The Nine Symphonies

Chamber Orchestra of Europe / Nikolaus Harnoncourt (Teldec 2292 - 46452 - 2)(5 CDs)
(Recorded from live performances June 29, July 1, 3, 5, 1990, and June 21, 1991)

The Beethoven nine symphonies are rightly regarded as monuments in the literature of classical music. Even the first two in the canon, which are of slightly lesser quality than those that followed, are strong compositions, full of wit and youthful energy.

In the Third, the "Eroica" (which means heroic), we hear unforgettable melodies within a boldly innovative musical structure. Beethoven expanded the first movement's development section (the part where themes are varied and developed, as if the composer were turning yesterday's leftovers into today's new dish), and revolutionized the symphony as a musical form. The Fifth, whose opening motto practically everyone knows (da-da-da-dahhh), continued to further develop the form. The finale (with instruments added) is generally regarded as the ushering in of the modern symphony in all its power and grandeur.

You've notice that I've skipped the Fourth. Well, it's a work with the misfortune of being sandwiched by two giant siblings. But it's a great piece still, muscular, energetic, and beautiful. The Sixth and Eight symphonies have likewise suffered in the shadow of the works surrounding them. The former is nicknamed "The Pastoral" because of its nature-evoking themes and bucolic moods; the latter, the shortest mature symphony, is joyful and vivacious. Neither is a lesser composition, but then neither is a powerful trail-blazing piece, like the odd-numbered works in the series.

With the Seventh we come to the symphonic apotheosis of dance. Its driving rhythms are infectious and ingeniously employed, its themes often noble. This is as bold a creation as the two preceding odd-numbered works, as well as the one that followed, the majestic Ninth. In this, the final symphony, the composition of a musician completely deaf by now, we see the form expanded once again, here to include four vocal soloists and a chorus in the grandiose finale, which fittingly crowns the series and brings this work to a precedent-shattering hour-plus length.

Nikolaus Harnoncourt demonstrates consistent interpretive insight in his phrasing and alertness to detail and nuance. I doubt you can find a set played with more vigor or more propulsiveness than you get here. Yet, never does anything sound rushed or awkward. There are many fine sets from conductors of the past like Toscanini, Szell, Karajan, Jochum and Bernstein, and from those of the present--Muti, Wand and Tilson Thomas. While no one can pick one set to satisfy all, this one by Harnoncourt can make its claim to stand with the best, not least because of the fine playing by The Chamber Orchestra of Europe and the utterly superb Teldec sonics, the best I've ever heard in the Beethoven nine. With this set--which, incidentally, received worldwide acclaim--you can't miss.

Written by Robert Cummings

Thomas Goeman (piano and organ) / James Litton (Music Director & conductor) (Angel 7243 5 55247 2 0)

It is rather peculiar that The American Boychoir, touted as "America's Premiere Concert Boys' Choir", is not as well-known as its celebrated European counterpart, The Vienna Boys' Choir. Judging from this brand new release, this fact is all the more puzzling.

This CD was released in February 1996 right after the success of its debut recording, Hymn. The interesting part of the new release is that unlike many other choral collections on the market, this one does not quite have a fixed theme running throughout the 49 minutes (which unfortunately is rather short measure these days). It is very much like listening to a concert, when the choir presents a varied repertoire. This is not a collection of Negro spirituals, madrigals, folk songs or classical tunes: it is in fact a mixed bag of goodies ranging from Ludovico Viadana's famous motet Exsultate Justi to Dvorak's Four Moravian Duets, op.38 to former pop-music icon Cyndi Lauper's big smash from the 80s, True Colors. While, admittedly, such a variety will not appeal to all tastes, but lovers of choral music and singing around the world will find it hard not to be touched and amazed by such fine singing. The choir's blend is just awesome - tight, homogeneous and above all, beautiful.

The opening track, Viadana's Exsultate Justi, more or less sets the tone for the entire concert, and is also an indication of what else to expect. It is grand and majestic, with sweetly angelic voices soaring in perfect harmony. (It is unfortunately a little slow, but never lethargic.) David Willcocks' Psalm 150 and Josef Rheinberger's Regina Coeli are other examples of such beautiful singing. We get a sneak preview into the choir's upcoming partnership with the all-male a cappella ensemble Chanticleer, possibly America's finest vocal ensemble, in Joseph Jenning's arrangement of Over Yonder, a spiritual that was part of a medley featured in the Chanticleer recording of spirituals called Where the Sun Will Never Go Down. Freedom Is Coming / Siyahamba and the finale, Sousa's The Stars and Stripes Forever (a cappella!!) are a tour de force, gutsy and full of conviction. The Sousa march is very interestingly arranged, and the vocal gymnastics of the singers is startlingly good. Two of Copland's American songs, the fun and energetic Ching-A-Ring Chaw and the exquisite Simple Gifts, head the section of American music.

That these boys are only between the ages of nine to fourteen is all the more amazing. As it is so aptly stated in the programme notes, this is a collection that exhibits "musical sophistication, rich sound, emotional power and imaginative programming of their choral art", something that has been nurtured and developed over the past six decades. A brilliant and wonderfully colourful experience!!

The digital recording is very good and clear, though the highly-reverberant acoustics of the Bristol Chapel in Princeton, New Jersey, which may suit the earlier classical pieces, is a little inappropriate for the more contemporary numbers.

Written by Lionel Choi

Ruralia Hungarica, Op.32b; Variations on a Nursery Tune, Op.25; Serenade in C (for string trio), Op.10

Istvàn Lantosl (piano, op.25) / Kovács, Bàrsony, Borvay (op.10) / Budapest Symphony Orchestra / György Lehel (Hungaroton White Label HRC 121)

The main flaws with this disc would seem to be its phenomenally ugly cover and the lack of separate cues for the Variations. Otherwise, this disc is an outstanding bargain in every sense of the word. Although I initially disliked the Ruralia Hungarica, its folksy and pastoral quality slowly grows on you. Quietly yet brilliantly orchestrated, Dohnanyi draws from Hungarian folk-songs and the results are exquisite and poetic. Lehel and the BSO play with considerable sympathy and vigour and it's hard to imagine improving on their performance.

The Variations on a nursery theme, which is the main reason why I got this disc, is probably Dohnanyi's most popular and famous work. The work has a dedicatory subtitle that goes "For the enjoyment of humorous people and for the annoyance of others". This is probably one of the most witty and humorous works I have ever encountered. It starts with great pomp and circumstance but abruptly regresses into the theme of the French children's song "Ah, vous dirai-je, Maman". The eclectic parodies and jokes in this work notwithstanding, it is nevertheless an extraordinary composition and is obviously written by a master. Lantosl immerses himself in this work and strikes a fine balance between exaggerated simplicity and overdone pompousness. He plays sparklingly and brilliantly though I think the recording could have benefited if the piano was a little less recessed.

After the comparatively romantic mood of the previous two works, it is a little shocking to hear the Serenade as it is written in a far more modern strain. My favourite movement of this string trio is the 'moto perpetuo'-sounding Scherzo which reminds me of Shostakovich. This is a work with many beautiful and charming moments, exuberant at times, and strangely nostalgic. It clearly deserves more prominence than it has received so far. The playing is spontaneous, of high calibre and leaves nothing to be desired.

This sound on this disc is good and well-balanced but could be a little more transparent. This disc represents a splendid bargain and should appeal to most people.

Written by Melvin Yap

Johannes Brahms (1833 - 1897)

Violin Concerto in D major, op.77

Felix Mendelssohn (1809 - 1847)

Violin Concerto in E minor, op.64

Anne-Sophie Mutter / Berlin Philharmonic Orchestra / Herbert von Karajan (DG 445 515 - 2)

It is indeed fantastic news to learn that Deutsche Grammophon has decided to release these two fantastic recordings together on one single CD, and better still, reissue them on their mid-price Masters series.

The Mendelssohn was one of the first recordings Anne-Sophie Mutter made after her celebrated recording of Mozart's Third and Fifth violin concertos, and it was popularly coupled with a slightly less distinctive reading of Bruch's First Concerto in its first release. Mutter conveys a sweetness and charm that is so refreshing to hear. I am tired of the many accounts on the market that take themselves too seriously in this work. Mutter's youthful and easy-going virtuosity is so pleasant to listen to. The first movement is not overtly intense, yet strong and firm in her grip of the whole structure of the movement, and full of flair and mastery. The Andante is a serene repose for both soloist and orchestra, direct and pure. She rounds off the concerto with a swift, bubbly finale that just sparkles from beginning to end. Karajan lends impeccable support, and the digital recording is top-notch DG material. There are many parallels to be drawn between Mutter's fresh account with those by Kyung Wha Chung (Decca) and Cho-Liang Lin (Sony), both of which I admire and enjoy greatly. While many claim that Heifetz (RCA) and Menuhin (EMI) dominate the market, I still prefer these newer digital accounts, especially the Mutter. Menuhin is just too weak and overtly reticent, while Heifetz's quicksilver style does not quite suit this particular concerto and that is just something too unrelieved in tension in his tone and manner.

Mutter adopts a slightly more muscular approach to the Brahms concerto, which was recorded about a year later. Her attention to detail, dynamics and phrasing serves the music well. Above all, she plays with true, impeccable intonation, and dazzling virtuosity. The central movement is refreshingly relaxed, while the finale has power, excitement and strength. Throughout, she maintains dignity and poise, and is never merely an exhibitionist like Perlman (EMI) and many others. This account must be amongst the finest in the market, and can rank alongside those by Herman Krebbers (Philips) and Heifetz (RCA). Karajan, an exponent in this repertoire, provides understanding, exhilarating and superb orchestral backup to his young soloist. The DG engineers have done wonders to the digital recording, which was originally unbearably claustrophobic, dry and lacking in bloom. With their "Original-Image Bit-Processing", DG has indeed lived up to its claims by adding much greater presence and brilliance, and greater spatial definition to the original sound, and I must say the marked improvement is simply amazing!

Now at mid-price, this is a must for all those who are serious about Brahms, Mendelssohn, Mutter and/or great violin playing.

Written by Lionel Choi

Piano Concerto in G

Sergei Rachmaninov (1873 - 1943)

Piano Concerto No.4 in G minor, op.40

Arturo Benedetti Michelangeli / Philharmonia Orchestra / Ettore Gracis (EMI CDC7 49326 - 2)

Ravel's piano concerto has its fair share of jazz influence. The opening running passages bring sparks to the fore, accompanied by an orchestral tutti . The articulate fingerwork of Michelangeli brings out the best of this movement. Very improvisitory in nature, the first movement vacillates between different tempi, before reaching a climatic ending. However, the main attraction of this concerto is the slow and melancholic middle movement. Michelangeli plays with much tenderness and sympathy here and such is the pianistic brilliance that is found in abundance in this CD. The opening piano solo is slowly mixed with orchestral playing and this grows to an eventual climax. The theme now is, however, taken over by the cor anglais which sets the mood for the peaceful ending of this beautiful movement. The closing movement is very short and it is punctuated with staccato chords. The closing passages are abrupt and they bring a premature end to the fun and yet virtuosic playing that is so apparent in the last movement.

The sound in this recording can be improved upon, and the background hiss is a tad too loud when the CD is played at a high volume. One must, however, bear in mind that this concerto was recorded in 1958. This superlative rendition is coupled with an equally outstanding performance of Rachmaninov's Fourth piano concerto. Audiophiles who cannot put up with a compromised sound should perhaps opt for Martha Argerich's version with Claudio Abbado conducting, as this analogue recording offers a clear and firm tone.

This Ravel disc is highly recommended and no serious classical music lover should ever do without a copy of it.

Written by Lawrence Poon