| 1. She Lives Inside |
| 2. Prayer for the Rainforest |
| 3. House of Sun |
| 4. Slowly |
| 5. Her Flying Horses |
| 6. Blue Moon, Red Nights |
| 7. Our Midnight Serenade |
| 8. Tango de Luna |
| 9. Danza de Pasion |
| 10. Romanza de Amor |
| 11. Bolero |
Editorial Reviews
Product Description
Romantica will surely set your heart ablaze with its rich serenades of Spanish guitar, flute harmonies, and lush and moody musical landscapes. These sultry Latin rhythms of world class artists like Stevan Pasero and Christopher Bock will mesmerize and seduce you like romance itself.
This is Volume 1 of a projected series of Barrios' guitar music. It is my first time hearing Antigoni Goni who is excellent, leading me to want to hear her other recordings as well as live in recital.
There isn't too much overlap between her and Russell in Barrios, making getting both CDs worth it if you like Barrios.
Excellent recording quality.
It was a decision I do not regret.
Atterberg's complete symphonies has to be the best CD purchase I have ever made, out of a collection of 500 some classical CDs. There's nothing revolutionary about Atterberg's music. He takes what has been done already, and does it better, to the extent that this in and of itself is the revolutionary component of the works. Sometimes, it can even be frustratingly simple, such as how he insists time and again to end a movement or work with a V, I. Yet the depth, the color, the masterful orchestration: Atterberg's music is worth a hear, whether you are a fan of the twentieth century serialism or Baroque period music. Especially listen to this music if you are attracted to the music of Sibelius, Howard Hanson, Hugo Alfven, or David Del Tredici.
When I buy a complete symphonies set, I am sometimes overwhelmed and do not know where to go with it. So hopefully this plan will help those who wish to listen:
A) Start with the sixth symphony. The melody, orchestration, and tempo are especially enjoyable. Atterberg composed this for a Franz Schubert contest and won. (Originally, the contest called for a completion of his unfinished symphony, but it was so controversial, that the idea was dropped.) Atterberg decided not to show at the awards banquet since he didn't want to applaud the victory of another composer. How suprised he was the next morning when he saw the newspaper headlines!
B) Then listen to the third. The first and third movements are gentle and have soaring, gorgeous moments, while the second is a loud storm, reminiscent of Britten's storm in Peter Grimes.
C) The second symphony is stylistically similar to the third, with the first and second movements containing triumphant and broad, yet gentle sections. The second movement is especially colorful, and is my favorits movement of all the symphonies. The last movement was written after a frustrating performance of his Suite No. 1 that went sour due to poor musicianship. Thus, it's sort of a loud and forceful, though not angry, response.
D) The first symphony sets the foundation for the second and third. This is one of his three four-movement symphonies. Thus, we're treated to a scherzo that is well-worth its insertion. The second movement resembles the slow, broad movements of Atterberg's other symphonies you have heard thus far.
At this point, you may wish to listen to the River piece, included as an extra work in the complete symphony set.
E) The eigth symphony is Atterberg's other four-movement work. Once again, a beautiful Scherzo, and a complimentary slow movement that is more exploratory and dismally curious in nature than previous slow movements. The first and fourth movements show a more rough side of Atterberg.
F) The fifth symphony, the "funeral," is written in a darker, more abysmal style with alightly more dissonance and conflict than what the listerner is used to hearing. The second movement, however, is characteristic of Atterberg's slow movements, except more mournful and longing. The forward-movement leading to the climax leaves the listener clinging to every chord progression and does not fail to deliver a fulfilling revelation at the end with a thematic call of the brass and shrilling, pulsating strings. The counterpoint amongst the strings is also gripping. The third movement recalls moments of conflict from the first movement and the serenity from the second, but ends with a heavy waltz, sort of like dancing in 3/4 time with Death himself, except he weighs 500 pounds.
G) The fourth symphony is a smaller work consisting of four movements. The highlight is the second movement, which is the slow movement; it's soft and introspective. The other three movements are loud and violent.
H) The seventh symphony, which is the Romantic, was where I started when I got the set. However, it was difficult listening at first. The first and third movements are loud and heavy on the brass, symbols, and drums/timpani. The second movement is typical slow-movement Atterberg.
I) The ninth symphony is different than the previous eight symphonies. It's more of a cantata of Norse mythology. The writing is somewhat peculiar for Atterberg. The work alternates between violence and stillness, all leading up to the final doomsday battle. The symphony employs several soloists and a chorus.
If you find that you have enjoyed this symphony set and want to hear more, the Piano Concerto and the Horn Concerto may be logical next steps. Also, try some of Atterberg's chamber pieces. He wrote a piano quintet that is an arrangement of the sixth symphony.
Also, if you haven't heard them yet, listen to Howard Hanson's second, third, and fourth symphonies; Melartin's third and fourth symphonies; Alfven's fourth symphony; and Del Tredici's In Memory of a Summer Day. The orchestration, style, and depth are compliments to Atterberg's works.
If you're like me, you have a passion for diving into lesser known symphonic realms, because a familiarity with the standard orchestral repertoire has created a need for new horizons. Reading a few reviews of Atterberg symphonies was enough for me to trigger my "impulse buy" mechanism. When the CD's arrived, I told myself that I would do the whole symphony cycle in one day (5+ hours end to end) no matter what I thought. I failed because I was unable to restrain myself from listening to these symphonies again for a second, third or tenth time. The SECOND SYMPHONY is by far my favorite. The sweetness of Sibelius with Mahler style brass along side the passion of Rachmaninoff, take you on a exciting journey through the possibilities of Swedish music. The second movement starts with a beautifully soft adagio of intimacy and love that ends up evolving into a monumental cadencial moment for Horns, Trumpets, Trombones and Strings. In the final movement, we find a fiery orchestral movement reminiscent of a Franck or Dukas symphony, with an evolved form of the second movement theme returning to vanquish the flames with a magnificent maestoso. The passion level in Atterberg's symphonies rival those of Mahler (my most favorite composer).
Every symphony in the Box is worth a listen, most of them are worth at least 10 listens. The THRID and SIXTH SYMPHONIES were worth that much to me. The only thing negative that I can say, is that none of the music takes me in a direction I've never seen before, with an exception of The NINTH "Sinfonia Visionaria." It is a very innovative and progressive piece with a baritone, alto and full chorus.
Bravo to the four German symphony orchestras that make this set, Frankfurt's was probably the best. There is more than enough zeal and enthusiasm contained within these disks for everyone to enjoy.
-Andrew Somerset
Atterberg's lifespan stretched into the second half of the twentieth century. But his compositional style remained firmly rooted in the musical expressions of the late romantic tradition, which flourished around the shift of the penultimate century, 1890-1910. As in the case of Arnold Bax, he was indeed a "brazen romantic." Thus his music is akin to that of Dvorak, Smetana, Bruckner, Mahler, Stenhammar, Elgar, Richard Strauss, Bax, Sibelius, and Vaughan-Williams, even if he had a style of his own. But he was reluctant to link it to early modernism and its atonal chromatism, as, e.g., Mahler, Richard Strauss, Vaughan-Williams and even Sibelius did. The musical world of atonal modernism was almost completely alien to him. His last, and very compelling symphony, called "Visionaria", was composed in 1956, and it has the form of an oratorio for mezzo, baritone, choir and orchestra, using texts from the Poetic Edda. Despite its late composition date, it shows just a few traces of atonal modernism, with twelve-tone rows in some of its melodies. It is basically a complex late romantic work, and, as such, perhaps comparable to the early Schoenberg's "Gurrelieder".
But don't let Atterberg's romantic conservatism prevent you from experiencing the astonishing beauty and power of his music. His symphonies are passionate, intense, very well composed, and often based on old Swedish folk tunes (this is especially the case with the eight symphony). The sound is thus very "Nordic," comparable to that of the early Sibelius (which, of course, was a greater composer than Atterberg - but he nonetheless recognized the quality of Atterberg's music). And in my view, among all his fine symphonies, the blazing first, the nostalgic and powerful second, the pastoral third, the dark and frantic fifth, the parodic sixth, and the enigmatic ninth are truly memorable and moving masterpieces that should belong to the standard repertoire of late romantic music (his second and fifth are my personal favorites).
Ari Rasilainen's Atterberg cycle is the first on disc. Raslilainen is a young Finnish conductor (b. 1959). It is perhaps not a surprise that a Finnish conductor supports an unfairly forgotten Swedish romantic composer. After all, if you love and understand Sibelius' early works, which I suppose most Finnish musicians do virtually by birth, you will probably appreciate Atterberg's music as well. Regardless or not if this holds in the present case, it is clear that Rasilainen is the best interpreter of Atterberg that we now have on record. Because this set is a reference set, in all aspects. First, Rasilainen's interpretations are first class -- he knows his Atterberg by heart. Second, without an established performing tradition behind the back, the German orchestras (Radio-Philharmonie Hannover des NDR, Radio-Sinfonie Frankfurt, SWR Radio-Sinfonieorchester Stuttgart, and NDR Radiophilharmonie) play with perfect confidence and brio. Third, a spacious and clear recording catches every note.
For a reasonable price, you have a splendid piece of almost unknown music in this set, beautiful and beautifully performed and recorded. It is thus an essential purchase for everyone interested in the aftermath of late romanticism in music during the twentieth century.
Strongly recommended!
I will not review the individual performances here as there have already been some very good reviews posted here at Amazon for each of the separate releases. [Simply do a search here at Amazon using the keyword 'Atterberg' and links to all of the symphonies will come up.] I would also suggest you give a listen to the sound samples at various of the symphonies to get an idea of what they are like. My own favorites are Nos. 7 & 8, but others might want to start with No. 3 (that third movement is extraordinarily lovely and well-played by Rasilainen and his orchestra.] All of them have been reviewed by Swedish music maven David Hollingsworth. I've reviewed the 7th and 8th symphonies and Thomas Bertonneau has reviewed No. 9. No need to repeat all that here. We all agree that these are excellent performances of symphonies that are in the post-Straussian Romantic style. If you like that sort of music I can pretty much guarantee you'll like these.
Scott Morrison
Now, of course Ana Vidovic has lots of room to grow aesthetically--how could it not be so, as she made this recording before she was twenty years old? For example, the Sonata Romantica suffers a bit from excess impetus. She almost never lets the music breath and in this music, hommage to Schubert as it is, expansiveness is inherent to the style. But let us also praise her choice of repertoire. She has unerringly chosen very fine pieces from the repertoire, which is not always the case. Her Walton Bagatelles are remarkable, showing a panache that we are used to hearing only from Julian Bream, for whom they were written.
One thing that Ana Vidovic has in spades is a real ear for harmonic progression--this is one of the many things that sets this recording apart from many others by those with velocity and fingers and little else.
So, my advice is to purchase this recording. I doubt very much that you will regret it and you will be hearing a lot more from this artist over the years.
This is highly original music for the most part, and the only qualification I found is the playing of the LSO, while satisfying in ensemble, they seem less "free" than they could be in this music. For the price, this set is worth considering, especially for those who want to get off the beaten track.
I wish I could say that these symphonies immediately won me over and should be played by every orchestra in North America. Unfortunately, even after repeated listening of these works, I am still a little perplexed by this complex music.
Despite composing a "Sinfonia India" (Symphony No. 2), based on actual Huichol and Yaqui Native American themes, Chavez should not be considered a nationalist composer. Chavez was a self taught modernist, although he independently studied the works of Beethoven and Brahms. His style is organic in nature and based on the use of recurring motives. Other than the above mentioned Symphony No. 2, his music is not immediately accessible. Dissonances are the norm here. Much of the compositional output of Chavez could be considered sparse in terms of melodic content, as well as orchestral texture. Although I indicated that Chavez should not be considered a nationalist composer, there are small, yet detectible, elements of folk / native music sprinkled throughout these pieces. The most striking element of this music to me is the characteristic writing for the woodwinds.
Here is a brief summary of the symphonies:
Symphony No. 1 - Sinfonia Antigona (12 minutes): A single movement work based on the Greek modal system
Symphony No. 2 - Sinfonia India (13 minutes): Chavez's most popular work. This single movement work uses actual Native American themes and percussion instruments. This is perhaps the only symphony which features a prominent part for the guiro.
Symphony No. 3 (31 minutes): The four movement symphony is most traditional of the set. I find the "Allegro" second movement to be somewhat gallant, and the quirky third movement scherzo to be interesting in a comical way. Despite the interesting inner movements, the terse outer movements of this work make it somewhat difficult to get a handle on.
Symphony No. 4 - Sinfonia Romantica (22 minutes): Another single movement work. The first half of the work is slow and murky, while the second half is lively and spirited. If it wasn't for the first half of this work, I think there could be some potential for the symphony to obtain more widespread popularity. The final section of this work features a rollicking syncopated melody, and is probably my favorite part within the six symphonies.
Symphony No. 5 (23:43): This symphony, scored for strings only, is neoclassical in nature. The string writing here reminds me a bit of Einar Englund's fourth symphony (Chavez's symphony came first though). The work concludes with a propulsive finale.
Symphony No. 6 (34:28): Concluding with a monumental passacaglia, some consider this to be Chavez's masterpiece. The passacaglia theme is initially presented by a tuba, which is followed by 34 (!) variations, then a set of two more variations within a fugal structure. The work concludes with a set of six more variations, followed by a coda in which Chavez, somehow, makes a C major chord sound ominous. All of this sounds interesting in theory, but the casual listener will definitely find himself or herself lost in Chavez's orchestral writing in this long (17 minute) movement.
So what does all this mean? Well, I liked the second symphony and I liked parts of the third and fourth at first listen. For these, I am glad I purchased this set. After repeated listening, some of the material in the fifth and sixth symphonies is yielding some pleasure. Additionally, this is an important release, given it represents the only complete set of Chavez's symphonies. And, how about that bargain price - it's tough to regret an eleven dollar purchase. Yet, in conclusion, I have come across so much fantastic music by virtually unknown composers, which is both immediately accessible and wholly characteristic, that this set in comparison, seems just a bit mediocre. For those new to Mexican classical music I would recommend starting with the less modern music of Revueltas ("less modern" is used in a relative sense here). For those who know and enjoy the style of Chavez, this set is wholly recommendable, given the price, the completeness, the detailed program notes, as well as the good playing by the LSO, although I am sure an orchestra which is more familiar with these works could add just a bit more excitement.
CD 1 - 63:58
CD 2 - 71:03
Martin
For comparative listeners, Geoffrey Tozer's boxed Medtner-sonatas set includes the complete Forgotten Melodies (I-III), not only I and II (Hamelin), but in the sonatas Hamelin plays with much more verve, drive, energy and speed. However, in the past years I tend to listen more of TozerPlayingMedtner...simply because he has been recording the complete Medtner solo music (prospected 9 volumes on Chandos) and I really enjoy the wealth of non-sonata music by Medtner which is less complex, of lighter content and much easier to understand. Many pianophiles whom I borrowed the Hamelin album thought that these sonatas were way too dense and heavy, yet in the end they fell in love with Medtner, too, when listening to his non-sonata pieces (Fairy Tales, etc.). They have become Medtner fans, yes!
As for my part, after having listened to Medtner sonatas for almost ten consecutive years, I somehow obtain the feeling that his other solo piano music is more enjoyable on a long-term basis. I cant listen to the sonatas nearly any more but I experience still lots of pleasure, fun and enjoyment listening to his other pieces. So thanks Hamelin for the convincing introduction to Medtner's world, and even more thanks to Tozer on Chandos (and Hamish Milne on CRD) for making this world my new home.
listen to medtner's music and be blown away by the intricacy and intimacy of his music. the density, the poignant lyricism. counterpoint unfolds and reveals music that is ten times more dense than rachmaninoff's (possibly excluding rach's 2nd and 3rd piano concerto).
you hear explosive genius, innovations, and emotions. a different trajectory from scriabin's music - not apocalpytic, but more rustic. more pastoral and fairy-like, if not as charged with pathos.
if you are a fan of piano music, or just keyboard music as a whole, if you're looking for something sexy, medtner's sonatas are the answer.
and hamelin's playing, i presume, does not need my vouching.
The eight-movement 15-minute suite 'Carnaval das Crianças' ('Children's Carnival') whose miniatures include such titles as 'The Little Pierrot's Pony,' 'The Masked Boy's Pranks,' and 'The Fife of a Precocious Daydreamer,' is overtly Brazilian in tone and is virtuosic; amazingly, it was intended for young students in Marquerite Long's class at the Paris Conservatoire--those children must have been little prodigies! Rubinsky catches both the rhythmic complexities and the childlike tone of the suite. An early piece, 'Francette et Pía,' (also fifteen minutes long) was also written for children and seems more appropriate for intermediate students. It tells the story of a Brazilian Indian boy who goes to France, falls in love with a little French girl (represented wittily by a variation on 'Auprès de ma blonde'). The final piece of each of these suites is for piano duet (one piano, four hands). In these Rubinsky is joined by Tatjana Rankovich.
'A Fiandeira' ('The Spinner') is a tiny but technically very difficult depiction of its title and features fleet filigree accompaniment both under and over a sweet and lyrical melody. 'Simples Coletânea' ('Simple Collection') is a very early (1917) suite of three character pieces entitled 'Mystic Waltz,' 'In an Enchanted Cradle,' and 'Round Dance.' They are more obviously influenced by French impressionism than the later works. 'Round Dance' in particular is delightful and reminds one of the two-handed moto perpetuo arpeggios so familiar in Debussy's 'Doctor Gradus ad Parnassum' from his 'Children's Corner Suite.'
The final piece here is the four-minute 'Valsa Romântica' which, like the 'Poema Singelo,' has an extremely beguiling melody that is supported by a suave waltz accompaniment. A fitting end to an entirely satisfying disc.
Strongly recommended for anyone who loves Villa-Lobos's music and for those who want an entrée into his piano music.
TT=69:53
Scott Morrison
By the way, I'm puzzled by the reviewer who called this recording "a little mechanical." Vieaux is far removed from the many guitarists who are more marksmen than musicians. With all the positive reviews posted about this recording, it's odd that Amazon spotlights a tepid review that overlooks the lyricism so obvious in Vieaux's playing.
In sum, excellent music beautifully played.
Personally, I'd like to hear Vieaux record Eric Sessler's Sonata, since it was written for him.
Romantica will surely set your heart ablaze with its rich serenades of Spanish guitar, flute harmonies, and lush and moody musical landscapes. These sultry Latin rhythms of world class artists like Stevan Pasero and Christopher Bock will mesmerize and seduce you like romance itself.
Romantica,Various Artists,Sugo,International
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Romantica: The Very Best Of Luciano Pavarotti
Manufacturer: Decca ProductGroup: Music Binding: Audio CD  All Works by Donizetti
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ASIN: B00005Y204 Release Date: 2002-02-05 |
Tracks:
- Caruso
- Non ti scordar di me
- Torna a Surriento
- Core 'ngrato
- Mamma
- Mattinata
- Chitarra Romana
- O sole mio
- Passione
- La strada del bosco
- Funiculi, funicula
- Ti voglio tanto bene
- Che gelida manina
- Una furtiva lagrima
- Amor ti vieta
- M'appari
- Dalla sua pace
- Un' aura amorosa
- La Danza
- Nessus dorma
Customer Reviews:
Okay so track #1 aside..........2005-12-14
What the heck?.......2005-09-12
Why on earth is this listed under classical music?.......2004-03-22
Why on earth is this listed under classical music?.......2004-03-22
The Very Best Of Luciano Pavarotti.......2004-01-28
Pavarotti is good, but I think that the title is misleading.
Classical music should be with real musical instruments. Lesson #1, if it takes electricity, it's NOT a musical instrument.
My $.02
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Barrios: Guitar Music, Vol. 1
Antigoni Goni Manufacturer: Naxos ProductGroup: Music Binding: Audio CD Chamber Music
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ASIN: B00005A7JY Release Date: 2001-04-17 |
Tracks:
- Maxixe
- U Sueno En La Floresta
- Vals, Op.8, No.4
- Humoresque
- Sarita (Mazurka)
- Madrigal - Gavota
- Vidalita Con Vars
- Junto A Tu Corazon - Vals
- Mabelita
- Tu Y Yo (Gavota Romantica)
- Villancido De Navidad
- Pepita
- Ste Andina: Aconquija
- Ste Andina: Aire
- Ste Andina: Cordoba
- Ste Andina: Cueca
Customer Reviews:
Very nice and soothing.......2007-02-01
Barrios Defined.......2006-07-07
Good Introduction to Barrios.......2005-03-30
This is Volume 1 of a projected series of Barrios' guitar music. It is my first time hearing Antigoni Goni who is excellent, leading me to want to hear her other recordings as well as live in recital.
There isn't too much overlap between her and Russell in Barrios, making getting both CDs worth it if you like Barrios.
Excellent recording quality.
Highly recommended.......2003-07-25
The programme features rarely heard gems like Humouresque, Pepita, and the magical Tu y Yo. Her expressive phrasing often breathes new life into the often played works such as Maxixe, Junto a Tu Corazon, Vals no4.
Romantic guitar music, with Latin American folkloric influence
Absoultely the Best Barrios.......2002-03-27
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Kurt Atterberg: The Symphonies (Box Set)
Manufacturer: Cpo Records ProductGroup: Music Binding: Audio CD Symphonies
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ASIN: B0007ACVDW Release Date: 2005-02-22 |
Customer Reviews:
Best Complete Symphonies You Could Purchase.......2007-02-25
It was a decision I do not regret.
Atterberg's complete symphonies has to be the best CD purchase I have ever made, out of a collection of 500 some classical CDs. There's nothing revolutionary about Atterberg's music. He takes what has been done already, and does it better, to the extent that this in and of itself is the revolutionary component of the works. Sometimes, it can even be frustratingly simple, such as how he insists time and again to end a movement or work with a V, I. Yet the depth, the color, the masterful orchestration: Atterberg's music is worth a hear, whether you are a fan of the twentieth century serialism or Baroque period music. Especially listen to this music if you are attracted to the music of Sibelius, Howard Hanson, Hugo Alfven, or David Del Tredici.
When I buy a complete symphonies set, I am sometimes overwhelmed and do not know where to go with it. So hopefully this plan will help those who wish to listen:
A) Start with the sixth symphony. The melody, orchestration, and tempo are especially enjoyable. Atterberg composed this for a Franz Schubert contest and won. (Originally, the contest called for a completion of his unfinished symphony, but it was so controversial, that the idea was dropped.) Atterberg decided not to show at the awards banquet since he didn't want to applaud the victory of another composer. How suprised he was the next morning when he saw the newspaper headlines!
B) Then listen to the third. The first and third movements are gentle and have soaring, gorgeous moments, while the second is a loud storm, reminiscent of Britten's storm in Peter Grimes.
C) The second symphony is stylistically similar to the third, with the first and second movements containing triumphant and broad, yet gentle sections. The second movement is especially colorful, and is my favorits movement of all the symphonies. The last movement was written after a frustrating performance of his Suite No. 1 that went sour due to poor musicianship. Thus, it's sort of a loud and forceful, though not angry, response.
D) The first symphony sets the foundation for the second and third. This is one of his three four-movement symphonies. Thus, we're treated to a scherzo that is well-worth its insertion. The second movement resembles the slow, broad movements of Atterberg's other symphonies you have heard thus far.
At this point, you may wish to listen to the River piece, included as an extra work in the complete symphony set.
E) The eigth symphony is Atterberg's other four-movement work. Once again, a beautiful Scherzo, and a complimentary slow movement that is more exploratory and dismally curious in nature than previous slow movements. The first and fourth movements show a more rough side of Atterberg.
F) The fifth symphony, the "funeral," is written in a darker, more abysmal style with alightly more dissonance and conflict than what the listerner is used to hearing. The second movement, however, is characteristic of Atterberg's slow movements, except more mournful and longing. The forward-movement leading to the climax leaves the listener clinging to every chord progression and does not fail to deliver a fulfilling revelation at the end with a thematic call of the brass and shrilling, pulsating strings. The counterpoint amongst the strings is also gripping. The third movement recalls moments of conflict from the first movement and the serenity from the second, but ends with a heavy waltz, sort of like dancing in 3/4 time with Death himself, except he weighs 500 pounds.
G) The fourth symphony is a smaller work consisting of four movements. The highlight is the second movement, which is the slow movement; it's soft and introspective. The other three movements are loud and violent.
H) The seventh symphony, which is the Romantic, was where I started when I got the set. However, it was difficult listening at first. The first and third movements are loud and heavy on the brass, symbols, and drums/timpani. The second movement is typical slow-movement Atterberg.
I) The ninth symphony is different than the previous eight symphonies. It's more of a cantata of Norse mythology. The writing is somewhat peculiar for Atterberg. The work alternates between violence and stillness, all leading up to the final doomsday battle. The symphony employs several soloists and a chorus.
If you find that you have enjoyed this symphony set and want to hear more, the Piano Concerto and the Horn Concerto may be logical next steps. Also, try some of Atterberg's chamber pieces. He wrote a piano quintet that is an arrangement of the sixth symphony.
Also, if you haven't heard them yet, listen to Howard Hanson's second, third, and fourth symphonies; Melartin's third and fourth symphonies; Alfven's fourth symphony; and Del Tredici's In Memory of a Summer Day. The orchestration, style, and depth are compliments to Atterberg's works.
A NEW HORIZON FOR SYMPHONY LOVERS..........2007-01-19
If you're like me, you have a passion for diving into lesser known symphonic realms, because a familiarity with the standard orchestral repertoire has created a need for new horizons. Reading a few reviews of Atterberg symphonies was enough for me to trigger my "impulse buy" mechanism. When the CD's arrived, I told myself that I would do the whole symphony cycle in one day (5+ hours end to end) no matter what I thought. I failed because I was unable to restrain myself from listening to these symphonies again for a second, third or tenth time. The SECOND SYMPHONY is by far my favorite. The sweetness of Sibelius with Mahler style brass along side the passion of Rachmaninoff, take you on a exciting journey through the possibilities of Swedish music. The second movement starts with a beautifully soft adagio of intimacy and love that ends up evolving into a monumental cadencial moment for Horns, Trumpets, Trombones and Strings. In the final movement, we find a fiery orchestral movement reminiscent of a Franck or Dukas symphony, with an evolved form of the second movement theme returning to vanquish the flames with a magnificent maestoso. The passion level in Atterberg's symphonies rival those of Mahler (my most favorite composer).
Every symphony in the Box is worth a listen, most of them are worth at least 10 listens. The THRID and SIXTH SYMPHONIES were worth that much to me. The only thing negative that I can say, is that none of the music takes me in a direction I've never seen before, with an exception of The NINTH "Sinfonia Visionaria." It is a very innovative and progressive piece with a baritone, alto and full chorus.
Bravo to the four German symphony orchestras that make this set, Frankfurt's was probably the best. There is more than enough zeal and enthusiasm contained within these disks for everyone to enjoy.
-Andrew Somerset
Food for living!........2006-09-04
A brazen romantic.......2006-08-01
Atterberg's lifespan stretched into the second half of the twentieth century. But his compositional style remained firmly rooted in the musical expressions of the late romantic tradition, which flourished around the shift of the penultimate century, 1890-1910. As in the case of Arnold Bax, he was indeed a "brazen romantic." Thus his music is akin to that of Dvorak, Smetana, Bruckner, Mahler, Stenhammar, Elgar, Richard Strauss, Bax, Sibelius, and Vaughan-Williams, even if he had a style of his own. But he was reluctant to link it to early modernism and its atonal chromatism, as, e.g., Mahler, Richard Strauss, Vaughan-Williams and even Sibelius did. The musical world of atonal modernism was almost completely alien to him. His last, and very compelling symphony, called "Visionaria", was composed in 1956, and it has the form of an oratorio for mezzo, baritone, choir and orchestra, using texts from the Poetic Edda. Despite its late composition date, it shows just a few traces of atonal modernism, with twelve-tone rows in some of its melodies. It is basically a complex late romantic work, and, as such, perhaps comparable to the early Schoenberg's "Gurrelieder".
But don't let Atterberg's romantic conservatism prevent you from experiencing the astonishing beauty and power of his music. His symphonies are passionate, intense, very well composed, and often based on old Swedish folk tunes (this is especially the case with the eight symphony). The sound is thus very "Nordic," comparable to that of the early Sibelius (which, of course, was a greater composer than Atterberg - but he nonetheless recognized the quality of Atterberg's music). And in my view, among all his fine symphonies, the blazing first, the nostalgic and powerful second, the pastoral third, the dark and frantic fifth, the parodic sixth, and the enigmatic ninth are truly memorable and moving masterpieces that should belong to the standard repertoire of late romantic music (his second and fifth are my personal favorites).
Ari Rasilainen's Atterberg cycle is the first on disc. Raslilainen is a young Finnish conductor (b. 1959). It is perhaps not a surprise that a Finnish conductor supports an unfairly forgotten Swedish romantic composer. After all, if you love and understand Sibelius' early works, which I suppose most Finnish musicians do virtually by birth, you will probably appreciate Atterberg's music as well. Regardless or not if this holds in the present case, it is clear that Rasilainen is the best interpreter of Atterberg that we now have on record. Because this set is a reference set, in all aspects. First, Rasilainen's interpretations are first class -- he knows his Atterberg by heart. Second, without an established performing tradition behind the back, the German orchestras (Radio-Philharmonie Hannover des NDR, Radio-Sinfonie Frankfurt, SWR Radio-Sinfonieorchester Stuttgart, and NDR Radiophilharmonie) play with perfect confidence and brio. Third, a spacious and clear recording catches every note.
For a reasonable price, you have a splendid piece of almost unknown music in this set, beautiful and beautifully performed and recorded. It is thus an essential purchase for everyone interested in the aftermath of late romanticism in music during the twentieth century.
Strongly recommended!
The Complete Symphonic Oeuvre of a Swedish Romantic.......2005-03-07
I will not review the individual performances here as there have already been some very good reviews posted here at Amazon for each of the separate releases. [Simply do a search here at Amazon using the keyword 'Atterberg' and links to all of the symphonies will come up.] I would also suggest you give a listen to the sound samples at various of the symphonies to get an idea of what they are like. My own favorites are Nos. 7 & 8, but others might want to start with No. 3 (that third movement is extraordinarily lovely and well-played by Rasilainen and his orchestra.] All of them have been reviewed by Swedish music maven David Hollingsworth. I've reviewed the 7th and 8th symphonies and Thomas Bertonneau has reviewed No. 9. No need to repeat all that here. We all agree that these are excellent performances of symphonies that are in the post-Straussian Romantic style. If you like that sort of music I can pretty much guarantee you'll like these.
Scott Morrison
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Coleccion Romantica
Juan Luis Guerra 440 Manufacturer: Karen ProductGroup: Music Binding: Audio CD Dominican Republic
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ASIN: B000051Y4Y Release Date: 2001-02-06 |
Tracks:
- Tu
- Razones
- Ay Mujer
- Quisiera
- Amor De Conuco
- Amigos
- Estrellitas Y Duendes (En Vivo)
- Como Abeja Al Panal
- Burbujas De Amor
- Frio Frio
Tracks:
- Bachata Rosa
- Cuando Te Beso
- Estrellitas Y Duendes
- La Hormiguita
- Vivire
- Palomita Blanca
- Amapola
- Coronita De Flores
- Senales De Humo
- Testimonio
Amazon.com
Juan Luis Guerra takes another look at his long, successful career on Colección Romántica, a lavish, two-disc affair that finds the Dominican Republic native revisiting and remixing some of his most successful songs. The collection's 20 tracks could have arguably fit on only one CD, especially considering that Guerra has already released two greatest-hits albums in 1994 and 1996. Still, this is a compulsively listenable affair, marked by Guerra's trademark dabbling in jazz harmonies, African music, and pop flavors. The collection's first five tracks--"Tú," "Razones," "Ay Mujer," "Quisiera," and "Amor de Conuco"--have been transformed from their original salsa and merengue versions into polished ballads. The trick works, and it sets the exotic, candlelit mood that figures throughout the album. Other hits such as "Burbujas de Amor" and "Bachata Rosa" have never sounded better, thanks to studio remastering. Even if Guerra's previous hits albums are already in your library, Colección Romántica deserves a prime spot on the shelf. --Joey GuerraCustomer Reviews:
Guerra Romantic songs.......2007-05-13
It's missing the best song of all - "Reina Mia!".......2006-07-30
music that comforts the soul.............2005-10-28
Great!.......2005-10-26
What more can one add?.......2004-01-03
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Ana Vidovic Guitar Recital
Manufacturer: Naxos ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
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ASIN: B00004U2KN Release Date: 2000-08-15 |
Tracks:
- Partita in E, BWV 1006a: Prld
- Partita in E, BWV 1006a: Loure
- Partita in E, BWV 1006a: Gavotte En Rondeau
- Partita in E, BWV 1006a: Menuett I And Menuett II
- Partita in E, BWV 1006a: Bourree
- Partita in E, BWV 1006a: Gigue
- Son Romantica: I. Allegro Moderato
- Son Romantica: II. Andante Espressivo
- Son Romantica: III. Allegretto Vivo
- Son Romantica: IV. Allegro Non Troppo E Serioso
- Danza Mora
- Capricho Arabe
- Vals
- The Troubadours Three: Melancholy
- The Troubadours Three: Sonnet
- The Troubadours Three: Celebration
- Five Bagatelles: I. Allegro
- Five Bagatelles: II. Lento
- Five Bagatelles: III. Alla Cubana
- Five Bagatelles: IV. Sempre Espressivo
- Five Bagatelles: V. Con Slancio
Customer Reviews:
Dreamy.......2007-01-01
Remarkable young artist.......2006-07-05
Now, of course Ana Vidovic has lots of room to grow aesthetically--how could it not be so, as she made this recording before she was twenty years old? For example, the Sonata Romantica suffers a bit from excess impetus. She almost never lets the music breath and in this music, hommage to Schubert as it is, expansiveness is inherent to the style. But let us also praise her choice of repertoire. She has unerringly chosen very fine pieces from the repertoire, which is not always the case. Her Walton Bagatelles are remarkable, showing a panache that we are used to hearing only from Julian Bream, for whom they were written.
One thing that Ana Vidovic has in spades is a real ear for harmonic progression--this is one of the many things that sets this recording apart from many others by those with velocity and fingers and little else.
So, my advice is to purchase this recording. I doubt very much that you will regret it and you will be hearing a lot more from this artist over the years.
Stunning technique, needs much work.......2006-06-25
Best version of the Prelude BWV 1006 for Guitar.......2006-05-21
WOW.......2006-04-09
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Carlos Chávez: The Complete Symphonies
Manufacturer: Vox (Classical) ProductGroup: Music Binding: Audio CD Symphonies
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ASIN: B000001K39 Release Date: 1992-11-04 |
Tracks:
- First Symphony: Sinfonia de Antigona
- Third Symphony: Introduzione: Andante moderato
- Third Symphony: Allegro
- Third Symphony: Scherzo
- Third Symphony: Finale: Molto lento
- Fourth Symphony: Sinfonia Romantica
Tracks:
- Sinfonia India (Second Symphony)
- Fifth Symphony: Allegro molto moderato: Molto lento
- Fifth Symphony: Finale: Allegro con brio
- Sixth Symphony: Allegro energico
- Sixth Symphony: Adagio molto cantabile
- Sixth Symphony: Passacaglia: con amima
Customer Reviews:
A valuable box set.......2007-04-29
This is highly original music for the most part, and the only qualification I found is the playing of the LSO, while satisfying in ensemble, they seem less "free" than they could be in this music. For the price, this set is worth considering, especially for those who want to get off the beaten track.
Highly recommended for Chavez fans, but what about the rest of us.......2006-07-13
I wish I could say that these symphonies immediately won me over and should be played by every orchestra in North America. Unfortunately, even after repeated listening of these works, I am still a little perplexed by this complex music.
Despite composing a "Sinfonia India" (Symphony No. 2), based on actual Huichol and Yaqui Native American themes, Chavez should not be considered a nationalist composer. Chavez was a self taught modernist, although he independently studied the works of Beethoven and Brahms. His style is organic in nature and based on the use of recurring motives. Other than the above mentioned Symphony No. 2, his music is not immediately accessible. Dissonances are the norm here. Much of the compositional output of Chavez could be considered sparse in terms of melodic content, as well as orchestral texture. Although I indicated that Chavez should not be considered a nationalist composer, there are small, yet detectible, elements of folk / native music sprinkled throughout these pieces. The most striking element of this music to me is the characteristic writing for the woodwinds.
Here is a brief summary of the symphonies:
Symphony No. 1 - Sinfonia Antigona (12 minutes): A single movement work based on the Greek modal system
Symphony No. 2 - Sinfonia India (13 minutes): Chavez's most popular work. This single movement work uses actual Native American themes and percussion instruments. This is perhaps the only symphony which features a prominent part for the guiro.
Symphony No. 3 (31 minutes): The four movement symphony is most traditional of the set. I find the "Allegro" second movement to be somewhat gallant, and the quirky third movement scherzo to be interesting in a comical way. Despite the interesting inner movements, the terse outer movements of this work make it somewhat difficult to get a handle on.
Symphony No. 4 - Sinfonia Romantica (22 minutes): Another single movement work. The first half of the work is slow and murky, while the second half is lively and spirited. If it wasn't for the first half of this work, I think there could be some potential for the symphony to obtain more widespread popularity. The final section of this work features a rollicking syncopated melody, and is probably my favorite part within the six symphonies.
Symphony No. 5 (23:43): This symphony, scored for strings only, is neoclassical in nature. The string writing here reminds me a bit of Einar Englund's fourth symphony (Chavez's symphony came first though). The work concludes with a propulsive finale.
Symphony No. 6 (34:28): Concluding with a monumental passacaglia, some consider this to be Chavez's masterpiece. The passacaglia theme is initially presented by a tuba, which is followed by 34 (!) variations, then a set of two more variations within a fugal structure. The work concludes with a set of six more variations, followed by a coda in which Chavez, somehow, makes a C major chord sound ominous. All of this sounds interesting in theory, but the casual listener will definitely find himself or herself lost in Chavez's orchestral writing in this long (17 minute) movement.
So what does all this mean? Well, I liked the second symphony and I liked parts of the third and fourth at first listen. For these, I am glad I purchased this set. After repeated listening, some of the material in the fifth and sixth symphonies is yielding some pleasure. Additionally, this is an important release, given it represents the only complete set of Chavez's symphonies. And, how about that bargain price - it's tough to regret an eleven dollar purchase. Yet, in conclusion, I have come across so much fantastic music by virtually unknown composers, which is both immediately accessible and wholly characteristic, that this set in comparison, seems just a bit mediocre. For those new to Mexican classical music I would recommend starting with the less modern music of Revueltas ("less modern" is used in a relative sense here). For those who know and enjoy the style of Chavez, this set is wholly recommendable, given the price, the completeness, the detailed program notes, as well as the good playing by the LSO, although I am sure an orchestra which is more familiar with these works could add just a bit more excitement.
CD 1 - 63:58
CD 2 - 71:03
A Major Symphonic Cycle by a Forgotten Composer.......2004-02-24
For years I was convinced that I knew exactly what the music of Carlos Chavez would sound like, without hearing a single note. To me it seemed obvious that any Mexican composer would automatically be a nationalist and base most of his music on the folk music of his country. That, plus Chavez's closeness to Copland in the 20s and 30s convinced me that his music would be a rather wan "Mexicana" copy of Copland's more successful Americana material. Then a few years ago I actually listened to the music of this composer and was completely blown away. Chavez was quite simply a brilliant modernist composer who just happened to be Mexican. And a more unjustly neglected composer is hard to imagine.
Chavez's six symphonies are a substantial addition to the form in modern times. They are diverse in form and mood and beautifully crafted. Though the composer was primarily self-taught, his command of modal counterpoint and 20th century harmony is impressive in the extreme. Each symphony is distinctive musical entity. The First and Second Symphonies are the shortest works, both in a single compact movement, but that's just about all they share. The First Symphony was developed from material that Chavez has written for a production of Antigone. This is the most uncompromisingly modernist music in the set. The piece is one slow movement, with material based on Greek modes accompanied by tense dissonances. It is austere, but powerfully tragic music. The Second Symphony couldn't be a greater contrast. The Symphony, called the Sinfonia India, is one of the best examples of Chavez's forays into musical nationalism. Based on mestizo music from Chavez's childhood as well as including a massive array of native percussion, this is one of the most impressive and accessible pieces in the composer's repertoire, the only work really that approaches a permanent place in the repertoire. The piece begins with a vibrant melody in wildly changing meters, contrasted with a lovely slower pentatonic melody. The piece has an austere middle section based on a haunting modal melody which climaxes and leads to a repeat of the opening material. Then, the final section of the work accelerates and introduces a new, rollicking theme, which is repeated almost verbatim over and over. The only changes are to the instrumentation, as more and more instruments and a greater battery of percussion drive the work to a rousing finale.
The third symphony is the first fairly traditional work in the cycle, written in three movements. The first is a typical sonata allegro with a jaunty main theme. The second is a charming scherzo and the final movement begins as a slow movement, but morphs into a faster finale as it goes. The work is beautifully crafted, as is the one movement 4th symphony, subtitled the Romantic Symphony. The Fifth symphony is almost neoclassical, and scored in two movements for strings alone. The Sixth symphony is also neoclassical, but with romantic overtones. It concludes with a stunning Passacaglia, perhaps the most effective since the Brahms 4th Symphony. It's a wonderful end to a truly impressive symphony cycle.
There is almost no competition for the Third, Fifth and Sixth Symphonies. The only other recordings are old vinyl releases with the composer conducting, and they have never made it to CD. The First, Second and Fourth symphony are presented on a competing disc conducted by Enrique Batiz and the State Symphony of Mexico. This latter disc also includes music from Chavez's ballet The Daughter of Colchis and the tone poem Baile, both wonderful works as well. The Second Symphony also appears on a wonderful disc of Latin American music by Leonard Bernstein in the best performance I've heard of the work. Between the Batiz disc and this one by Eduardo Mata the choice is harder. Batiz is a much less inspired conductor than Mata, but his orchestra plays with more color and fire than the LSO under Mata. On the other hand, this Vox set is the only way to get all six symphonies and it IS laughably cheap...you can buy it and still decide to get the Batiz CD later if you wish. Trust me...you'll want that one too, if only for the other Chavez material, because once you discover this unsung composer, I'm sure you'll be wanting more of his wonderful music. I know I do!
Decent performances, really cheap price.......2001-02-13
There has not been another complete set since Mata's so that and the cheap price are good reasons for getting this. The playing and performances are clean and colorful, but I have the feeling that the London orchestra was not completely comfortable with the idiom. There is a certain stiffness and control to their playing which stifles the music a bit. Still, this set warrants 5 stars because we aren't likely to get an new set any time soon.
A word about the music itself. Chavez explored Mexican (& Aztec) folk music and the results of that research inform his symphonies to varying extents. The Symphony No. 2 positively revels in the rhythms and sounds of the land, but the folk influence is much more subdued elsewhere.
Chavez knew the great 19th century symphonies and his carry on that tradition in a distinctive way. Thus, these pieces use older forms (including a Passacaglia to end the 6th symphony a la Brahms' 4th) and counterpoint abounds. However, Chavez's spare yet original orchestral palette (combining unlikely sonorities) and edgy (but not atonal) harmonic sense rewrite the romantic symphony in a new way. Don't expect the warm, lush sound of Brahms, even in Chavez's so-called Romantic symphony. Instead, expect pieces that meld colorfulness (but not impressionism) with a certain severity. It's an odd mix, but Chavez makes it work and it produces music that is very distinctive.
This is very high quality music and it should be in your collection. Still, I hope some enterprising young conductor will take up Chavez's cause soon and give us another cycle (along with recording of Chavez's various concerted works). He deserves to be heard.
Spectacular.......2000-05-18
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Medtner: Complete Piano Sonatas, Forgotten Melodies / Hamelin
Marc-Andre Hamelin Manufacturer: Hyperion UK ProductGroup: Music Binding: Audio CD All Works by Medtner
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ASIN: B00000DG21 Release Date: 1998-10-27 |
Tracks:
- Sonata In F Minor Op. 5: Allegro
- Sonata In F Minor Op. 5: Intermezzo: Allegro
- Sonata In F Minor Op. 5: Largo divoto
- Sonata In F Minor Op. 5: Finale: Allegro risoluto
- Zwei Marchen Op. 8: Andantino
- Zwei Marchen Op. 8: Allegro
- Sonaten-Triade Op. 11: No. 1 In A Flat Major
- Sonaten-Triade Op. 11: No. 2 In D Minor (Sonata-Elegy)
- Sonaten-Triade Op. 11: No. 3 In C Major
Tracks:
- Sonata In G Minor Op. 22: Tenebroso, sempre affrettando - Allegro assai - Interludium (Andante lugubre) - Allegro assai
- Sonata-Skazka In C Minor Op. 25 No. 1: Allegro abbandonamente
- Sonata-Skazka In C Minor Op. 25 No. 1: Andantino con moto
- Sonata-Skazka In C Minor Op. 25 No. 1: Allegro con spirito
- Sonata In E Minor 'Night Wind' Op. 25 No. 2: Introduzione: Andante - Allegro
- Sonata In E Minor 'Night Wind' Op. 25 No. 2: poco e poco Allegro molto sfrenatamente, presto
Tracks:
- Sonata-Ballada In F Sharp Major Op. 27: Allegretto
- Sonata-Ballada In F Sharp Major Op. 27: Introduzione: Mesto
- Sonata-Ballada In F Sharp Major Op. 27: Finale: Allegro
- Sonata In A Minor Op. 30: Allegro risoluto - Allegro molto
- Vergessene Weisen (Forgotten Melodies) Op. 38: No. 1 Sonata-Reminiscenza: Allegretto tranquillo
- Vergessene Weisen (Forgotten Melodies) Op. 38: No. 2 Danza graziosa: Con moto leggiero
- Vergessene Weisen (Forgotten Melodies) Op. 38: No. 3 Danza festiva: Presto
- Vergessene Weisen (Forgotten Melodies) Op. 38: No. 4 Canzona fluviala: Allegretto con moto
- Vergessene Weisen (Forgotten Melodies) Op. 38: No. 5 Danza rustica: Allegro commodo
- Vergessene Weisen (Forgotten Melodies) Op. 38: No. 6 Canzona serenata: Moderato
- Vergessene Weisen (Forgotten Melodies) Op. 38: No. 7 Danza silvestra
- Vergessene Weisen (Forgotten Melodies) Op. 38: No. 8 Alla Reminiscenza: Quasi coda
Tracks:
- No. 1 Meditazione: Introduzione, quasi Cadenza - Meno mosso - Meditamente
- No. 2 Romanza: Meditamente
- No. 3 Primavera: Vivace
- No. 4 Canzona matinata: Allegretto cantando, ma sempre con moto
- No. 5 Sonata tragica: Allegro non troppo
- Sonata In B Flat Minor 'Sonata Romantica' Op. 53 No. 1: Romanza: Andantino con moto, ma sempre espressivo
- Sonata In B Flat Minor 'Sonata Romantica' Op. 53 No. 1: Scherzo: Allegro
- Sonata In B Flat Minor 'Sonata Romantica' Op. 53 No. 1: Meditazione: Andante con moto
- Sonata In B Flat Minor 'Sonata Romantica' Op. 53 No. 1: Finale: Allegro non troppo
- Sonata In B Flat Minor 'Sonata Minacciosa' Op. 53 No. 2: Allegro sostenuto
- Sonate-Idylle In G Major Op. 56: Pastorale: Allegretto cantabile
- Sonate-Idylle In G Major Op. 56: Allegro moderato e cantabile
Amazon.com
Nikolai Medtner's chums at the Moscow Conservatory included Scriabin and Rachmaninoff. Like them, he was a brilliant pianist. Also like them, he composed an extensive body of distinguished piano music, most of which is relatively unknown. Its style resembles that of Rachmaninoff (who greatly admired it), although it lacks the latter's memorable melodies. Technically, it is just as difficult, requiring not only great fluency and endurance but also a wide range of colors. Marc-André Hamelin's prodigious technique makes him an ideal interpreter of Medtner's strong, clearly chiseled structures. His ability to play even the most complex and difficult passages at an even pace helps delineate and clarify them. Excellent recorded sound. --Paul TurokCustomer Reviews:
Wow!.......2007-07-14
Martin
Medtner's piano music is a strong, major addition to the piano standard repertoire, for both listener and performer. Beautiful........2007-05-02
For comparative listeners, Geoffrey Tozer's boxed Medtner-sonatas set includes the complete Forgotten Melodies (I-III), not only I and II (Hamelin), but in the sonatas Hamelin plays with much more verve, drive, energy and speed. However, in the past years I tend to listen more of TozerPlayingMedtner...simply because he has been recording the complete Medtner solo music (prospected 9 volumes on Chandos) and I really enjoy the wealth of non-sonata music by Medtner which is less complex, of lighter content and much easier to understand. Many pianophiles whom I borrowed the Hamelin album thought that these sonatas were way too dense and heavy, yet in the end they fell in love with Medtner, too, when listening to his non-sonata pieces (Fairy Tales, etc.). They have become Medtner fans, yes!
As for my part, after having listened to Medtner sonatas for almost ten consecutive years, I somehow obtain the feeling that his other solo piano music is more enjoyable on a long-term basis. I cant listen to the sonatas nearly any more but I experience still lots of pleasure, fun and enjoyment listening to his other pieces. So thanks Hamelin for the convincing introduction to Medtner's world, and even more thanks to Tozer on Chandos (and Hamish Milne on CRD) for making this world my new home.
but it IS unjust;.......2006-10-03
listen to medtner's music and be blown away by the intricacy and intimacy of his music. the density, the poignant lyricism. counterpoint unfolds and reveals music that is ten times more dense than rachmaninoff's (possibly excluding rach's 2nd and 3rd piano concerto).
you hear explosive genius, innovations, and emotions. a different trajectory from scriabin's music - not apocalpytic, but more rustic. more pastoral and fairy-like, if not as charged with pathos.
if you are a fan of piano music, or just keyboard music as a whole, if you're looking for something sexy, medtner's sonatas are the answer.
and hamelin's playing, i presume, does not need my vouching.
the war is Iraq is unjust.......2004-09-08
contra drollere.......2004-06-23
I can understand that on first listen this music (like a great deal of classical music) may be difficult to parse -- to break into meaningful paragraphs and sentences, so to speak. And I know first-hand that when one can't yet hear the phrase structure in a piece of music, it tends to sounds like, yes, a long drum solo; it sounds like the music is attempting to express itself solely through superficial, local effects. drollere's review is actually a lovely, well-written description of the experience of listening to music without knowing how to parse it. One hears only "chords," "scales," "arpeggios," "melodies," and is aware that things seem to "change...every 20 seconds or so." In fact, listening to music this way - a bit like listening to the rise and fall of an actor's voice without being able to make out the words - often tends to give one an exaggerated impression of the surface effects, which I think must account for drollere's belief that this music is best characterized as "virtuosity for its own sake." Assessments like "the kinetic equivalent of serialism" and "a musical rubik's cube" really have nothing to do with Medtner - they just describe the general phenomenon of a piece of music being meaningless to a listener, in the truly musical sense of the word "meaning."
I was struck by these things, reading drollere's review, because they were so familiar to me: I am often frustrated by how long it takes me to come to terms with the form (and through it, substance) of a new musical work; sometimes it seems like I can listen to a piece 20 times and not yet know how to parse it. Frustrating indeed, because I, unlike drollere, know that at that point I'm still not qualified to form an opinion of the music. In a very real sense, I still haven't heard it. I might form an opinion about the fact that the music is still opaque to me (e.g. "I'm putting in an attentive, good faith effort to make sense of this music, so I declare that if I still don't know what's up after 20 listens, the composer isn't doing his/her job") but I'm simply not in a position to say anything about the composer's musical or aesthetic intentions or accomplishments. The composer didn't write the "drum solo" that I hear - it's just the raw data stream, not yet decoded by my brain, and as such isn't a work to be reviewed.
The irony of drollere's review is that the most outstanding aspect of this music, in exact opposition to what drollere says, is its "emotionally or imaginatively involving musical structure." Medtner's handling of sonata form is astounding - if you don't believe me or can't hear it, get a copy of the score and give yourself the assignment of breaking down the structure of one of the longer movements - the first piece I encountered was Op. 22, which is a good warm-up for the really sprawling ones, Op. 25/2 and Op. 53/2. I promise you that by the time you've gone through the purportedly tedious task of actually identifying the different themes and their recapitulations, noting thematic relationships, etc. etc., you'll realize how strong these pieces are, how exquisitely they fuse profound, heartfelt emotion with ingenious development - and then you'll be ready to listen again and hear it all. Or at least more of it. "What are the rewards of repeated listening?" indeed. Perhaps since July 28, 2003, drollere has found out the answer to that question, in which case I hope s/he will return and clean up around here. I just hate to think that anyone will be turned off to Medtner by a well-written but utterly rash review. Trust me: this is the real thing. The music is, if anything, better than the hype. Do not be dissuaded.
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Villa-Lobos: Bachianas Brasileiras No. 4
Manufacturer: Naxos ProductGroup: Music Binding: Audio CD Waltzes
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ASIN: B0002JEG4U Release Date: 2004-09-21 |
Album Description
Heitor Villa-Lobos was fiercely independent of any one compositional style or influence. The present volume offers three single works and four cycles or suites. Bachianas Brasileiras No. 4, heard on this recording in its original version for piano, interprets the legacy of J.S. Bach in the light of very specific features of Brazil's traditional music. Children's Carnival and Francette et Piá, the story of a little Indian boy from Brazil who went to France and met a French girl, are two of several collections inspired by or written for children.Customer Reviews:
A Continuation of This Wonderful Series.......2004-10-10
The eight-movement 15-minute suite 'Carnaval das Crianças' ('Children's Carnival') whose miniatures include such titles as 'The Little Pierrot's Pony,' 'The Masked Boy's Pranks,' and 'The Fife of a Precocious Daydreamer,' is overtly Brazilian in tone and is virtuosic; amazingly, it was intended for young students in Marquerite Long's class at the Paris Conservatoire--those children must have been little prodigies! Rubinsky catches both the rhythmic complexities and the childlike tone of the suite. An early piece, 'Francette et Pía,' (also fifteen minutes long) was also written for children and seems more appropriate for intermediate students. It tells the story of a Brazilian Indian boy who goes to France, falls in love with a little French girl (represented wittily by a variation on 'Auprès de ma blonde'). The final piece of each of these suites is for piano duet (one piano, four hands). In these Rubinsky is joined by Tatjana Rankovich.
'A Fiandeira' ('The Spinner') is a tiny but technically very difficult depiction of its title and features fleet filigree accompaniment both under and over a sweet and lyrical melody. 'Simples Coletânea' ('Simple Collection') is a very early (1917) suite of three character pieces entitled 'Mystic Waltz,' 'In an Enchanted Cradle,' and 'Round Dance.' They are more obviously influenced by French impressionism than the later works. 'Round Dance' in particular is delightful and reminds one of the two-handed moto perpetuo arpeggios so familiar in Debussy's 'Doctor Gradus ad Parnassum' from his 'Children's Corner Suite.'
The final piece here is the four-minute 'Valsa Romântica' which, like the 'Poema Singelo,' has an extremely beguiling melody that is supported by a suave waltz accompaniment. A fitting end to an entirely satisfying disc.
Strongly recommended for anyone who loves Villa-Lobos's music and for those who want an entrée into his piano music.
TT=69:53
Scott Morrison
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Romantica
Luna Manufacturer: Jet Set Records ProductGroup: Music Binding: Audio CD General
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ASIN: B000063IV1 Release Date: 2002-04-23 |
Tracks:
- Lovedust
- Weird And Woozy
- Black Postcards
- Black Champagne
- Swedish Fish
- Renee Is Crying
- Mermaid Eyes
- 1995
- Rememories
- Dizzy
- Orange Peel
- Romantica
Amazon.com
You've got to credit Dean Wareham--he knows what he does best. On Luna's sixth studio album, the former Galaxie 500 singer-songwriter continues to mine inspiration from the same triumvirate of moody guitar bands he has always coveted: Television, the Velvet Underground, and the Soft Machine. But it's hard to complain when the results are as engaging and euphoric as Romantica. Buoyed by chiming chords, sweeping melodies, and that distinctive soft-focus voice, songs like "Black Champagne" and "Rememories" are among some of his finest compositions to date. On the latter, Wareham sings, "It's been a long long long..." But with him, the journey has rarely been dull. --Aidin VaziriAlbum Description
2002 release on Jetset. 12 tracks including 'Lovedust' & 'Weird & Woozy'.Customer Reviews:
Solid CD from Luna.......2005-03-10
Time for retirement.......2003-11-30
Better than ham.......2003-05-06
Classic.......2003-02-10
Finally! They're back........2002-12-19
If not for the lovely little miracle of college radio and being able to preview the album online, there is no way I would have ventured forth to expereience what is in my mind the best album I've heard in years. It ranks along side their best recording, which I believe was "Bewitched", and better than "Penthouse" and "Lunapark" which, in turn, are better than just about any other album out there.
Where to start? Why at the beginning of course. I can't help to think that the songs on Romantica in someway mirror those on Bewitched. "Lovedust" reminds me in its sweet, bouncy manner of "California" from the latter album. Both are classic little ditties. "Black Champagne" is a more rich, textured and complex lovesong than "Bewitched" but both rank as my favorite compositons from this band.
Overall, from start to finish Romantica is light, airy and melodic. The hooks are sharp, and Dean's lyrics remain delightfully inscrutable. I continue to enjoy this album as it evolves over time in different seasons and environments and you will too.
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Ponce: Guitar Sonatas
Jason Vieaux Manufacturer: Azica ProductGroup: Music Binding: Audio CD General
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ASIN: B00006YXAQ Release Date: 2002-10-22 |
Customer Reviews:
Heartfelt and immaculate playing.......2006-10-26
By the way, I'm puzzled by the reviewer who called this recording "a little mechanical." Vieaux is far removed from the many guitarists who are more marksmen than musicians. With all the positive reviews posted about this recording, it's odd that Amazon spotlights a tepid review that overlooks the lyricism so obvious in Vieaux's playing.
In sum, excellent music beautifully played.
EL MEJOR CD DE LA OBRA DE PONCE PARA GUITARRA!!!.......2006-03-12
A little mechanical, but worth a listen.......2004-09-12
Personally, I'd like to hear Vieaux record Eric Sessler's Sonata, since it was written for him.
Raising the Standards for Classical Guitar.......2003-06-16
Virtuosity and Musicianship at its highest.......2002-12-08
Vieaux's deep understanding of each piece is communicated almost effortlessly (deceivingly so) with a pallet of sonorities that are almost unbelievable. There are suggestions of a solo oboe or flute, the jangle of a harpsichord, and the whispering of an Aeolian harp throughout the CD. Vieaux's concept of phrasing and structure is flawless, and the sound of the CD puts you up-close-and-personal, yet is always natural.
Having had the pleasure of hearing and seeing him perform in person, I can confidently say that this CD is an accurate portrayal of a magnificent young artist whose career will no doubt break new ground for the genre. You won't regret purchasing this CD!
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