"However, in contrast to Abbado's boring Berliners, Fischer's orchestra plays better, and he's much better recorded. Just listen to the characterful brass in the coda of the first movement, with a particularly fine first trumpet, or the splendid woodwinds in the trios of the scherzo. (…) for a legitimate alternative viewpoint you will find it difficult to do better than this." ~classicstoday
Following the Artemis Quartet‘s prizewinning Beethoven Quartet cycle on Virgin Classics, the Berlin-based ensemble has recorded Schubert’s last three quartets, works that Artemis cellist Eckart Runge praises for both their “incredible simplicity and purity” and their “almost terrifying modernism”. Awarded both Germany‘s prestigious Klassik ECHO award and France’s Grand Prix de l’Académie Charles Cros in 2011 for their Virgin Classics Beethoven cycle, the members of the Artemis Quartet now release an all-Schubert CD. It presents the composer’s final three string quartets: No 13 in A minor, ‘Rosamunde’ (which draws on his incidental music for Helmina von Chezy’s play Rosamunde); No 14 in D minor, ‘Death and the Maiden’ (with its haunting second movement based on his song Der Tod und das Mädchen), and No 15 in G major.
The second installment in Sakari Oramo's superb hybrid SACD cycle of the symphonies of Carl Nielsen on BIS presents the Symphony No. 1 in G minor and the Symphony No. 3, "Sinfonia espansiva," two ruggedly independent works that reflect the composer's late Romantic style yet point to the modernism to come. While the Symphony No. 1 was influenced by Brahms and offers a rich harmonic language, propulsive rhythms, and a fairly homogenous orchestral palette, the Symphony No. 3 is striking for its reliance on unfolding counterpoint and long-breathed lines, and most notable for the use of wordless parts for soprano and baritone voices in the pastoral slow movement. These performances by Oramo and the Royal Stockholm Philharmonic Orchestra are exceptional for their stunning power and spacious feeling, though the crisp details and focused sound quality will be the biggest draw for audiophiles.
Alicia Keys' debut album, Songs in A Minor, made a significant impact upon its release in the summer of 2001, catapulting the young singer/songwriter to the front of the neo-soul pack. Critics and audiences were captivated by a 19-year-old singer whose taste and influences ran back further than her years, encompassing everything from Prince to smooth '70s soul, even a little Billie Holiday. In retrospect, it was the idea of Alicia Keys that was as attractive as the record, since soul fans were hungering for a singer/songwriter who seemed part of the tradition without being as spacy as Macy Gray or as hippie mystic as Erykah Badu while being more reliable than Lauryn Hill. Keys was all that, and she had style to spare – elegant, sexy style accentuated by how she never oversang, giving the music a richer feel. It was rich enough to compensate for some thinness in the writing – though it was a big hit, "Fallin'" doesn't have much body to it – which is a testament to Keys' skills as a musician.
2007 release of a mammoth box set of 50 CD's with key recordings from the Angel/EMI Music classical catalog. Performers include Yehudi Menuhin, Jean-Pierre Rampal, Quatuor Hongrois, Heutling Quartet, Erich Leinsdorf, Jean-Philippe Collard & Augustin Dumay & Frdric Lodon, Christian Zacharias, Paolo Bordoni, Wolfgang Sawallisch, Geoffrey Parsons, Lucia Popp, Barbara Hendricks, Radu Lupu and many more.
Carl Czerny, one of Vienna’s most illustrious musicians, was Beethoven’s student and devoted friend. Renowned today for his piano treatises, he was also a prolific composer in almost every genre, but it is the music for his own instrument that has aroused the most curiosity. The Grand Concerto in A minor, a work both serene and spirited, is historically important as one of the first romantic concertos ever written. The lyricism and playful bravura of the Grand Nocturne Brillant is balanced by the delicious Rossini Variations de Concert.
Following his CPO recording with the Tapiola Sinfonietta of Anton Bruckner's Symphony in D minor, "Die Nullte," and the Symphony No. 1 in C minor, Mario Venzago presents the Symphony No. 2 in C minor, this time with the Northern Sinfonia. Unlike some contemporary conductors who favor the original 1872 version of this symphony, Venzago performs the more familiar 1877 version, edited by William Carragan. This is the first of Bruckner's symphonies where he expanded the form to an hour duration, and the fertile ideas it contains are appropriate to the greater time frame. Yet this work has never been accepted by audiences in the way most of the later symphonies have, such as the Fourth, Seventh, and Ninth, and the music falters over too many starts and stops, indecisive development, and repetitions. Even so, there is much attractive material here, and Venzago brings it off with a light touch, having the orchestra play delicately and sweetly, almost as if this were a Mendelssohn symphony.