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Hansel and Gretel is another well known fairy tale
The orchestra is no great shakes, with a horn that misses entries by half a beat and lower strings that are not always together. But such is the power of Walter’s idea that one is drawn more to the syntax of sound than its objective quality. There is very little vibrato, less than in the period performances mentioned above, and the relation of one orchestral section to another seems to define the work’s social struggle.
The aura attached to Brahms is still greater than to any other symphonist, Beethoven excepted. A recent recording of the pianist Ilona Eibenschütz talking about the great man does more than just compel the viewer’s attention: it commands it. Eibenschütz (1872-1967) appears on Arbiter’s retrieval of archival rarities, playing three Brahms Intermezzi and a Ballade with a seriousness almost too great for these slight pieces to bear.
D. L. Ashliman's Home Page - Home | University of Pittsburgh
Top of the line is, inevitably, late-period Handel – the great arias from his Biblical oratorios. But there’s also a pair of songs from the master’s long-forgotten assistant, John Christopher Smith, and from his aggressive local competitor, Thomas Arne – a vengeance aria from Alfred.
The Silver Violin presents music from and much it is shameless shmaltz, as you would expect. The surprise is that the selection is so intelligent and the running order so astute that the album acquires a personality far greater than its content.
Transformations (opera) - Wikipedia
Bohuslav Martinu has dropped so far below the radar that he has lost parity with such compatriots as Janacek, Suk and Smetana. A victim of fluctuating fashions, he is a composer of great elegance, constant invention and, sometimes, excessive serenity. Too many opus numbers – more than 400 – make it hard for musicians to present him with any expectation of public familiarity, even in his own country. Much of his work is left to gather dust.
Myung-Whun Chung, the music director, knows French repertoire inside out from his stormy spell at the Paris Opéra in the early 1990s. He interprets the art without added sugar. Debussy’s brute egotism is clearly glimpsed behind clouds of beauty and his armchair orientalism is given real bite and pungency by Korean woodwinds. Ravel’s Mother Goose is recounted less as bedtime story than as psycho-magic realism: there’s a beast hiding in your fairy garden, go deal with it. The showcase album is capped by an account of La Valse that seems to emerge from nebulous dawn, swirling ever faster to mutual self-destruction.
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Folklore - New World Encyclopedia
Less than the sum of its parts and with the most horrific classical cover of the year, the French-based quartet grapple with Reich’s Different Trains and Crumb’s Black Angels, with Samuel Barber’s ‘Adagio’ quartet as a smoothie filling. The miking is too close, the playing aggressive. Kronos still claim these works as their own.
Creative Imagination and Subjective Agency in Wynne …
The pedigree in Alessio Bax’s recording is in the small print. His producer is Anna Barry, a regular Gergiev partner with Grammy nominations, the sound engineer is Mike Hatch and the location is a castle in mid-Wales. The recital is strong on atmosphere and contrast. The Italian-born pianist seems to have time on his hands even in prestissimi and the selection is pleasing, culminating in his own sweet arrangement of the irresistible Vocalise.
Tim Sheppard's Storytelling Resources for Storytellers: …
Episodic and populist, the album has its smoky moments, none smokier than 'Besame mucho'. More remarkably, it avoids the dumb-down tackiness of crossover with an inarguable artistic integrity. It is clear that Alagna has loved this material all his life and now sings it with greater comfort and flexibility than the Latino pop merchants. There’s nothing quite like hearing a great voice doing what it does best in down-to-earth everyday songs. Alagna, in Pasión, is on top of his game.
Drama - Free Scripts for Kids' Theatre | A2Z …
The young Alice Sara Ott and the Lang Lang sit well among artists of pedigree but the most interesting two tracks are froma pianist the world has forgotten. Jean-Rodolphe Kars was born in India to Austrian-Jewish refugees and was building quite a career, in the 1970s when, under the influence of Olivier Messiaen, he retired from playing in 1981 and, like Liszt, entered holy orders. Kars went one further than Liszt: he joined a monastery and was never heard from again.
Project Gutenberg Canada / Projet Gutenberg Canada
Ohana’s career was blighted by the political dominance of French modernism by Pierre Boulez. A Gibraltarian Jew, sceptical and progressive, he wrote on the edge of atonality without subscribing to dogma. These piano pieces, played with a rapturous tingle by Maria Paz Santibanez, fall midway between De Falla and Webern. Original thoughout and thought-provoking.
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