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Christopher Breunig  |  Dec 08, 2010
This offers a very different kind of listening experience from the classic Mercury Firebird with LSO/Dorati. There both sound and performance are upfront, confrontational (albeit exciting); Nelsons goes in for subtlety with soft playing that’s almost inaudible – the subject-matter is unmistakable with the ‘fluttery’ textures he achieves. The sound has an altogether more natural concert hall perspective too. Evidently performed with a very large chorus, the Symphony makes a complete contrast: taking us away from Stravinsky’s colourful Diaghilev period to a 1930 Koussevitzky commission with Latin texts and austere orchestration.
Christopher Breunig  |  Dec 10, 2010
Dorati’s extensive experience as a ballet conductor is set out in his Notes Of Seven Decades. He left a substantial Mercury catalogue – the late producer Wilma Cozart Fine had once been his secretary – with his complete LSO Firebird (Watford Hall, 1959) ever after an audiophile choice. One hopes Speakers Corner will issue it separately. The Minneapolis Le Sacre, excitingly fast, has an air of authority.
Christopher Breunig  |  Dec 10, 2010
In 1988/9 former HFN writer Andrew Keener produced the Peter Donohoe recordings for EMI – Nigel Kennedy/Steven Isserlis, no less, in 2(ii). He’s worked with Stephen Hough since his Virgin Classics debut and these Minnesota recordings form Hyperion’s 50th set in its ‘Romantic Piano Concerto’ series. We have the full length slow movement for No. 2, but also the disparaged Siloti cut edition and another of the pianist’s own devising.
Christopher Breunig  |  Dec 10, 2010
Similar in spirit to Alice Harnoncourt’s groundbreaking Teldec Seasons (1997), the Berlin group gives a real edge to Vivaldi’s pictorial writing here, yet with tranquil moments in the introduction to ‘Summer’ and ‘Autumn’ (ii). Sledgehammer D-minor discordancy launches ‘Chaos’ in the coupled ten-track 1737 score, Rebel’s nouvelle symphonie for dancers/orchestra. Continually inventive, with mechanical nightingales, a hunt scene, ‘Tambourins’, ‘Warblings’ for piccolos/violins, etc, this is not music of great substance yet it’s still worth knowing. Translucent sound and, as ever, superlative execution.