The 1st & final movements of Brahms’s 3rd Symphony contain some of the most dramatic music he was to compose, yet both end serenely & enclose 2 beautiful inner movements. The equally exquisite Serenade No 2, unusually scored for wind instruments, violas, cellos & double basses, was 1 of his own personal favourites & both receive superb performances under Bernard Haitink in the 3rd part of his internationally acclaimed LSO Live Brahms cycle.
“I do not know precisely what is my destination: however, I do know that 1 evening, after for the 1st time hearing a symphony by Beethoven, I became feverish & ill. As soon as I recovered, I became a musician.” Thus Richard Wagner described the enormous impression that Beethoven’s music had made on him in his novelette Eine Pilgerfahrt zu Beethoven (a pilgrimage to Beethoven). Although it is difficult to separate fact & fiction in this novelette, Beethoven’s music did indeed exert a major influence on the life of the young composer. Wagner was 17 years old when he 1st heard Beethoven’s 9th Symphony, a work which was to play a central role during his entire life, & which he was, for instance, to conduct in 1846 at the opening of the Festival Theatre in Bayreuth.
Touring with the Micky Curtis Band, Yamamoto had the chance to explore several international experiences that he would later use on this album as he worked with this band in France, England and Switzerland. On this SACD, the Tsuyoshi Yamamoto Trio plays two of Tsuyoshi's own blues improvisations followed by jazz ballads that became standards for the trio. Yamamoto's skill and his jazz feeling adds that certain touch of liveliness and spontaneity and makes Midnight Sugar a unique experience. Available for the first time on the SACD format, this features latest CD technology developed by Sony.
Anne-Sophie Mutter obviously had fun making this disc. In the quiet pieces (Massenet, Ysaÿe, Fauré) which serve as interludes, she plays with her usual exquisite taste. In the showpieces, though, she goes to town, sliding, scooping, exaggerating, & letting all the stops out. The gypsy inflection she uses in Ravel’s Tzigane & Sarasate’s Zigeunerweisen is delicious. Even a ridiculous orchestral arrangement of Tartini’s Devil’s Trill Sonata is more amusing than offensive. With James Levine & the Berlin Philharmonic providing uncommonly alert & powerful support, & Deutsche Grammophon’s realistic sound, this disc is a real treat for violin lovers.
This SACD transfer of Anne-Sophie Mutter’s Beethoven violin sonatas, taken from a series of live recordings from 1998, does not transcend the questionable interpretations. In each of these famous sonatas, Mutter takes excessive liberties with respect to dynamics and phrasing, and while some listeners may appreciate the thought and care she puts into these readings, it sounds as if she is trying a bit too hard to be “musical”. For example, just before the exposition repeat of the “Spring” sonata, several instances of disproportionate agogic pauses, inconsistent use of vibrato, random adherences to sforzando markings, and a sporadic disregard for (or recasting of) dynamics combine to produce an overly fussy performance that lacks momentum and a sense of direction.
Legendary performances, no doubt. Nice sound in the original recording, the processed 3 channel sounds even better. Piano tone is wonderfull, full-bodied and detailed. Nice orchestra perspective.