DVORÁK: Symphony 9, "From the New World"
WAGNER: Flying Dutchman Overture, Siegfried-Idyll
Jascha Horenstein, Royal Philharmonic Orchestra
Chesky Records CD 31 (CD only). Bob Katz, remastering eng.; David & Norman Chesky, executive prods. (Original 1962 recordings: K. E. Wilkinson, eng.; Charles Gerhardt, prod.) ADD. TT: 67:30
THE PERSUASIONS: Live in the Whispering Gallery
Hammer n' Nails HNCD 1988 (CD only). Frank Kulaga, Larry Collen, engs.; David Ackerman, prod. DD. TT: 34:39
Sonic Booms
Steam Locomotives, Jet Fighter Aircraft, Military Exercise (with live ammunition), WWII Aircraft, Comic Relief I & II, West Mountain Inn, Diesel Train, Steam Train with Rain & Thunder
Bainbridge BCD6276 (CD only). Produced & mixed by Brad S. Miller. DDD. TT: 58:00
YSAE KREISLER BACH
J.S. Bach: Partita No.2, BWV 1004, Kreisler: Recitativo & Scherzo, Op.6, Ysaÿe: Sonata, Op.27 No.2
Arturo Delmoni, violin
Water Lily Acoustics WLA-WS-07 (LP), WLA-WS-07-CD (CD). Kavichandran Alexander, eng., prod. AAA/AAD. Subsequently released on CD as John Marks Records CD JMR 14G (footnote 1). TT: 48:03
MAHLER: Das Lied von der Erde
James King, tenor; Dietrich Fischer-Dieskau, baritone; Vienna Philharmonic, Leonard Bernstein
London (CD only). Gordon Parry, eng.; John Culshaw, prod. AAD. TT: 66:32
These are two very fine discs. Both convey to perfection the full weight of Richard Strauss's opulent orchestration for Zarathustra without the slightest hint of distortion, despite the huge dynamic range both employ. Both have the measure of the venues they are recorded in: Denon's Lukaskirche actually gives the impression of an acoustically superior concert hall, and it is astonishing to discover from the insert notes that the well tuned-in and integrated organ has been post-synchronized from the Schauspielhaus, Berlin.
Telarc's disc is their first of the Vienna Philharmonic, and their first from the Musikvereinsaal. It can hardly be faulted, except perhaps for the consistent richness of its more tonally refulgent soundsome may find this oppressive. But it does reflect perfectly Previn's more emotionally charged, almost maniacal response to this score. It is the kind of music he excels in; the meditative, almost ponderous fugue giving way to the near hysteria of "The Convalescent," and reflecting real joy at the climax of the "Dance Song." Previn is living these colorful swings of emotion, and if he makes great demands of the score in doing so (just as Blomstedt does), then his intuitive balance renders this all the more convincing.