Schubert, Schumann, Debussy: Arpeggione

As the booklet quotes, the sound quality is amazing... it is so warm yet harsh. Both musicians, Rostropovich(cello) & Britten(piano) are so well coupled that it sounds as a perfect unit. And though the Schubert's Arpeggione sonata is simple, it is so direct and with such an emotional interpretation that it keeps resounding after it is over. Amazing sound produced by the cello, with plucked chords at some point.
Schumann's five pieces are quite lively and wholehearted.
Debussy is more contemplative and excessively tentative, instead of inspired to my taste.

Definitely a must buy!!
Decca: Legendary Performances, Legends 1968
engineered at 96Khz 24-bit (Super Digital transfer) above standards

Name	Key	Catalogue	Musicians	Observations
Franz Schubert: Sonata for arpeggione and piano		D821		Recorded Snape, 1968
Robert Schumann: Fünf Stücke im Volkston		p.102		London 1961
Claude Debussy: Sonata for cello and piano		L.135		London 1961

Pavarotti: The Essential Pavarotti

This was a bit of a turn off. The selection of pieces was not superb, as I had expected. Fortunately there are these jewels that make it worth listening. Of course, Nessun dorma is one of them, along with the most popular pieces.
At some point I confused Pavarotti with Andrea Bocelli, probably in the youngest recordings.

1. La donna è mobile


2. Che gelida manina


3. E lucevan le stelle


4. Nessun dorma


5. Una furtiva lagrima


6. M'appari


7. La fleur que tu m'avais jetée


8. Vesti la giubba


9. Di quella pira


10. Caruso


11. Mattinata


12. Aprile


13. Core 'ngrato


14. La danza


15. Volare


16. Funiculì-Funiculà


17. Torna a Surriento


18. 'O sole mio!

Bach: Orchestersuiten 1&2

These are too very beautiful. Obviously we can mention the more obvious Badinerie of the OS 2, but I have to mention especially Track 8 the Sinfonia from Cantata 29. The play is beautiful, and the theme is deep, in the dimension of inter-instrument (timbral?) counterpoint.

La Stravaganza Köln,
Andrew Manze

Name	Key	Catalogue	Musicians	Observations
Ouverture No.1 for 2 oboes, bassoon, strings and continuo	C	BWV 1066
Sinfonia from Cantata BWV 29 'Wir danken dir, Gott, wir danken dir'			Christoph Lehmann, Organ	amazingly !!
Ouverture No. 2	Bm	BWV 1067	Masahiro Arita, flauta traverso (9-15)

Mozart: Symphonies 6/1

This is mature Mozart.
Solid melodies, bass melodies, timbral balancing.

Symphony #25 is one of the very very few (2, perhaps?) works composed in minor mode.
To me, it sounds like a hurt but valiant anti-hero, or a rusted magnificence.

This is music to be heard indefinitely.

Name	Key	Catalogue	Musicians	Observations
Symphony	D	KV 111a
Symphony 18	F	KV130
Symphony 19	E flat	KV 132
Symphony 25	G minor	KV 183		very rare, in minor mode !

Mozart Akademie Amsterdam
Jaap ter Linden

Bach: Brandenburgische Konzerte 4,5,6

Breathtaking! Absolutely outstanding! (Knowing me, I think I have to be in specially receptive mood now)

Although I have heard them many many times, (and I have heard this precise recording before, Brilliant CDI-2) it still sounds so new. Such a compelling tempo, crystal clear distinction of instruments. For example in the Allegro of BWV 1049, I just noticed some virtuosissimi violin scales that I had not distinguished in any other recording.

Concerto no. 4 G BWV 1049
Rémy Baudet, violin
Pieter-Jan Belder, Saskia Coolen, recorder

Concerto no. 5 D BWV 1050
Wilbert Hazelzet, traverso
Rémy Baudet, violin
Pieter-Jan Belder, harpsichord

Concerto no. 6 B flat BWV 1051
Staas Swierstra, Sayuri Yamagata, viola
Mieneke van der Velden, Johannes Boer, viola da gamba
Lucia Swarts, cello

Pieter-Jan Belder, conducts Musica Amphion.

Pachelbel & Fasch

What an interesting 1968 recording of the famous Canon by Pachelbel. So sober and precise interpretation. It sublimes the piece away from the usual "cheesy" interpretations that we all have in mind about it.
The other pieces by Pachelbel (1653-1706) are rather blunt, from "dull sweetness". There is really no conflict, and the themes though nice are just like a breath.

Fasch in contrast aspires to more. He has some tempo contrast, more interesting themes. And although these pieces are quite simple, they are nice.

Overall, an interesting CD to have for light listening.

Orchestre de chambre Jean-François Paillard,
JF Paillard,
Maurice André, trumpet
Pierre Pierlot, Jacques Chambon, oboe

Beethoven & Brahms: Violinkonzerte

This is Jascha Heifetz soloist interpretation of 2 beautiful works:
Beethoven's op. 61 and Brahms Op. 77 concerts for violin and orchestra.

Beethoven's concert just leaves us begging life he had written more of these. With his usual mix of bass strings and high pitched themes of flute and violin. With rhythmic patterns in the strings giving way to sweet melodies.

Heifetz is not shy when trying to give his interpretation a sublime intent. He is playful whilst being sober, which as far as I can imagine is the way Beethoven might have wished this to be.

As for Brahms', Heifetz does a powerful first movement, with so sweet spots and a forceful cadenza. The second movement has also a very tender violin interpretation. And the third, with the timbral weaving of the presentation of the theme, turns it from pleasurable to beautiful.

I have to confess that it took me some active listening of Brahms' concert, to find the beauty beyond just following the tune. But that is what this endeavor is about.

A RCA Victor, Red Seal CD.


Beethoven, Concerto Op. 61, in D
Boston Symphony Orchestra, Chales Munch
recorded Nov. 27 & 28, 1955, Symphony Hall, Boston, USA
Cadenza 1st movement: Auer - Heifetz
Cadenza 3rd movement: Joachim - Heifetz

Brahms, Concerto Op. 61, in D
Chicago Symphony Orchestra, Fritz Reiner
recorded Nov. 21 & 21, 1955, Orchestra Hall, Chicago, USA
Cadenza 1st movement: Heifetz

Mozart: Symphonies 5/1

Very much like the previous CD 4 in Vol. 1, I think this was much less expressive than what we would expect from Mozart. Yes, it is joyful, but I think it is too courtly. To me it seems that these were just charged work, and delivered.

Mozart Akademie Amsterdam
Jaap ter Linden, conductor

Bach: Brandenburgische Konzerte 1,2,3

Concerto no. 1 in F BWV 1046. Did not impress me much. I even doubted it was a Brandenburgische Konzert LOL.

Frank de Bruine, oboe
Rémy Baudet, violin piccolo
Teunis van der Zwart, Erwin Wieringa, horn

Concerto no. 2 in F BWV 1047
William Wroth, trumpet
Frank de Bruine, oboe
Pieter-Jan Belder, recorder
Rémy Baudet, violin

Concerto no. 3 in G BWV 1048

Now we talk. I again have to say I have fallen for small orchestras. The intimacy achieved with each instrument. Beautiful Brandenburg Concerto #3.

Rémy Baudet, Sayuri Yamagata, Irmgard Schaller, violin
Staas Swierstra, Marten Boeken, Mariëtte Holtrop, viola
Rainer Zipperling, Richte van der Meer, Albert Brüggen, cello

Mozart: Symphonies 4/1

Here distinct intentions are perceived. Military fanfares, playful trivialities as in Symphony 22 Presto assai.
I would say a little bit pretentious lacking substance, but certainly evolving towards the usual (for us these days) Mozart music.

Mozart Akademie Amsterdam
Jaap ter Linden, conductor

Symphony 20 D KV 133
Symphony 21 A KV 134
Symphony 22 C KV 162
Symphony 23 D KV 181

Beethoven: Diabelli-Variationen

This one is great too.
So many jewels lost among big symphonic pieces. It takes someone with good knowledge to pick these ones.
Great soft joyful interpretation by Alfred Brendel, Philips Digital Classics.

I have to confess that by the end I got a bit overwhelmed by the repetitions. :*(

1. Tema (Vivace) - Variation I (Alla marcia maestoso)


2. Variation II (Poco allegro)


3. Variation III (L'istesso tempo)


4. Variation IV (Un poco più vivace)


5. Variation V (Allegro vivace)


6. Variation VI (Allegro ma non troppo e serioso)


7. Variation VII (Un poco più allegro)


8. Variation VIII (Poco Vivace)


9. Variation IX (Allegro pesante e risoluto)


10. Variation X (Presto)


11. Variation XI (Allegretto)


12. Variation XII (Un poco più moto)


13. Variation XIII (Vivace)


14. Variation XIV (Grave e maestoso)


15. Variation XV (Presto scherzando)


16. Variation XVI (Allegro)


17. Variation XVII (Allegro)


18. Variation XVIII (Poco Moderato)


19. Variation XIX (Presto)


20. Variation XX (Andante)


21. Variation XXI (Allegro con brio - Meno allegro - Tempo I)


22. Variation Xxii (Allegro Molto: Alla "Notte E Giorno Faticar" Di Mozart )


23. Variation Xxiii (Allegro Assai)


24. Variation Xxiv: Fughetta (Andante)


25. Variation XXV (Allegro)


26. Variation Xxvi (Piacevole)


27. Variation Xxvii (Vivace)


28. Variation Xxviii (Allegro)


29. Variation Xxix (Adagio Ma Non Troppo)


30. Variation XXX (Andante, sempre cantabile)


31. Variation Xxxi (Largo, Molto Espressivo)


32. Variation Xxxii: Fuga (Allegro - Poco Adagio)


33. Variation Xxxiii (Tempo Di Minuetto Moderato)

Mozart: Symphonies 3/1

More settled, with complete mozart sound. Especially, track 10 Symphony 16-Andante sounds so much like Eine kleine Nachtmusik.
I am now at a stage, where I start recognizing regularities within an author, and recognizing orchestration subtlities. There will be a time, where I can recognize cross-author theme reuse, for instance.

Mozart Akademie Amsterdam,
Jaap ter Linden, conductor

Symphony 14 A KV 114
Symphony 15 G KV 124
Symphony 16 C KV 128
Symphony 17 G KV 129