolet weaves pure magic in this collection of encores. After a long absence from the catalogue, this disc returns, now at budget price. "…the unfailing wizardry of Bolet. He is also splendidly recorded. It is difficult to see how an encore-fancier could greet this record with anything but the most delighted of, well encores." Gramophone RETURN TO THE TOP

	Cat. No.: 480 1137 Barcode: 0028948011377 Label: Decca CD Release Date: July			Jorge Bolet \| SCHUBERT: Piano Sonatas D 959 & 784 ARTISTS Jorge Bolet, piano TRACK LISTING SCHUBERT: Sonata for Piano, No. 14 in A minor, D784 SCHUBERT: Sonata for Piano, No. 20 in A major, D959 Schubert and Jorge Bolet may seem rare bedfellows for a virtuoso who excelled in the music of Liszt and Rachmaninov and whose lineage extended, through his teacher David Saperton, to Leopold Godowsky (Saperton’s teacher). But he finds in this music both muscularity and strength and his grasp of the music’s visionary and often extensive and complex structures is revelatory. Some years after this recording, Bolet recorded the Liszt transcriptions of selected Schubert Lieder for Decca, and the ability to stretch and spin a melodic line in those celebrated recordings is omnipresent in this ‘pure’ Schubert. RETURN TO THE TOP

	Cat. No.: 480 1131 Barcode: 0028948011315 Label: Decca CD Release Date: July			Jorge Bolet \| DEBUSSY: 16 Preludes ARTISTS Jorge Bolet, piano TRACK LISTING DEBUSSY Danseuses de Delphes (Book 1 No. 1) La puerta del vino (Book II No. 3) Des pas sur la neige (Book I No. 6) La danse de Puck (Book I No. 11) La sérénade interrompue (Book I No. 9) Le vent dans la plaine (Book I No. 3) Bruyères (Book II No. 5) ‘General Lavine’ – eccentric (Book II No. 6) Canope (Book II No. 10) Ce qu'a vu le vent d'ouest (Book I No. 7) La fille aux cheveux de lin (Book I No. 8) Minstrels (Book I No. 12) La cathédrale engloutie (Book I No. 10) Ondine (Book II No. 8) La terrasse des audiences du clair de lune (Book II No. 7) Feux d'artifice (Book II No. 12) Debussy’s twenty-four Préludes, like Chopin’s, are surprisingly self-sufficient. Divided into two books, published in 1910 and 1913, the Préludes are an intimate record of Debussy’s inner and imaginative life. Their titles were after-thoughts rather than direct inspirations, largely because Debussy’s delicate and complex response to natural phenomena or human idiosyncrasy could hardly be contained or expressed by a simple caption or heading. The Cuban-American pianist Jorge Bolet isn’t readily associated with the music of Debussy, but his selection of sixteen of the composer’s Préludes yield performances of refinement and fluidity. Lines are clearly delineated and the myriad of impressions within a single piece are nothing short of kaleidoscopic. RETURN TO THE TOP

	Cat. No.: 480 2614 Barcode: 0028948026142 Label: Decca CD Release Date: July			Various Artists \| Pearlfishers' Duet ARTISTS Ettore Bastianini Carlo Bergonzi Mario del Monaco Dietrich Fischer-Dieskau TRACK LISTING BIZET: C’est toi … Au fond du temple saint (Les Pêcheurs de perles) PUCCINI: In un coupe? … O Mim, tu più non torni (La Bohème) BELLINI: Il rivar salvar tu dêi … Suoni la tromba (I puritani) VERDI: Invano Alvaro … Le minaccie, I fieri accenti (La forza del destino) VERDI: Ascolta! le porte dell’asil s’apron già … Dio, che nell’alma infondere (Don Carlo) PUCCINI: America for ever … Ier l’altro, il Consolato sen’ venne a visitor (Madama Butterfly) VERDI: Il Grande Inquisitor! … Son io dinanzi al Re? (Don Carlo) VERDI: Solenne in quest’ora (La forza del destino) DONIZETTI: Ardir! Ha forse il cielo … Ecco il magico liquore … Va, mortale fortunate (L’Elisir d’amore) VERDI: Egli delira … L’alto retaggio (Luisa Miller) VERDI: Oh! mostruosa colpa! … Sì, pel ciel marmoreo giuro! (Otello) There is always a special pleasure in the blending of two fine voices, and composers have usually been happy to provide it during the course of their operas. Characters may join their voices in a unity of feeling, or in extreme disagreement, or in any one of the thousand shades in between. On this CD, opening with the universally beloved ‘Pearl Fishers Duet’ the accent is on duets between male operatic characters, singing together in contexts ranging from friendship to the sharing of mutual loss, from fierce enmity to the celebration of joint purpose. RETURN TO THE TOP

	Cat. No.: 480 2594 Barcode: 0028948025947 Label: Decca CD Release Date: July			Various Artists \| Flower Duet ARTISTS Joan Sutherland Brigitte Fassbaender Renata Tebaldi Marilyn Horne TRACK LISTING DELIBES: Flower duet: Dôme épais le jasmin (Lakmé) OFFENBACH: Barcarolle: Belle nuit, ô nuit d’amour (Les Contes d’Hoffmann) HUMPERDINCK: Evening Prayer: Abends will ich schlafen gehn (Hänsel und Gretel) ROSSINI: Alle più calde immagini (Semiramide) BERLIOZ: Vous soupirez, Madame? … Nuit paisible et sereine (Béatrice et Bénédict) HANDEL: Io t’abbraccio (Rodelinda) ROSSINI: Qui tollis peccata mundi (Messe solennelle) VERDI: Recordare (Messa da Requiem) RICHARD STRAUSS: Presentation of the silver rose: Mir ist die Ehre (Der Rosenkavalier) PUCCINI: Flower Duet: Una nave da Guerra … Scuoti quella fronda di ciliego BERLIOZ: Sa voix fait naître dans mon sein (Les Troyens) BELLINI: Mira, o Norma … Sì fino all’ore estreme (Norma) Since the beginning of opera, the convention of the duet, in which two characters simultaneously express their feelings, has been one of the staple ploys of musical dramatists. Characters may join their voices in a unity of feeling, or in extreme disagreement, or in any one of the thousand shades in between; though in the examples we have here, all involving the combination of soprano and mezzo-soprano voices, the feelings expressed are held in common between the two singers. RETURN TO THE TOP