The latest releases reviewed
MAHLER: SYMPHONY NO 9
Berlin Philharmonic Orchestra/Simon
Rattle
EMI Classics 501 2282
*****
The Berlin Philharmonic and Simon Rattle are in top form in
this new set of Mahler's final, completed
symphony. The recording, taped at concerts last October, is
much clearer in sound than the conductor's 10-year-old version with
the Vienna Philharmonic. And the music-making has characteristics
to match. The approach is unusually rich - explicit yet reserved,
fiery yet tender, sinewy yet sensuous. It's the kind of performance
that wants to have things every way. In a piece renowned for
valediction, the music-making here is never shy of assertive
energy. The tapestry of contrasts, whether in the musical argument
or the communication of emotional undertow, is unusually rich.
www.emiclassics.com
MICHAEL DERVAN
GOSSEC: SYMPHONIES OP 8; SABINUS
Les Agrémens/Guy van Waas
Ricercar RIC 263
****
François-Joseph Gossec (1734-1829) is one of those
18th-century musical giants who has been reduced to a pygmy by the
passing of time. His Messe des Morts of 1760 anticipated elements
of Berlioz. He wrote about 50 symphonies, and was the first
composer to use clarinets in France. His symphonies don't sound
particularly French, and, even when the gestures are at their
most forceful, are not strongly argued. Full credit, then, to Guy
van Waas and the period instrument players of Les Agrémens for
so successfully managing to bring a real sense of musical traction
to the three symphonies of his Op 8, which were first published in
1765. The disc also includes the colourful ballet music from the
1773 tragédie lyrique Sabinus.
www.harmoniamundi.com
MICHAEL DERVAN
KNOTWORK
Fell Clarinet Quartet
Delphian DCD 34065
***
Composers have often been inspired by the great
clarinettists of their day. But only one tie-up - Steve Reich and
Richard Stoltzman - ever resulted in a popular work for an ensemble
of clarinets. Yet, as the Fell Clarinet Quartet show in their
opening work, Graham Fitkin's Vent, there's plenty of scope
for dreamy swirls and jagged honking with just four players.
They've resurrected earlier works by Pierre Max Dubois (Quatuor,
1964) and Alfred Uhl (Divertimento, 1942), added contrast to more
recent pieces by Eddie McGuire (Celtic Knotwork and Chinese
Knotwork), Lenny Sayers (For Four), and Nicholas Simpson (Mardale
Changes). And they've added a fun arrangement of Piazzolla's
Histoire du Tango. Decent rather than spectacular performances.
www.delphianrecords.co.uk
MICHAEL DERVAN
THE COMPLETE DECCA RECITALS
Marilyn Horne (mezzo soprano)
Decca 478 0165 (11 CDs)
****
American mezzo soprano Marilyn Horne, who'll be 75 or 80 next
January, depending on who you believe, married the qualities of a
stentorian contralto with the agility of a coloratura soprano. Her
singing
was rock-solid, yet remarkably agile, the vocal character
both arresting and beautiful. In the early Italian romantic
repertoire - there's plenty of Rossini here - she commanded
attention the moment she opened her mouth, there was no need for
attention-seeking or exaggeration, and there's a pleasing firmness,
too, in the baroque music. Beyond the arias there are song cycles
by Mahler and Wagner, as well as German, French, Spanish and
American songs. The recordings, made between 1964 and 1985, offer
the layout and artwork of the original LPs, but no texts or
translations are supplied.
www.deccaclassics.com
MICHAEL DERVAN
