Listeners looking for a good pick to start getting acquainted with the music of Hungarian composer György Ligeti can look no further than this Finnish release. The forces involved, with Austrian violinist Benjamin Schmid and the Finnish Radio Symphony Orchestra, encompass both Ligeti's own Central European origins and the profound effect his works have had on the contemporary Finnish school; one would expect them all to do well with this technically difficult stuff, and they do. And the selection of works is ideal. There's Ligeti's one really big orchestral hit, Atmosphères, which appeared in the film 2001: A Space Odyssey. The logical place to go after that is Lontano (1967), which reflects the composer's tendency to begin with a simple sonority such as a unison and develop a unique tonal world step by step (the beauty of Ligeti is he can't easily be classified as tonal or atonal). There's a major underrated work, the Violin Concerto (presented in its 1993 five-movement form), a technical tour de force in which both the soloist and orchestral players must execute difficult out-of-tune effects. Unusual sonorities abound; the massed ocarinas in the second movement are presumably unique in the repertory. And precisely at the center of the work is a striking representation of musical chaos. With all this under the listener's belt, the album ends with a dense, detailed work of the sort that without context puts listeners off this composer: the San Francisco Polyphony (1974). There's a lot to absorb here, no doubt, but this is the kind of album that will be on repeat. © TiVo

This version of Stravinsky's The Rite of Spring was recorded live in 2022 by the San Francisco Symphony with new conductor Esa-Pekka Salonen, and, issued in 2023 exclusively on an online streaming service, it represents the first recorded collaboration between Salonen and his new orchestra. As such, it is quite promising, and it will probably bring a new fan or three to Stravinsky's 20th century classic. For one thing, the presentation matches the medium; there is no "album" as such, just a performance of the single Stravinsky work, with the unit clocking in at 35 minutes in length. Furthermore, although he has recorded The Rite of Spring in different ways with various groups dating back to the 1980s, Salonen did not just phone in this concert. This is a distinctive Rite of Spring. Most of the movements are a definite beat slower than in Salonen's most recent version with the Los Angeles Philharmonic, and the performance has a distinctly different flavor from the pounding, heavily rhythmic interpretations that have become the norm. Sample the familiar "Augurs of Spring" movement, which may seem to lack energy but actually reveals a good many details that are generally obscured. Consider, too, the great delicacy of the short scenes toward the end of the first part, which give the bacchanalian music later all the more impact when it does appear. Considerable credit must be given to the engineering staff of the Symphony's own SFS Media label, who achieve total clarity at the lower end of the dynamic range, and to the live audience, who kept the ambient noise to an absolute minimum. More than a gimmick to introduce a growing classical music service, this is a novel Rite of Spring from a master Stravinsky specialist conductor.© James Manheim /TiVo

Michael Tilson Thomas' audiophile recordings of Gustav Mahler's symphonies have garnered much critical approval, and his SACD of the Symphony No. 3 in D minor and Kindertotenlieder must be counted among the most praiseworthy. Tilson Thomas has long been a leading authority on Mahler's music, and his deep understanding of his favorite composer goes a long way toward elucidating the complexities and contradictions in this enormous symphony, particularly through his transparent communication with the San Francisco Symphony, which skillfully translates his joyous interpretation into wondrous sound. The martial airs, folk-like melodies, tragic dirges, lyrical meditations, elevated chorales, and ecstatic evocations of nature are all of a piece in this massive work, which conforms to Mahler's dictum that a symphony should be like the world and embrace everything. Shaping all these incongruous elements so they make sense is Tilson Thomas' responsibility, and he excels in assigning them their proper places and meanings; with a thorough communication of Mahler's intentions, he directs the orchestra to create sonorities and effects with an authenticity and liveliness that few groups can match. The more compact and mournful Kindertotenlieder is a perfect foil, insofar as the seriousness of this song cycle provides a sobering balance to the sheer happiness of the symphony. The live recordings have DSD and multichannel sound, so the orchestra, mezzo-soprano Michelle DeYoung, and the women's and children's choirs receive a fully dimensional sound and clear reproduction that shows them to best advantage.© TiVo

Aaron Copland's Symphony No. 3, or, as he preferred to call it, Third Symphony, is generally classed with his populist, Americanist works of the late 1930s and early 1940s, and indeed it quotes and is partly built on one of the most popular of those works, the Fanfare for the Common Man of 1942. Yet a fuller overview makes clear that it doesn't quite fit with the likes of Rodeo and Appalachian Spring, or even really the Fanfare, which it alters and puts into new contexts; it might be regarded as a fantasy on the Fanfare. There are few or no hints of popular music, folk rhythms, or jazz, which were the hallmarks of Copland's popular style. By the standards of the time, the work was oriented toward tonality, but less so than Copland's other works of the period, and really it belongs in a class by itself. It is the distinctive combination of the elevated symphonic tradition with middle-period Copland that conductor Michael Tilson Thomas and the San Francisco Symphony capture in this live 2018 recording. From the work's early champion Leonard Bernstein on down, conductors have favored high-energy approaches to the work, but Tilson Thomas is careful, detailed, and often noble. The Fanfare is present, but rather than overwhelming the rest of the music, its open fifths shimmer through delicately, and the alterations of the pure Fanfare in the finale's introduction are emphasized. The delay of Tilson Thomas' retirement ceremonies in San Francisco were occasioned by the coronavirus pandemic, and this has been all to the good as various gems from the vaults have surfaced. This release earned a 2020 Grammy nomination for Best Orchestral Performance.© TiVo

There are plenty of fine recordings of Gustav Mahler's popular Symphony No. 5 in C sharp minor, but each decade seems to produce its own landmark renditions: Bernstein's in the 1960s, Solti's in the '70s, Sinopoli's in the '80s, and Abbado's in the '90s. For the first decade of the twenty first century, Michael Tilson Thomas' riveting 2005 version with the San Francisco Symphony may eventually be regarded as the classic performance, simply for its unsurpassed emotional commitment and luminous intensity. The technical mastery of both conductor and orchestra is beyond reproach, and the sound quality of this direct-stream digital SACD is almost beyond belief, so this recording meets all the basic requirements of the toughest Mahler fan. But what makes this performance truly great is the energy that is readily apparent in the live concert setting; the San Francisco Symphony under Tilson Thomas' leadership is as blazing in sonority and brilliant in execution as any of the world's best orchestras, and they play with just as much expressive fire and force. The Trauermarsch is explosive in its grief, and even though this gripping movement might be emotionally draining for a lesser ensemble, the orchestra moves straightway to the extreme violence of the second movement, then dances vigorously through the Scherzo, swoons with amorous languor in the Adagietto, and bursts with sunny radiance in the fugal Rondo-Finale, all without the slightest trace of fatigue. This is a finely detailed performance, with remarkable definition of the counterpoint and internal rhythmic figures; Tilson Thomas is scrupulous in observing the letter and spirit of Mahler's score, bringing out unique touches in the orchestration and graduating tempos with appropriate amounts of rubato. But above all is the players' concentrated involvement in the music, which is the deciding factor in placing this exceptional disc at the forefront of Mahler recordings of its time. Highly recommended.© TiVo

Jumpin' Jive proved to be one of Joe Jackson's most adventurous projects as he tries his hand at covering a bunch of Louis Jordan and Cab Calloway tunes, ranging from the extravagance of big band to bop to vibrant swing music. The album broke the Top 50 in the U.S. and made it to number 14 in England, with the title track peaking at number 43 over there as well. Jackson sounds extremely fresh and vivacious throughout all of the tracks, with Calloway's "We the Cats" and "Is You Is or Is You Ain't My Baby" demonstrating how easily his persona adapts to this particular style of music. Jackson doesn't just sing the music here, he actually role-plays to some extent to make the songs sound that much more genuine and timeless, giving tunes like "Tuxedo Junction," "What's the Use of Getting Sober," and the hip-cat composure of "Jumpin' Jive" some modern flash and color. The horn work is dazzling as well, especially Dave Bitelli's alto sax and Pete Thomas' clarinet contributions. Not only was Jumpin' Jive a novel idea, but it reveals Jackson's musical dexterity and desire to further his interests into other avenues aside from pop and mainstream ballads. Although he touched on reggae with 1980's Beat Crazy, Jumpin' Jive fully uncovers his musical astuteness and remains one of his best albums.© Mike DeGagne /TiVo

There are so many great recordings of Mahler's Fourth in the world. There are Bruno Walter recordings with the Vienna Philharmonic, whose warmth and humanity is always profoundly moving. There's Otto Klemperer with the Philharmonia, whose affection and strength are always deeply impressive. There's the George Szell with the Cleveland Symphony, whose lucidity and luminosity are always incredibly impressive. There's Rafael Kubelik lovingly lyrical recording with the Bavarian Radio Symphony, Claudio Abbado's rapturously singing recording with the Vienna Philharmonic, Wyn Morris' wonderfully poised recording with the London Symphony...the list goes on and on.The question is: is there room in the world for this 2003 recording by Michael Tilson Thomas and the San Francisco Symphony no matter how good it is? Of course, the answer depends on how many Mahler Fourths one can fit on the shelf, but if you have room for one more, get Tilson Thomas'. His interpretation is warm and affectionate, but lucid and luminous. The San Francisco's playing is clear, colorful, and sensitive with beautiful solo wind playing. Soprano Laura Claycomb's singing of the finale is pure and affecting with a wonderful last verse. The San Francisco's digital sound is easily as fine as the best of the big labels and the notes by Michael Steinberg are a model of what liner notes should be. No matter how many recordings one has, anyone who loves Mahler's Fourth will love this recording.© TiVo

Beautifully shaped, wonderfully colored, powerfully dramatic, and lovingly lyrical, Michael Tilson Thomas and the San Francisco Symphony's recording of Mahler's Seventh Symphony is not as only as good or better than the previous seven recordings in their Mahler cycle, it is as good or better than most of the Sevenths recorded in the past 20 years. Tilson Thomas has grown into one of America's most skilled and dedicated Mahler conductors, and his understanding of the composer's greatnesses as well as his weaknesses makes him one of the most sympathetic. Tilson Thomas understands not only Mahler's joy -- listen to the glowing climax of the opening movement's development -- but his fear -- listen to the terrifying return of the opening section of the Scherzo -- not only his tenderness -- listen to the close of the Andante amoroso -- but his humor -- listen to the opening of the Rondo-Finale. Best of all, Tilson Thomas understands his moments of real weakness, understands that the blissful climax of the opening movement takes a mighty long time to arrive, and that the humor of the Rondo-Finale is at best slapstick farce and that it, too, goes on for a mighty long time. But Tilson Thomas understands it all, and, as the French and the Buddhists say, to understand all is to forgive all. With the suave and polished playing of the San Francisco, he has created a Seventh as persuasive in its way as the strenuous Horenstein, the sensual de Waart, or the glorious Kubelík. The sound of the San Francisco's self-produced recording is warm, clear, and open.© TiVo

Imagine Mahler's Ninth without tears. The symphony Mahler composed after the death of his daughter and the diagnosis that would soon kill him, the symphony that more than any other sings of bottomless grief and endless sorrow, the symphony that more than any other sings the swan song of German music and European culture, the symphony that more than any other confirms Mahler's status as one of the great tragic artists of Western civilization without tears. It can't be done, you say?Sure it can. And, what's more, Mahler's Ninth is better without tears. In this 2004 recording by Michael Tilson Thomas with the San Francisco Symphony, Mahler's Ninth is performed with restraint and dignity, but without tears. Tilson Thomas and the San Francisco still sing of grief and sorrow, but without tears. They still hymn the ineffable beauty of life in this world and the eternal luminosity of life in the world to come. They still rise to climaxes of overwhelming strength and sink into codas of unbearable poignancy. And they still accomplish the greatest miracle of all by holding back the dying of the light with the limitless humanity of their performance. But they do it without tears. And it's all the more moving for that. The recording is utterly transparent, allowing the clear light of infinity to shine through.© TiVo

Recorded at a public concert – as is the case for almost all the albums by the San Francisco Orchestra – this version of Tchaikovsky's Sixth is Michael Tilson's contribution to the substantial discography of this phenomenal work. Recall that this sombre symphony was first performed in Saint Petersburg in October 1893, conducted by the director himself, with a decent reception, although the audience was most likely left "wanting more", as the final notes of the staggering final movement faded into a very un-heroic pianissimo. Recall also that only nine days later, Tchaikovsky left behind this vale of years – there are conflicting theories regarding his death, whether it was a result of cholera, suicide, or something else entirely – and the work was played again a few days later at a memorial service, with a few corrections that the composer had made after the first performance; and henceforth it would be this version, that the writer would never hear during his lifetime, which would be played at concerts. © SM/Qobuz

Presented with the idea of a West Coast West Side Story, you might imagine some kind of unorthodox interpretation, but in fact this 2013 production, recorded live (and recorded very well indeed) for the San Francisco Symphony's in-house label falls squarely into traditions laid down by the work's composer, Leonard Bernstein. This is not to say that conductor Michael Tilson Thomas follows Bernstein's own recording of the Romeo and Juliet tale of the Sharks and the Jets, which had a heavily operatic tinge: this is a Broadway-style recording, not an operatic one, and the vocal qualities of Cheyenne Jackson as Tony and Alexandra Silber as Maria are not too far from those in the hit soundtrack recording of the 1960s. Instead, it is Bernstein the composer who is the star of Tilson Thomas' show. Unlike the works of other Broadway composers who wrote tunes and left assistants to fill in conventional orchestration, Bernstein often made the orchestra a key partner in the action, and Tilson Thomas captures such details as the small keyboard line in "Maria" (perhaps a celesta) that is swallowed up in live performances and recordings. Tilson Thomas, like Bernstein, is comfortable with the variety of pop rhythms in the show, and the end result is a recording that really represents the best of both worlds. Highly recommended.© James Manheim /TiVo

As a Mahler conductor, Michael Tilson Thomas is a better Leonard Bernstein. The same sense of inchoate excitement and impending ecstasy that permeated Bernstein's performances permeate Tilson Thomas'. But Tilson Thomas' performances are also thoroughly planned and flawlessly executed. In this June 2004 recording of Mahler's Resurrection Symphony, when Tilson Thomas precipitously increases the tempo at the dramatic start of the recapitulation in the opening Allegro maestoso, he still keeps tight control of the orchestra. When the strings slip through subtle glissandos in the following Andante moderato, every slide is together. When the winds relax into the Trio of the following Scherzo, every tempo rubato is cohesive. When the time signatures change in the following Urlicht, every shift is coordinated. And when the apocalypse breaks loose in the Finale, every entrance is just so. What Bernstein did with the Resurrection, he did through accident and inspiration. Tilson Thomas did it through forethought and revelation. The result is a stupendous Resurrection recorded in superlative sound.© TiVo

By 2012, the San Francisco Symphony had played about two dozen of John Adams' works, about half of them world premiere or U.S. premiere performances, including seven pieces it commissioned, so it has easy claim on the title of being THE orchestra for Adams performances. Adams wrote the massive Harmonielehre for the orchestra while he was its Composer in Residence, and Edo de Waart led the premiere in 1985. This live 2010 performance with Michael Tilson Thomas leading the orchestra marks the 25th anniversary of the piece. This performance is so extraordinarily fine that it would be pointless to quibble over whether or not it surpasses the terrific original recording with de Waart, but it certainly gives it a run for its money, and may for some listeners have an edge. In any case, it is incalculably superior to its only other real competition with Simon Rattle leading the City of Birmingham Symphony Orchestra. The extraordinarily clear, lively sound of SFS Media's sonically spectacular SACD allows details of orchestration to be heard with fresh brilliance and makes this a version no one who loves the piece will want to be without.Harmonielehre is an exhausting, exhilarating work in the way a late Romantic symphony can be, and Tilson Thomas masterfully conveys the complex score's emotional volatility with appropriately startling ferocity. The explosive, pounding chords of the opening of the first movement are viscerally shocking, and Tilson Thomas maintains a sense of the music's urgency though its extended roller coaster of mood shifts. The second movement, "The Anfortas Wound," is a ferocious howl of pain and frustration that Adams said characterizes his anguish over the extended period of writer's block that finally gave way to the composition of Harmonielehre. Tilson Thomas brings catharsis in the shimmering, luminous final movement, "Meister Eckhardt and Quackie." The orchestra's playing throughout is superb: absolutely secure technically, with a luscious, vibrant tone, and with the interpretive and idiomatic depth that comes from intimate familiarity with the music. The album includes a sparkling, propulsive reading of Short Ride in a Fast Machine from a live 2011 performance. Highly recommended.© TiVo