Burnished brass and a nuanced understanding of the massive architecture of Bruckner's symphonies provided the underpinnings of Lorin Maazel's Bruckner cycle in Munich from January through March 1999. The subtle intricacies of Maazel's distinguished readings are fully captured in the live recordings of those performances, now available as a boxed set.
In memoriam Maestro Maazel, Sony Classical re-releases the ‘Maazel Great Recordings’ 30-CD Box to honour his great work.
In memoriam Maestro Maazel, Sony Classical re-releases the “Maazel Great Recordings” 30-CD Box to honour his great work. During his career, he conducted more than 150 orchestras in some 5,000 opera and concert performances. He served as general manager and artistic director at the Vienna State Opera and conducted the Bayreuth Festival in Germany, the first American to do so in both cases. He also served at the Radio Symphony of Berlin, the Bavarian Radio Symphony Orchestra, the Cleveland Orchestra and the Munich Philharmonic.
Finland's Jean Sibelius is perhaps the most important composer associated with nationalism in music and one of the most influential in the development of the symphony and symphonic poem. Sibelius was born in southern Finland, the second of three children. His physician father left the family bankrupt, owing to his financial extravagance, a trait that, along with heavy drinking, he would pass on to Jean. Jean showed talent on the violin and at age nine composed his first work for it, Rain Drops. In 1885 Sibelius entered the University of Helsinki to study law, but after only a year found himself drawn back to music. He took up composition studies with Martin Wegelius and violin with Mitrofan Wasiliev, then Hermann Csillag…
A host of accomplished conductors including Daniel Harding, Daniele Gatti, Bernard Haitink and Eliahu Inbal lead the Royal Concertgebouw Orchestra in these performances of Mahler's Symphonies Nos. 1-10. Recorded in Amsterdam over two seasons in 2010/11, the collection also includes 'Das Lied von der Erde'.
Jack Renner and Robert Woods dared to aim high, think big and take risks. In 1977, they had the audacity – and the funding – to hire the Cleveland Orchestra and music director Lorin Maazel to launch their company, TELARC Records. Their debut album, Direct from Cleveland, was the first modern-day direct-to-disc long-play recording of a symphonic ensemble, and it put the small company on the audiophile map.(Simeon Louis Sandiford, SoundStage!2Network)
Lorin Maazel usually is a very good Strauss conductor, and he's at his best in these live recordings. He launches Don Juan with considerable gusto, and only the quiet passage before the famous horn theme sounds as if it could move a bit more purposefully forward. The orchestra plays extremely well, as it does in Death and Transfiguration, an interpretation full of excitement and (at the end) exaltation, and without a trace of the affectation that sometimes mars Maazel's work. The truth is, he has such a fine podium technique that it sometimes seems he does things because he can, rather than because he should–but not here. This performance, and the smoldering, sultry, deliciously trashy Salomé's Dance, are the disc's highlights. The Rosenkavalier Suite closes the program in ebullient fashion, though the music itself isn't quite so much fun as the other items on the program. The live sonics are good, a touch raw at the climaxes, but very acceptable. I do wish, though, that the applause had been edited out. Recommended.
This was one of the first digital version (the very first?) of Tchaikovsky's violin concerto and remains pretty competitive though perhaps not a first choice. Kremer's playing is surely polished and technically impressive; the phrasing is wonderful and the tone beautiful. Still, it is unfortunately a little short on charm and expressive depth - Tchaikovsky's concerto isn't really the most appropriate vehicle neither for classical restraint nor almost curmudgeonly introspective approaches; it is peripatetic grand drama and passion and heart-on-sleeve through and through and despite Kremer's sweetness of tone he never manages to scale the heights or plunge the emotional abysses of the music.