The Ballades: G minor, op.23; F, op.38; A-flat, op.47; F minor, op.52

The Scherzos: B minor, op.20; B-flat minor, op.31; C-sharp minor, op.39; E, op.54

Artur Rubinstein (RCA RCD1-7156)

Rubinstein was something of a legend when it came to Chopin piano works. This 1959 recording is merely one of the many examples of his very special relationship with Chopin's music. Needless to say, these are formidable interpretations that should please everyone. Rubinstein is not much of a pyrotechnician: for example, the fiendishly difficult B minor scherzo does not have that same level of intensity and transcendental virtuosity that Horowitz possessed in abundance in an old RCA recording, but Rubinstein compensates with an invaluably impeccable aristocratic and elegant feel, and plays with awesome command and mastery. There is great authority in his playing, and the structures of these fine pieces are always well grasped by him - undoubtedly the work of a great pianist.

His way with the music is never overtly melodramatic nor too bland. Rubinstein always remains convincing and emerges from a piece with his head held high. The F minor Ballade is particularly powerful - gutsy and deeply reflective. The genius of Rubinstein lies in the fact that he is a thinking artiste: every note is the result of serious reflection and intelligent deep thought, but yet maintaining a macroscopic view of the entire piece, never degenerating into self-indulgence, something many other pianists these days are particularly guilty of.

These pieces are probably the most interesting pieces Chopin ever wrote in his entire output. And with Rubinstein such a persuasive advocate and a clear first choice over others like Ashkenazy (Decca) and Pollini (DG), this disc should find a place in the collection of any serious piano music lover. The remastered sound is brilliant - bold, clear and yet not without bloom.

Written by Lionel Choi

Firebird (complete ballet score); Toccata in C Minor, Op.11; March, Op.12, No.1; Rigaudon, Op.12, No. 3; Prelude in C, Op.12, No.7; Scherzo, Op.12, No.10; Tales of the Old Grandmother, Op.31, No.3; Sarcasms, Op.17, Nos.1 & 2; Scherzo from The Love for Three Oranges; March from The Love For Three Oranges. (Klavier Digital KCD - 1103B)

What struck me (erroneously) when I first saw the cover for this disc was that it was the works were actually played by Stravinsky and Prokofiev. On closer look though, I found that this is actually a duo-art performance, re-enacting piano rolls made by Stravinsky and Prokofiev. This is somewhat similar to what Artie Wodehouse did with the Gershwin piano rolls on Elektra Nonesuch.

So, how is it like to hear the masters play their own compositions? Was the performance stilted and mechanical or did it actually sound like it came from the hands of human pianists? Well, the good news is that it actually sounds extraordinarily like hearing Stravinsky and Prokofiev playing in the live. I thought that it was somewhat more convincing than the Gershwin piano rolls by Wodehouse.

Firebird is, of course, a tour de force. Not only is it Stravinsky's most widely performed work but it is indeed one of the most played and recorded twentieth-century compositions. It is a delightful work, lyrical, brilliantly inventive, surprising and glittering. It was interesting comparing this piano version with my orchestral version --- they are curiously alike. I found Firebird well-played here but perhaps a little lacking in élan and fire.

The Prokofiev works are slightly more disappointing. While Prokofiev may have been a brilliant pianist in his time, it is hard to imagine him seriously competing with classic Prokofiev interpreters like Richter, Pollini and Berman. The prodigiously difficult Toccata is handled with ease although the tempo is a little lugubrious, slightly slower than Horowitz's electrifying 1947 rendition. The other less demanding works fare better, and Prokofiev technique is at once brisk yet expressive. The Prelude in C is lyrical and charming while the Scherzo exhibits the quicksilver wit and irony so characteristic of Prokofiev. Sarcasms is motoric, intense and sonorous --- paradoxically atonal yet beguiling.

This is a curious disc and Prokofiev or Stravinsky aficionados may find it an unusual but rewarding addition to their collection. The sound is acceptable and the performance is recreated on a 1929 "Hamburg" Steinway reproducing piano.

(People in Singapore can look for this disc in Tower Records.)

Written by Melvin Yap

Jean Sibelius (1865 - 1957)

Symphonies No. 3 in C, op. 52; No. 5 in E Flat, op. 82

London Symphony Orchestra / Sir Colin Davis. (RCA VICTOR RED SEAL 09026 - 61963 - 2)

Jean Sibelius labored three years composing his Symphony No. 3, completing it in 1907. It is a leaner, more subtle work than his previous forays in the genre, requiring a slightly smaller-sized orchestra, thereby yielding a somewhat gentler sound. But the piece still evokes images associated with so much of his music--images of bucolic life in his beloved Finland. As you listen to the symphony you can practically see the forests and rivers, the peasants and their log houses. Gaiety and beauty are in rich supply here, from the rhythmic jaunt of the opening theme to the pastoral dreaminess of the quiet second movement to the life-affirming joy and triumphant music of the finale.

Sibelius's Fifth Symphony also had a lengthy gestation, having originally been completed in 1915, then revised four years later. But it is otherwise an altogether different affair, being epic in quality and deeper in expression. The music in the first half of the opening movement seems struggling to liberate itself from oppressive forces, then, amidst great tension, breaks free resoundingly with a triumphal brass proclamation. There follows a joyous celebration. The second movement is quiet and animated, presenting a lovely theme with variations. The finale starts off with an interesting idea for scurrying strings that leads to a beautiful melody supported by a swaying ostinato (a repeating motif). The symphony closes with unforgettable chords that strike like hammer blows, believed by some to symbolize victory by the Finnish-Nationalist White Guard over the menacing Red Guard.

Sir Colin Davis, who recorded all seven Sibelius symphonies in the 1970s with the Boston Symphony for Philips, is taking his second crack at the cycle for RCA. In these two works he is meticulously attentive to detail and offers straightforward readings rich in subtle nuancing that yield performances from his able players in the London Symphony Orchestra that at least rank with the best available. The strings--so important in the Third Symphony--play the opening rhythmic theme with an irresistibly chipper bounce and deliver the second movement melody with an infectious lilt; and the brass play the glorious chords that resolve the tension in the middle of the Fifth's first movement with the most convincing authority and conviction imaginable. Many other conductors have recorded these symphonies, including Askenazy (London), Rattle (EMI), and Maazel (London and Sony), but this RCA issue, which features beautifully vivid sonics, moves to the top of my list.

Written by Robert Cummings

Jessye Norman and Kathleen Battle -- Spirituals in Concert

Orchestra and Chorus with Nancy Allen (harp), Hubert Laws (flute), Sylvia Olden Lee (piano), Evelyn Simpson-Curenton (organ) and Robert de Cormier (choral director) / James Levine (DG 429 790 -2)

Two of the finest Afro-American sopranos since Leontyne Price make their appearance together in a musical extravaganza at Carnegie Hall on March 18, 1990 that celebrates one of the richest art forms of the Black American people, Negro spirituals.

The 'live' occasion prompts everyone to perform with greater spontaneity, and the two distinguished ladies are obviously enjoying every moment of this monumental event. Both Battle and Norman have totally different voice qualities - Battle's is much lighter and is equally adept as either a coloratura or a lyric soprano; Norman on the other hand has the weightier, richer voice that has thrilled audiences around the world in many dramatic Straussian and Wagnerian roles. It is so exciting to hear these two beautiful yet diverse voices come together, and the results are nothing short of amazing and characterful.

The choice of songs here are good, mixing the famous spirituals with the lesser-known ones. Battle's beautiful Swing Low, Sweet Chariot and Lord, How Come Me Here are simply ravishing to the ear, and so is the Over My Head/Lil' David medley, which also sees Ms Battle sing with good rhythmic flair, impeccable timing and perfect spontaneity. Jessye Norman gives a rich and deeply moving Sinner, Please Don't Let This Harvest Pass. The combined items are also very delightful. The opening number, In That Great Getting Up Morning, is aptly grand and full of panache. Gospel Train and Great Day are delightfully rhythmic and uplifting. The pinnacle of the concert must be the riotous Scandalize My Name, a tour de force of "pastiche, charisma, camp and virtuosity", all so perfectly described in the liner notes. The hilarious musical bantering between the two ladies shows inspiration, and perfect comic timing and acting. This would make you want to watch the video recording of this concert!

The specially-assembled orchestra and chorus under James Levine accompany well, and the various solo instrumentalists are also fantastic (check out Nancy Allen's harp in Lil' David and Sylvia Olden Lee's precise, jazzy piano contributions in Scandalize My Name.)

There is however one serious flaw. While most of the arrangements are pretty good, the one for Calvary/They Crucified My Lord is somewhat overdone, with over-emphatic percussion effects as well as startling shouts and overtly vehement singing from the men's chorus. There is an undoubtedly chilling effect in all this, but it would have been more effective if it were simpler and left to Norman to do the work.

The audience noises and applause are sometimes quite obtrusive, but generally add to the sense of occasion. Good digital recording. This disc is possibly the best collection of spirituals in the market, and those contemplating acquiring it need not hesitate.

Written by Lionel Choi