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Zawinul: Stories of the Danube
Joe Zawinul
Classical - Released January 1, 1996 | Decca Music Group Ltd.
Billed as Joe Zawinul's First Symphony, this large-scale classical work may seem like a radical departure to the composer/keyboardist's jazz and pop fans, but it is really a logical expression of Zawinul's indestructible European roots. Moreover, it is not as alien to his jazz work as one might suppose; at times, one can hear trademark Zawinul ostinato lines in fleshed-out, orchestrated form, and rhythms and tunes of his jazz-rock days ("Doctor Honoris Causa," "Pharoah's Dance" "Unknown Soldier") turn up like old friends crashing a black-tie ceremony. The storyline of the work is a spinoff of Smetana's "The Moldau," tracing the path of a river from its springhead through Central Europe and the deep historical currents (the Ottoman Empire, Vienna's Golden Age, World War II, etc.) that its journey suggests. Zawinul's own keyboards appear most noticeably in the brooding Third Worldish introductions to the fourth and seventh movements, and the Czech State Philharmonic Orchestra, Brno under Caspar Richter handles the long symphonic writing smoothly. At 63 minutes, this piece is a real stretch -- Zawinul is dealing with a Brucknerian timespan -- and skillful orchestrator, composer and boundless eclectic that he is, he can't quite fill the huge tapestry consistently. Yet repeated listening reveals a coherent if loose overall structure and some emotional depth; if you work at it, the rewards will come.© TiVo
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Rossini : The Barber of Seville (Highlights)
The Chamber Orchestra of Europe
Opera Extracts - Released January 1, 1972 | Deutsche Grammophon (DG)
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Rossini: Il barbiere di Siviglia
Teresa Berganza
Opera - Released January 1, 1972 | Deutsche Grammophon (DG)
Hi-Res
Booklet
Distinctions
The Qobuz Ideal Discography
This is a Barbiere "di qualità, di qualità": in fact, of very great quality indeed, from Deutsche Grammophon. Recorded in London in the summer of 1971, it is one of the first meetings of Claudio Abbado and the London Symphony Orchestra. It is also the first of Alberto Zedda's philological editions of Rossini's works, whose scores have been covered over by inherited errors for over a century. Getting rid of the additions which have, quite wrongly, become traditional, means restoring certain interruptions and the fine instrumentation of the period; and above all, singing and playing without exaggerations, thanks to an innate sense for the theatre. It's a spot of spring cleaning which has restored the youth of the 24-year-old composer's masterpiece. Bravo, signor barbiere, ma bravo! It is a dream record, with singers who are well-versed in the repertoire. Everyone is right where they need to be, from Teresa Berganza's wiley and cheeky Rosina, to the refined and hard-working Figaro played by Hermann Prey, via Luigi Alva's frivolous Count and the utterly ridiculous Basilio played by the outrageous Paolo Montarsolo. We're amused by their antics, as we admire the well-oiled and unstoppable machine of Rossini's theatre, under the unceasingly inventive and thrilling baton of Claudio Abbado. © François Hudry/Qobuz
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Gloire Immortelle !
Hervé Niquet
Classical - Released November 17, 2023 | Château de Versailles Spectacles
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Booklet
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Le souffle des légendes
Saxo Voce
Classical - Released April 5, 2024 | Indésens Calliope Records
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Intimate Voices
Emerson String Quartet
Classical - Released January 1, 2006 | Deutsche Grammophon (DG)
While there are those who would agree along with the Boston Herald that "when arguments about the greatest living quartet begin, one choice remains non-controversial: the Emerson Quartet," there are those who might amend their assertion to read "the greatest living American quartet. Because while it might be persuasively asserted that there are European quartets the Emerson's equals and perhaps even their superiors -- the Alban Berg and the Hagen Quartet come immediately to mind -- it would be hard to argue that there's another American quartet that comes close to the combination of qualities that make the Emerson so successful. As this 2006 release of quartets by Grieg, Nielsen and Sibelius amply demonstrates, the Emerson's sweet but slightly edgy tone, their flawless but every so slightly impetus ensemble and especially their supple but unbelievably strong sense of rhythm put them in a class above any other American quartet. Some have argued that the Emerson's sympathy for the music they perform is not always beyond question, and this disc -- with its all-too-cool Grief, far-too-calm Nielsen and way-too-nervous Sibelius -- might provide proof for that argument. But it could not be persuasively argued that these are not performances of complete control and consummate mastery; if the Emerson's interpretations are too cool, too calm and too nervous, they surely mean them to be that way.DG's sound is, beyond all argument, as good as it gets in this world: clear and deep and honest and real.© TiVo
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Drum'n Voice, Vols. 1, 2, 3 & 4 (The Complete Series)
Billy Cobham
Jazz Fusion & Jazz Rock - Released December 14, 2016 | Nicolosiproductions - soul Trade
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Rossini: Il Barbiere di Siviglia
Hermann Prey
Classical - Released January 1, 1972 | Deutsche Grammophon (DG)
Distinctions
The Qobuz Ideal Discography
This is a Barbiere "di qualità, di qualità": in fact, of very great quality indeed, from Deutsche Grammophon. Recorded in London in the summer of 1971, it is one of the first meetings of Claudio Abbado and the London Symphony Orchestra. It is also the first of Alberto Zedda's philological editions of Rossini's works, whose scores have been covered over by inherited errors for over a century. Getting rid of the additions which have, quite wrongly, become traditional, means restoring certain interruptions and the fine instrumentation of the period; and above all, singing and playing without exaggerations, thanks to an innate sense for the theatre. It's a spot of spring cleaning which has restored the youth of the 24-year-old composer's masterpiece. Bravo, signor barbiere, ma bravo! It is a dream record, with singers who are well-versed in the repertoire. Everyone is right where they need to be, from Teresa Berganza's wiley and cheeky Rosina, to the refined and hard-working Figaro played by Hermann Prey, via Luigi Alva's frivolous Count and the utterly ridiculous Basilio played by the outrageous Paolo Montarsolo. We're amused by their antics, as we admire the well-oiled and unstoppable machine of Rossini's theatre, under the unceasingly inventive and thrilling baton of Claudio Abbado. © François Hudry/Qobuz
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Rossini: Il Barbiere di Siviglia (Highlights)
London Symphony Orchestra
Classical - Released January 1, 2007 | Deutsche Grammophon (DG)
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