Recording of the Month

Music of Edgar Varèse, Vol.2
Arcana, Déserts, Offrandes, Chanson De Là-Haut (Song From High)
Dona Precht, soprano, Columbia Symphony Orchestra, Robert Craft, conductor.
Columbia Masterworks MS-6362 (LP). John McClure, Thomas Frost, prods. TT: 24:45.

In electronic music, the sounds of musical instruments, natural noise-makers and electronic signal generators are recorded on tape, modified by running them at higher- or lower-than-normal speeds and manipulating their tonal content, and then combined in rhythmic and tonal patterns to create entirely new forms of music.

J.S. Bach: Six Suites for Viola Solo, BWV 1007–1012
Kim Kashkashian, four- & five-string violas
ECM New Series 2553/54 (2 CDs). 2018. Manfred Eicher, prod.; Judy Sherman, eng. DDD. TT: 2:22:35
Performance ****½
Sonics *****

Little is known of the origins of the Solo Suites, usually performed on the cello. No manuscript in Bach's hand survives, and in the copy produced by his second wife, Anna Magdalena, markings for slurs, articulation, and dynamics are sparse even by baroque standards. The suites may actually have been composed for the violoncello da spalla, an instrument smaller than the cello but larger than the viola, and played while held on the shoulder (some modern players use a neckstrap). But what are problems for the musicologist present a world of latitude to the interpreter, in this case master violist Kim Kashkashian, who takes full advantage of them.

Vaughan Williams: Symphony No.2 (A London Symphony)
Hallé Orchestra, Sir John Barbirolli, conductor.
Vanguard Everyman, SRV-134-SD (1963 LP). Reissued in 1982 as PRT Collector GSGC 2035 (LP). Recorded by Pye (UK) in 1957.

This is undoubtedly the best London Symphony that's been committed to stereo to date, and I wouldn't be surprised if it held top place for years to come. I can find nothing to criticize about the performance, and the recording is awe-inspiring—rich, warm and natural, with some phenomenally low bass and very wide dynamic range, yet without the slightest audible trace of breakup during crescendos.

Berio, Boulez, Ravel: Sinfonia, Notations I–IV, La Valse
Ludovic Morlot, Seattle Symphony Orchestra; Roomful of Teeth
Seattle Symphony Media SSM 1018 (CD, 2.0- and 5.1-channel downloads at 24/96). 2018. Rosalie Contreras, Elena Dubinets, exec. prods.; Dmitriy Lipay, prod., eng.; Alexander Lipay, eng. DDD. TT: 58:20
Performance ****½
Sonics *****

What ties Luciano Berio's boundary-breaking Sinfonia for Eight Voices and Orchestra (1968–69) to Pierre Boulez's out-there Notations I–IV for Orchestra (1945/1978) to Maurice Ravel's progressively off-kilter La Valse (1906–1920)? The Seattle Symphony's about-to-depart music director, Ludovic Morlot, cites their "ingenious transformation of pre-existing musical material or styles." I'm also inclined to say that it's their descent into chaos, even madness, which these performances transcend with an impeccably controlled, highly refined aesthetic, which I auditioned in 24/96 2-channel.

Bruckner & Wagner
Andris Nelsons, Leipzig Gewandhaus Orchestra
Bruckner: Symphony 4. Wagner: Lohengrin Prelude
Deutsche Grammophon 479 7577 (CD). TT: 79:24
Bruckner: Symphony 7. Wagner: Siegfried's Funeral March
Deutsche Grammophon 479 8494 (CD). TT: 76:48
Both: Everett Porter, prod., eng.; Lauran Jurrius, eng.; Polyhymnia International, mastering. DDD.
Performance ****½
Sonics ****½

In works as vast and challenging as the symphonies of Anton Bruckner, near perfection of interpretation and execution can come in different, even opposed forms. The slow meditations of Celibidache, the crisp classicism of Schaller, the precise power of Skrowaczewski: each is uniquely fulfilling and true to the scores, and none sounds anything like the others—or anything like the Bruckner of Andris Nelsons. Deutsche Grammophon has contracted with Nelsons and the Leipzig Gewandhaus Orchestra to record, in concert, Bruckner's symphonies 1–9. After beginning last year with a polished if impersonal account of Symphony 3, Nelsons's cycle is rapidly advancing in quality and pace of release.

Music to Listen to KLH By
Excerpts from recordings by Everest and Concert-Disc.
KLH VSR-101 (LP).

Don't be misled by the title of this. It's fine for listening to KLH by, and it is also fine for listening to any other top-notch reproducer by. It is, in fact, the best, and most musical, stereo demonstration disc that's come along to date.

Gershwin: Rhapsody in Blue (1924 jazz-band version, orch. Grofé). ¹ Piano Concerto in F. ² "Summertime." ³ Gershwin-Wild: "Somebody Loves Me," "I Got Rhythm," "Embraceable You."⁴ Oscar Levant: "Blame It On My Youth." ⁵
Kirill Gerstein, piano; ^1–5 Storm Large, vocal; ³ Gary Burton, vibraphone; ⁵ David Robertson, St. Louis Symphony Orchestra^{1, 2}
Myrios Classics MYR022 (CD, 24/192 FLAC). 2018. Kirill Gerstein, prod.; Stephan Cahen, prod.,1-5 eng.; ^{1, 2, 4, 5} Paul Hennerich, ^{1, 2, 4} Doug Decker, ³ engs. DDD. TT: 73:45
Performance *****
Sonics *** (CD), **** (24/192 FLAC)

I grew up with Gershwin's Rhapsody in Blue. I was the youngest in a family not particularly interested in music, and whose record collection consisted of pop music and three oddly assorted classical recordings, all on 78rpm discs: Enrico Caruso singing "Vesti la giubba," Stravinsky's The Rite of Spring (on four 12" 78s), and the 1927 recording of Rhapsody in Blue with the Paul Whiteman Concert Orchestra and Gershwin at the keyboard.