Feb 2015 – Alto CD

Mussorgsky: Pictures at an Exhibition – Stravinsky: Petrushka (1911)

amuletts — Wed, 31 Jan 2024 23:42:12 +0000

“Mackerras evokes atmosphere in every piece, with more consciously dramatic attack, more pointing of rhythm, more swagger in the playing. An admirable account with really brilliant and incisive playing-in Gnomus, for instance. The acoustic in general sounds very well and the performance is both imaginative and really well-played.”(Gramophone) (Petrushka) “qualities of confidence and finesse that mark out Mackerras’s work in the studio … he seems to have taken naturally to working at full intensity before the microphones” (Gramophone) “Audio buffs will relish the wide dynamic range of these recordings – made in 8-track sound – a fascinating listening experience.” (classicalcdreview.com)

Mussorgsky (orch. Ravel): Pictures at an Exhibition [31:44]

[1] Promenade – Gnomus 3:42
[2] Promenade – Il Vecchio Castello 5:03
[3] Promenade – Tuileries – Bydlo 4:16
[4] Promenade – Ballet of the Unhatched Chicks – Two Jews 4:03
[5] Limoges Market – Catacombae – Con Mortuis 6:02
[6] Baba Yaga (Hut on Fowls’ Legs) 3:11
[7] The Great Gate of Kiev 5:23
[8] Mussorgsky: Khovanshchina (Prelude) ‘Dawn over the Moscow River’ 5:22

Stravinsky: Petrushka [34:20]

[9] Part I: The Shrovetide Fair – The Crowds 5:13
[10] The Charlatan’s Booth – Russian Dance 4:40
[11] Part II: Petrushka’s Cell 4:11
[12] Part III: The Moor’s Room – Dance of the Ballerina –
The Ballerina and the Moor 6:49
[13] Part IV: The Shrovetide Fair (near evening) – Dance of the Wet Nurses
– Dance of the Peasant and the Bear – Dance of the Gypsy Girls 6:13
[14] Dance of the Coachmen and Grooms – The Masqueraders –
Petrushka’s Death 7:11

Lusty Broadside Ballads & Playford Dances of 17th Century England

amuletts — Wed, 31 Jan 2024 23:42:12 +0000

“nearly flawless: singing is not flashy, but genuinely well executed … playing is solid and infectious … songs are well selected and intelligently ordered – as if it could have been plucked from a tavern 350 years ago …. Throughout, there is an infectious joy expressed in the four-part harmonies. There are songs here that make the listener want to jump and dance a merry jig” (MusicWeb) “City Waites give us a taste of the broadside ballad culture which pervaded the Restoration years … and instrumental numbers from well-known anthologies like Playford’s Dancing Master … whilst other numbers have been dredged up straight from the 17th-century gutter” (Gramophone)

[1] Bobbing Jo 1.25
[2] Brooms for old shoes 1.38
[3] The Traders Medley 2.31
[4] Diddle diddle (Lavenders Green) 2.41
[5] We be Soldiers Three 1.26
[6] Branles 4.58
[7] The Three Ravens 2.57
[8] Tomorrow the Fox will come to Town 2.30
[9] My dog and I 4.06
[10] The Merry, merry Milkmaids 1.42
[11] Newcastle 1.53
[12] The Northern Lassies Lamentation (Oak & The Ash) 2.56
[13] The Jovial Broom Man 3.01
[14] Nine Pins/Jenny Pluck Pears/Half Hanekin 4.20
[15] The Baffled Knight 3.42
[16] Paul’s Wharf 2.01
[17] Tobacco is an Indian Weed 3.10
[18] You lasses and lads 1.39
[19] Jockey’s Lamentation (Over the hills & far away) 4.20
[20] Blue Cap 1.17
[21] The Crossed Couple 3.50
[22] The Farmer’s Cursed Wife (Lillibulero) 4.38
[23] Lumps of Pudding 2.41
[24] The Broom of the Cowdenowes 2.59
[25] The Chirping of the Lark/Parsons Farewell 2.09

Nicolai Gedda: “The Cosmopolitan Tenor”

amuletts — Wed, 31 Jan 2024 23:42:12 +0000

“Gedda’s success in so many areas is a tribute to his professionalism. Harold Rosenthal reviewing Gedda’s Carmen’ wrote ‘He is not, of course, a dramatic tenor, nor is he French; but he is probably the best tenor singing in French opera today’ (Opera) … Gedda’s performance of Bizet’s Flower Song was described by John Steane as ‘dramatised afresh…a ‘lived’ and re-created experience’. The stylish Gedda excelled in Mozart and often performed Così fan tutte and Don Giovanni demonstrating a familiarity anything but routine …remaining tracks are from the classic operetta recordings made under Walter Legge” (James Murray)

1. Mes amis, écoutez l’histoire (Le Postillon de Lonjumeau:Adam) 3.49
2. Aubade: Puisqu’on ne peut fléchir…Vainement …(Le Roi d’Ys:Lalo) 3.19
3. Elle ne croyait pas (Mignon:Thomas) 3.32
(3 above with French National Radio Orchestra / Georges Pretre, 1962
4. Quel trouble inconnu…Salut! Demeure chaste et pure (Faust:Gounod) 5.40
Orchestra of Paris Opera /André Cluytens, 1953
5. Je crois entendre encore (Les Pecheurs de Perles:Bizet) 3.30
6. Pourquoi me révillier? (Werther:Massenet) 2.49
(2 above with Philharmonia Orchestra / Alceo Galliera, 1953
7. Flower Song: La fleur qui tu m’avais jetée (Carmen:Bizet) – 4.47
with Paris Radio Symphony Orchestra / Sir Thomas Beecham, 1958
8. J’ai perdu, mon Euridice (Orphée et Euridice:Gluck) – 4.05
with Paris Conservatoire Orchestra / Louis de Froment, 1957
9. Una furtiva lagrima (L’Elisir d’Amore:Donizetti) – 3.55
10. Lensky’s Aria (Eugene Onegin:Tchaikovsky) – 6.13
(2 above with Philharmonia Orchestra / Alceo Galliera, 1953
11. Brother, in the Darkness (A Life For The Tsar:Glinka) – 6.17
with the Lamoureux Orchestra / Igor Markevitch, 1957
12. Un’aura amorosa (Cosi fan tutte:Mozart) – 4.25
with the Paris Conservatoire Orchestra / André Cluytens, 1958
13. Il mio Tesoro (Don Giovanni:Mozart) – 4.15
with the Lamoureux Orchestra / Hans Rosbaud, 1956
14. Ach so fromm (Martha:Flotow) – 3.19
with Philharmonia Orchestra / Alceo Galliera, 1953
15. Als flotter Geist (Der Zigeunerbaron:J.Strauss II) Rec 1958 – 2.32
16. Sei mir gegrusst du Holdes Venezia (Eine Nacht in Venedig:J.Strauss II) 2.23
17. Ich trete ins Zimmer…Immer nur lächeln (Land des Lächelns:Lehár) 4.24
18. Dein ist mein ganzes Herz (Das Land des Lächelns:Lehár) (1953) 3.30
(4 above) with Philharmonia Orchestra / Otto Ackermann T.16: 1954; 17-18: 1953

Tartini: The Devil’s Trill* & Violin Concertos D12, D51, D80, D115

amuletts — Wed, 31 Jan 2024 23:42:12 +0000

“Few will be disappointed either by the music or the performances. The dance-like character of many of the outer movements is an attractive feature of Tartini’s concertos and the slow movements are affectingly expressive. Good recitals of Tartini are (few) …This can be confidently recommended to specialists and to readers with wider interests.” “The Auvergne Orchestra are not a period instrument ensemble but demonstrate a lively and playful rapport with late baroque music … performances are full of vitality and caprice. Nikolitch is constantly aware of the underlying poetry, above all in slow movements. Sometimes,Tartini would provide an alternative slow movement. Two such concertos are in this programme, and, happily, Nikolitch gives us both (alternatives).” (Gramophone)

[1] I. Allegro 5:10
[2] II. Andante ‘Felice età dell’oro’ 3:36
[3] III: Allegro assai 4:26
[4] IV. Appendix: Grave secondo – Andante larghetto ‘Misero pargoletto’ 3:23
Concerto in A minor, D115 (14:44)
[5] I. Andante cantabile – Allegro assai 4:58
[6] II. Andante cantabile 4:57
[7] III: Presto 4:48
Concerto in G major, D80 (17:03)
[8] I. Allegro non presto 5:49
[9] II. Andante 4:10
[10] III: Allegro assai 3:04
[11] IV. Appendix: Grave 3:59
Concerto in E major, D51 (12:39)
[12] I. Allegro (moderato) 5:40
[13] II. Adagio ‘Tortorella bacie…’ 2:55
[14] III. Allegro (con brio) 4:03
Sonata in G minor “Devil’s Trill” (rec 1957 stereo) (15:11)
[15] Larghetto affetuoso – Allegro 6:50
[16] Grave – Allegro assai – Grave – Allegro assai – Grave 4:52
[17] Allegro assai – Adagio 3:28

Carl Nielsen (1865-1931) Complete Concertos

amuletts — Wed, 31 Jan 2024 23:42:12 +0000

“The Violin Concerto here appears packed with uproarious character and dreamy but not overheated fantasy. Matsuyama spares nothing in her commitment and her projection of character. This collection is from a repertoire point of view a natural coupling at bargain price. New-comers will do themselves no harm at all by snapping it up” (MusicWeb) “…stunning performance of Nielsen’s still too little known Violin Concerto…..soloist attacks that last movement with an uplifting rhythmic lilt and a certain rustic vigour … (she) adapts perfect intonation and fearlessly conquers the first movement’s virtuoso passages. Given a perfectly idiomatic accompaniment… the result is as fine a version as any.” (©David Hurwitz in Classics Today).

Violin Concerto: Saeka Matsuyama [34:29]
Odense Symphony Orchestra, conductor Jan Wagner

[1] Praeludium (Largo) – Allegro cavalleresco 18:24
[2] Poco adagio – Rondo (Allegro scherzando) 16:05

Clarinet Concerto: John McCaw [25:36]
New Philharmonia Orchestra, conductor Raymond Leppard

[3] (4 sections, one movement) 25:32

Flute Concerto: Jennifer Stinton [17:43]
Scottish Chamber Orchestra, conductor Steuart Bedford

[4] Allegro moderato 10:37
[5] Allegretto-adagio ma non troppo – allegretto
– tempo di marcia

7:06

Myaskovsky Complete Piano Sonatas & short pieces

amuletts — Wed, 31 Jan 2024 23:42:12 +0000

“McLachlan writes of the “enormous tactile pleasure” for the performer…his playing is both authoritative and persuasive … these sonatas are of interest and substance” (Penguin Guide of disc 2 when issued alone). “the (sonatas) are valuable for rounding out the picture of the Russian late-romantic tradition, and the brief intersections with early Prokofiev (No.I) and French pastoral style (No.6) are noteworthy. The piano writing is strong and idiomatic, and McLachlan a worthy exponent – lucid, tasteful and well prepared … all in all this is a welcome and recommendable issue” (Gramophone)

Disc One ALC 2506 A: time: 74:28
Sonata No.1 in D minor, Op.6 (29:24)

- [1] I. Moderato assai ed espressivo 3:53
  [2] II. Allegro affanato 7:01
  [3] III. Largo espressivo 8:48
  [4] IV. Non allegro – Allegro 9:42
  [5] Sonata No.3 in C minor, Op. 19 13:17
- Con desiderio, improvisato – Moderato con moto, stentato,
  ma sempre agitato

Sonata No.6 in A flat major, Op.64 No.2 (18:10)

- [6] I. Allegro ma non troppo 6:16
  [7] II. Andante con sentimento 5:40
  [8] III. Molto vivo – Allegro non troppo ma con anima 6:14
  [9] Sonata No. 2 in F Sharp minor, Op.13 13:36
  Lento, ma deciso – Allegro affanato

Disc Two ALC 2506 B: time: 73:27
Sonata No.4 in C minor Op.27 (revised version) (28:13)

- [1] I. Allegro moderato 12:34
  [2] II. Andante non troppo quasi Sarabanda 8:16
  [3] III. Allegro con brio 7:23

Sonatine in E minor, Op.57 (17:17)

- [4] I. Moderato 7:39
  [5] II. Narrante e lugubre 6:04
  [6] III. Molto vivo ed agitato 3:34

Sonata No.5 in B major Op.64 No.1 (revised version) (21:12)

- [7] I. Allegretto 5:19
  [8] II. Largo espressivo 6:28
  [9] III. Vivo 3:00
  [10] IV. Allegro energico 6:25
  [11] Prelude & Rondo-Sonata, Op.58 ‘Song & Rhapsody’ 7:01

Disc Three ALC 2506 C: time: 74:06

- [1] Rondo-Snata oin B flat minor, Op.58 5:48

Sonata No. 8 in D minor, Op. 83 (13:09)

- [2] I. Barcarolle-Sonatina (Allegretto) 6:00
  [3] II. Song-Idyll (Andante cantabile) 3:44
  [4] III. Chorale-Rondo (Vivo) 3:25

Sonata No. 9 in F major, Op. 84 (11:57)

- [5] I. Sonatina in the light manner (Allegro non troppo) 3:52
  [6] II. Narrative (Andante sostenuto) 5:13
  [7] III. Unrestrained Aspiration (Vivo) 2:52

Reminiscences, Op.29 (15:57)

- [8] I. Andante semplice 1:50
  [9] II. Vivace e fantastico 2:21
  [10] III. Largo con afflitto 3:14
  [11] IV. Allegretto malinconico 2:33
  [12] V. Lentamente 3:08
  [13] VI. Poco allegro 2:51

Sonata No.7 in C major, Op. 82 (10:19)

- [14] I. Sonata (Allegro moderato) 4:21
  [15] II. Elegy (Andante pensieroso) 3:27
  [16] III. Dance-Rondo (Allegro giocoso) 2:31

Yellowed Leaves, Op.31 (13:24)

[17] I. Andante 2:27
[18] II. Un poco sostenuto malinconico e abbandonamente 2:42
[19] III. Andante cantabile 1:03
[20] IV. Molto vivace e fantastico 2:03
[21] V. Molto calmo ma non troppo lento 2:30
[22] VI. Vivo 2:39
[23] Scherzo from String Quartet No.5 (trans. A. Aliawdina) 3:21

‘When I Fall in Love’ The Original Hits of Nat King Cole

amuletts — Wed, 31 Jan 2024 23:42:12 +0000

“One of the most romantic of all vocal styles, accompanied usually with inimitable crafted arrangements by legends such as Nelson Riddle, Billy May, Pete Rugolo, Gordon Jenkins, Ralph Carmichael, Dave Cavenaugh or Les Baxter.” (MusicalMerit)

1 When I Fall In Love (Young/Hayman) Gordon Jenkins/Orchestra (1956) 3:09
2 Tenderly (Grosz/Lawrence) with Nelson Riddle Orchestra 1958 2:54
3 Ramblin’ Rose (M & J. Sherman) (Belford Hendricks/Orchestra,1962) 2:47
4 Unforgettable (Gordon) with Nelson Riddle Orchestra (1951) 3:09
5 Mona Lisa (Livingston/Evans) with Les Baxter Orchestra 1950 3:14
6 Too Young (Lippman/Dee) with Les Baxter Orchestra (1951) 3:10
7 Answer Me (Rauch/Sigman/Winkler) 1961 2:54
8 Let’s Face the Music and Dance (Irving Berlin) 1961 2:25
9 Darling, Je Vous Aime Beaucoup (Sosenko) Nelson Riddle Orch (1953) 2:49
10 Let There Be Love (Rand/Grant) with George Shearing Quintet (1961) 2:44
11 Stardust (Carmichael/Parish) (Gordon Jenkins/Orchestra, 1956) 3:13
12 Pretend (Douglas/Levere/Parman) / with Nelson Riddle Orchestra (1952) 2:41
13 Smile (Chaplin/Parsons/Turner) Nelson Riddle Orch (1954) 2:52
14 Nature Boy (Ahbez) with Frank Devol and Orchestra (1947) 2:38
15 Lush Life (Strayhorn) (Strayhorn) with Orchestra /Pete Rugolo (1949) 3:16
16 Orange-Coloured Sky (Stein/De Lugg) with Stan Kenton Orchestra (1950) 2:35
17 Somewhere Along the Way (Adams/Gallop) / (1952) 2:51
18 Because You’re Mine (Brodsky/Cahn) / Nelson Riddle Orchestra, 1952 3:11
19 Faith Can Move Mountains (Raleigh/Wood) Nelson Riddle Orch (1952) 3:11
20 Can’t I? (Lovett) 1957 3:13
21 A Blossom Fell (John/Cornelius/Barnes) Nelson Riddle Orch,1954 2:31
22 Autumn Leaves (Kosma/Prevert/Mercer) Nelson Riddle Orch,1953 2:38
23 That’s You (Riddle/Conn/Gallop) with Nelson Riddle Orch, 1960 2:35
24 Mother Nature and Father Time (Twomey/Wise/Wiseman) 1953 3:09
25 Too Young to Go Steady (McHugh/Adamson) 1955 2:51
26 The Christmas Song (Torme/Wells) / Nat King Cole Trio (1947) 3:12
BONUS TRACK

Rachmaninov: Symphony No.2 in E minor (UNEDITED)

amuletts — Wed, 31 Jan 2024 23:41:51 +0000

“sings the socks off most versions and stands out from the crowd. I guarantee this will rekindle that first fresh shimmer of discovery, that tremor of the heart, that spine-tingling indicator that tells you what it was to live the recreation of this music.” (MusicWeb) “plenty of vitality…big string melodies blossoming voluptuously, the slow movement, after a beguiling opening clarinet, has a climax of spacious intensity, its power almost overwhelming….a most satisfying account” ((c) Penguin Guide 3 stars) “in this great Symphony he emphasizes the Tchaikovskian inheritance … a spacious reading on the biggest scale, the ebb and flow of rubato and tension … always spontaneously convincing helped by the spectacularly ample recording with full bass and sumptuous strings. The brooding opening… under-pinned with Russian melancholy, immediately sets the romantic feeling” ((c) Gramophone)

[1] Largo-Allegro moderato 24:30
[2] Allegro molto 11:13
[3] Adagio 15:09
[4] Allegro vivace 15:20