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the inspired technique of Mozart's Masses and Requiem ...
Michael Rabin died in 1972 at the age of 35 after a run of dodgy performances and whispers of drug abuse. There is a scholarly biography in the works which may show that he was more abused than abuser ˆ a victim of vicious managers and famous rivals. Hearing these recaptured sessions shows how great a talent was lost with his mysterious death, officially from a fall in his New York apartment. Rabin plays the second Wieniewaski concerto with sweet lack of sentiment and the first Paganini with a nonchalant flamboyance. He does not try to make more of these showpieces than the little they are worth, yet beyond the razzle-dazzle one senses a fastidious intelligence and a dimension of the ridiculous. The beauty of his tone is what catches you at the base of the throat. He plays a Guarnerius del Jesu that once belonged to Jan Kubelik and he makes it sing like a Verdi tenor. There are clips of him to be seen on YouTube in egregious sound but this the real thing, mostly made at Abbey Road in 1960.
First Cecilia Bartoli impersonates the early 19th century Spanish diva Malibran, now Joyce DiDonato takes on her rival Isabella Colbran, who wound up married to Rossini after a long stint as his impresario’s squeeze. In both relationships, she launched a stream of Rossini roles, from Armida to Zelmira.
": (Mis)conceptions of the Mass." Website Article.
Besotted as I am with Martinu, I wasn’t over-excited by Paul and Huw Watkins in the cello-piano works. The playing is a little clean, lacking the deep-down surprises that the composer likes to spring. The best track on disc, worth the full purchase price, is a deathbed set of variations on a Slovak theme, full on longing for lost vistas.
These Berlin radio sessions were recorded in February 1956. Since Solomon made relatively few big-label records – some Beethoven concertos and sonatas, some Chopin, and the most explosive Grieg concerto you will ever hear – my excitement level was high before the playing started. It soon shot through the roof.
"Brahms the Progressive"? A look at Arnold Schoenberg…
Music that comes in cheap boxes does not usually challenge the mind. These, though, are the best accounts ever recorded of the chamber works of the Second Vienna School, from the smeary late romanticism of Schoenberg in D minor to the geometric aridity of Webern’s 1937 quartet. The La Salle Quartet made these records for DG in 1968-70, with sound as warm as your fireside.
The orchestra of Santa Cecilia play like ice-creams in the Colosseum sun – meltingly, that is – and the cast is mostly local, with the exception of Angela Gheorghiu and Jonas Kaufmann on whom the project hinges. Gheorghiu is too forceful to make a weak-willed geisha, and Kaufmann matches her with a vocal virility that needs no chemical aids. This is Winslet-Di Caprio casting, a jousting of differences that engages heart and mind regardless of plot inanities. The limelight arias, nicely bedded into the relationship, may not dazzle quite as much on a highlights disc.
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Arnold Schoenberg: Brahms The Progressive | areas of …
Jansons, one of the most thoughtful Mahler conductors, was over-deliberate in his 1990 Oslo recording for Chandos, with soloists Felicity Lott and Julia Hamari. Both conductors have kept the work at the heart of their repertoire and continued to give it considerable interpretative thought.
Schoenberg wrote an essay "Brahms the Progressive" ..
A bit breathless to start, Dessay does not quite outvamp Elizabeth Taylor with the asp, but there are enough hot moments to rumple your baroque collar and Emmanuelle Haim’s crisp harpsichord direction never lets the action flag.
Did the progressives fail essay Did reconstruction …
The soloists, Ricarda Merbeth and Bernards Fink, are a shade pallid and the Netherlands Radio Choir is no match for Berlin’s finest. Nevertheless, Jansons’ blind faith overwhelms all caveats and the conclusion is appropriately cathartic. These, together with Järvi’s Frankfurt performance last year, are the great Mahler Seconds of the epoch.
Did the progressives fail essay
The Tchaikovsky, following on, does not recover from a slow start, the melodies over-ripe and painful to the back-teeth. Hanslick was right: sometimes its putrefaction does 'stink to the ear'. Hahn, aiming for wispy beauty, is less rigorous or vibrant than she was in the Higdon – let alone the recent Sibelius or Schoenberg concertos. Only in the race to the finish does she offer serious competition to Heifetz, Milstein, Mullova and Midori. The Royal Liverpool Philharmonic, throughout, are heard at their best on this record under their Russian chief conductor, Vasily Petrenko.
revision as the seminal essay ‘Brahms the Progressive ..
Hampson sings the set not in published order but in the thematic connections that Mahler sought, achieving a coherence lacking in prior recordings. His small ensemble reflects a particular period style – the kind of living-room tableau that Mahler write in his previous Klagende Lied.
in his famous essay “Brahms the Progressive
They knew how to have fun in Georgian London. Arne, composer of Rule Britannia, was disparaged by Handelians, but he could write a fizzing tune and gave his characters more depth than normal for the period. His first duet here, Fair Aurora, is a stunner. Elizabeth Watts and Caitlin Hulcup catch the ear, Ian Page conducts the Classical Opera Company after a 2009 Covent Garden performance.
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